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7. Each lock, and ev'ry bolt he tries, |
shq 0—..... - she i
8. In ev'ry creek, and corner, pries; |
9. Then opes his chest with treasure stor'd, |
10. And stands in rapture o'er his hoard: |
11. But now with sudden qualms, possest, [
12. He wrings his hands; he beats his breast-1
13. By conscience stung he wildly stares; |
14. And thus his guilty soul declares: |
15. Had the deep earth her stores confin'd, |
16. This heart had known sweet peace of mind; |
17.18. But virtue's sold! | Good gods! what price |
9. Can recompense the pangs of vice? |
20. O bane of good! seducing cheat! |
shf st sdg
weak man, | thy power defeat? |
21.22. Can man,
seb sw- - sdq
24. And only left the name behind; |
25. Gold sow'd the world with ev'ry ill; |
26. Gold taught the murd'rer's sword to kill: |
27. 'T was gold instructed coward hearts |
28. In treach'ry's more pernicious arts. |
29. Who can recount the mischiefs o'er? |
30. Virtue resides on earth no more! |
REMARKS ON THE NOTATION OF THE MISER AND PLUTUS.
For the convenience of reference, the piece is divided into sections, by vertical bars, and the number of each section is printed in the margin.
(1.) The direction of motion, expressed by the 4th small letter, r, means that from the position in which both hands are presented, vhf, they should move towards the right, and stop at the position, oblique, as noted by q, connected by a dash to the position mentioned.
(2.) The 4th small letter, n, signifies noting.
(12.) The posture of the hands is, at first, folded horizontal forwards, as expressed in the notation, ld hf. At the a, connected by a dash, which signifies ascending, the hands are raised up, and at the next notation, ld br, they are forcibly withdrawn back on the breast.
(21.) This posture begins horizontal, as first noted, Bvhf, and ends elevated, B vef; but the B is omitted over the word, weak, being understood by the connecting dash.
(25.) The 3d small letter, relating to the transverse direction of the arm, is often placed alone, but connected by a dash with a preceding set of letters, as already observed. (1.) In such case it is to be understood that the posture of the hands remains as before, and that the transverse direction of the arm only is changed. Here each arm passes through the whole semicircle, from the position across to extended.
The fourth, and the fifth small letter, which relates to the direction and manner of motion, are also often separated, in this manner, from the position to which they belong, in order that the place of the motion, or action, may be the more distinctly marked. (See 9,
15 and 20, in which n is thus separated, to point out the particular syllable on which the action of noting falls.)
The action of the hands and arms, at No. 15 and 20, is the same, but the general effect is different, in consequence of the difference in the positions of the feet. In the preparation for these gestures, the palms of both hands are raised so as almost to touch the forehead; then they descend gradually, and when the arms are a little below the horizontal elevation, the wrists make that particular motion called noting, on the respective words, stores and cheat.
(26.) Left foot first position extended. To make this position extended, the left foot is advanced, the body at the same time is thrown back, and sinks a little, bending the right knee.
(28.) This gesture, Buhf rj, both vertical horizontal forwards rejecting, is thus made: both hands are drawn backwards, nearly to the mouth, in the vertical position; the eyes, at this time, are directed forwards, the hands are then pushed forwards, while the face is averted, and the feet retire, to a greater or less extent, in proportion to the degree of disgust or abhorrence to be expressed.
AN ELEGY WRITTEN IN A COUNTRY CHURCH-YARD.
The curfew tolls-the knell of parting day!
The lowing herd winds slowly o'er the lea;
The ploughman homeward plods his weary way,
And leaves the world to darkness, and to me.
Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds
Save where the beetle wheels his drony flight,
And drowsy tinklings lull the distant folds:
- ieq n
Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient, solitary reign.
- shf n
Beneath those rugged elms, that yew tree's shade,
Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.
The breezy call of incense-breathing morn,
The swallow, twitt'ring from the straw-built shed, idq
The cock's shrill clarion, or the
echoing horn, No more shall rouse them from their lowly bed.
B sdf d
For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care,
B shf p
Nor children run to lisp their sire's return,
B nef a
B shf n
Or climb his knees, the envied kiss to share.
Oft did the harvest to their sickle yield;
Their furrow oft the stubborn glebe has broke ;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!
ihf nLet not ambition mock their useful toil,
Their homely joys, and destiny obscure: Nor grandeur hear, with a disdainful smile,
The short, and simple annals of the poor.
And all that Await, alike, the
The boast of heraldry, the pomp of pow'r,
beauty, all that wealth e'er gave,
B vhq sh
sdq n R
The paths of glory lead but to the grave.
Nor you, ye proud, impute to these the fault,
If mem❜ry o'er their tomb no trophies raise,
Where, thro' the long-drawn aisle, and fretted vault,
The pealing anthem swells the note of praise.