P. Henry-Why, how couldst thou know these men in Kendal green, when it was so dark thou couldst not see thy hand? Come, tell us your reason! What sayest thou to this?

Poins-Come, your reason, Jack-your reason!

Fal.-What! upon compulsion? No! Were I at the scaffold, or all the racks in the world, I would not tell you on compulsion. Give you a reason on compulsion! If reasons were as plentiful as blackberries, I would give no man a reason on compulsion.

P. Henry-I'll be no longer guilty of this sin. This sanguine coward, this horse-back breaker, this huge hill of flesh

Fal.-Away, you starveling! you eel-skin! you dried neat's tongue! you stock-fish! Oh, for breath to utter what is like thee!-you tailor's yard! you sheath! you bow-case! you—

P. Henry-Well, breathe awhile, and then to it again; and when thou hast tired thyself in base comparisons, hear me speak but this.

Poins-Mark, Jack.

P. Henry-We two saw you four set on four; you bound them, and were masters of their wealth. Mark, now, how plain a tale shall put you down. Then did we two set on you four, and, with a word, outfaced you from your prize, and have it; yea, and can show it to you, here in the house. And, Falstaff, you carried yourself away as nimbly, with as quick dexterity, and roared for mercy, and still ran and roared, as ever I heard a calf. What a slave art thou, to hack thy sword as thou hast done, and then say it was in fight! What trick, what device, what

starting-hole, canst thou now find out to hide thee from this open and apparent shame?

Poins-Come, let's hear, Jack! What trick hast thou

now?

Fal. Why, I knew ye as well as he that made ye. Why, hear ye, my masters: was it for me to kill the heirapparent? Should I turn upon the true prince? Why, thou knowest I am as valiant as Hercules. But beware

instinct; the lion will not touch the true prince. Instinct is a great matter; I was a coward on instinct. I shall think the better of myself and thee during my life: I for a valiant lion, and thou for a true prince. But, lads, I am glad you have the money.-Hostess, clap to the doors. Watch to-night, pray to-morrow.-Gallants, lads, boys, hearts of gold, all the titles of good-fellowship come to you! What! shall we be merry? Shall we have a play extempore?

P. Henry-Content; and the argument shall be, thy running away.

Fal.-Ah! no more of that, Hal, an thou lovest me.
William Shakespeare.

FOR PREPARATION.-I. Shakespeare's "Henry IV.," Part I., Act II., Scene 4. Where is Eastcheap? (In London.) In which of the plays does Falstaff appear? ("Merry Wives of Windsor," "Henry IV." and "Henry V.") 'Cup of sack" (sack, Latin siccus, a dry wine, like sherry). "Prince Henry" (afterward Henry V.-eldest son of King Henry IV.). Why called "Prince of Wales"? Why called heir-apparent ?

II. Vil-lan-ous (old spelling-villainous is preferred), plague (plag), věnģe'-ançe.

III. Explain the effect of t in wilt; o instead of e in forgot; ' in 'scaped. IV. Explain "tallow-keech" (round lump of tallow), tavern, netherstocks, extant, shotten herring,' ," "dagger of lath," braggart, gibbeted, "half-sword with a dozen," doublet, hose, buckle, sharing, “buckram suits,”

target, palpable, strappado, compulsion, sanguine, instinct, valiant, gallants, extempore, argument.

V. Which of the "three good men unhanged" is the fat one that grows old? "Would I were a weaver "(Henry calls him "wool-sack" because of this wish, and because of his resemblance to a bag stuffed with wool). Henry retorts "base-born" to what taunt? Explain the play on words (pun) in "backing your friends." Note the irony of Prince Henry and Poins in their remarks. "My old ward" (i. e., his old attitude in defense). Why does Poins take the side of Falstaff in saying, "Ay, ay, he said four" -jest, or earnest? Difference between hear thee and mark thee? Why "horse-back breaker"? "Away, you starveling," etc. (Falstaff, resenting Henry's taunts, twits him with his leanness.)

CX.-BUGLE-SONG.

The splendor falls on castle walls
And snowy summits old in story;
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle-blow! set the wild echoes flying.
Blow, bugle! Answer, echoes, dying, dying, dying.

O hark! O hear, how thin and clear,
And thinner, clearer, farther going!
O sweet and far from cliff and scar

The horns of Elfland faintly blowing!
Blow! let us hear the purple glens replying.
Blow, bugle! Answer, echoes, dying, dying, dying.

O love, they die in yon rich sky!
They faint on hill, or field, or river;
Our echoes roll from soul to soul,
And grow forever and forever.

Blow, bugle-blow! set the wild echoes flying!

And answer, echoes! answer, dying, dying, dying.

Tennyson.

FOR PREPARATION.-I. From the Third Part of Tennyson's "Princess." What is meant by Elfland ?

II. Splěn'-dor, eǎs'-tle (kǎs'l), čeh'-ōeş (čk'ōz), dý'-ing, field, bū'-gle (-gl), sum'-mits.

III. Measure off a stanza of this poem into feet, and mark the accent.

IV. Elfland, glens, cataract, scar.

V. How do the echoes of one thought to another differ from the echoes of the bugle (3), as described in the metaphor of the third stanza? "Our echoes" (i. e., our thoughts go from mind to mind, and thought grows more clear and comprehensive by transmission and re-thinking). What is meant by "summits old in story"?-by "long light shakes"? (The level sun shines on the water between us and it, making a long track of light trembling with the movement of the waves on the lake.) Is there anything in this meter, and the sounds of the words, that reminds you of the sound of the bugle itself? If so, point it out.

CXI. THE MOCK-TURTLE'S STORY.

1. "When we were little," the Mock-Turtle went on at last, more calmly, though still sobbing a little now and then, we went to school in the sea. The master was an old turtle; we used to call him Tortoise-"

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"Why did you call him Tortoise, if he wasn't one?" Alice asked.

"We called him Tortoise, because he taught us," said the Mock-Turtle, angrily. "Really, you are very dull!"

2. "Yes, we went to school in the sea, though you mayn't believe it "

"I never said I didn't!" interrupted Alice.

"You did!" said the Mock-Turtle. "We had the best of educations; in fact, we went to school every day-"

"I've been to a day-school, too," said Alice. "You needn't be so proud as all that!"

3. "With extras?" asked the Mock-Turtle, a little anxiously.

sic."

"Yes," said Alice; "we learned French and mu

"And washing?" said the Mock-Turtle.

"Certainly not!" said Alice, indignantly.

"Ah! then yours wasn't a really good school," said the Mock-Turtle, in a tone of great relief.

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Now, at ours, they had, at the end of the bill, 'French, music, and washing, extra!'"

4. "You couldn't have needed it much," said Alice, "living at the bottom of the sea."

"I couldn't afford to learn it," said the Mock-Turtle, with a sigh. "I only took the regular course."

"What was that?" inquired Alice.

Reeling and writhing, of course, to begin with," the Mock-Turtle replied; "then the different branches of arithmetic-ambition, distraction, uglification, and de

rision."

5. "What else did you learn?"

Well, there was mystery," the Mock-Turtle replied, counting off the subjects on his flappers—“ mystery, ancient and modern, with seaography; then drawling. The drawling-master was an old conger-eel, that used to come once a week; he taught us drawling, stretching, and fainting in coils."

6. "What was that like?" said Alice.

"Well, I can't show it you myself," the Mock-Turtle said; "I'm too stiff, and the Gryphon never learned it."