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(5) B

(3) If 100 bricks be laid in a direct line, 2 yds. distant from each other, and a basket placed two yds. from the first brick:-what distance will B travel to gather them singly into the basket?

Ans. 11 m. 3 fur. 80 yds. (4) A received charity from 10 persons; the first paid 4 cts. the last, 49, in arithmetical progression:--what was the common difference, and the amount of charity? Ans. Common difference 5 cts. Amt. of charity $2.65. gave

his youngest child $20, his next $40, and so on to the eldest, who had $100:-how many children had he, and what the amount he left them?

Ans. 5 children. Bequest, $300. (6) B travelled 16 days; the first he went 4 miles, the last 79 miles:--what was the common difference, and the whole distance? Ans. Com. difference 5 m. Distance 664 m.

(7) The clocks in Venice go from 1 to 24 hours :-how many times does the hammer strike in the course of a natural day?

Ans. 300 times. REMARKS, &C.-LESSON 8. Rules for the use of Figurative language, illustrated, fc.

Metaphor.--A metaphor is a figure founded exclusively on the resemblance which one object bears to another, and that resemblance expressed in an abridged form. As, The king's minister is the pillar of state. Thou art my rock and mg fortress.

RULE. Metaphor's should always accord with the tenor and nature of the sentiment designed to be expressed. Their foundation should be rendered cloar and perspicuous: but on no occasion should they be profusely employed.

EXAMPLE. The bill underwent a great number of alterations and amendments, which were not effected without a violent contest. At length, however, it was floated through both houses on the tide of a great majority, and steered into the safe harbour of royal approbation.

(Here the comparison is carried too far, and rendered too complex for a metaphor by its exuberancy.

The bill passed both houses upon the tide of a great majority, and entered the secure harbour of royal approbation.)

A heart boiling with violent passions, puts in motion a poisonous sediment that throws off a deadly fume to the head.

Obs. 1. Avoid mixing plain and metaphorical language in: the same sentiment.

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To thee the world its present homage pays;

The harvest early, but mature the praise. (Here the harvest is made to produce praise instead of fruit or crop, either of which would render the figure natural.)

I was sailing on a vast ocean, before the use of loadstone or knowledge of the compass, without other help than the polar star of the ancients, and the rules of the French stage among the moderns.

OBs. 2. Avoid mixing metaphors; and never injure their strength by pushing them too far.

I bridle in my struggling muse in vain,

That longs to launch into a bolder strain. (Here the muse, (a goddess who likes any thing better than the indelicate bit and bradoon,) is first bridled, and, then, like a ship, is launched. When bitted, she should have been made to leap.)

There is not a single view of human life, but what is sufficient to extinguish the seeds of pride.

SPELLING.---LESSON 9. dil-a-tor-y

dilă-tur- ig-no-min-y ig'no-min-e dip-lo-ma-cy diplo-mă-se im-ag-er-y im'ig-ěr-re Jis-pu-ta-ble dis'pū-tă-bl im-bri-ca-ted im'brē-kā-těd dis-so-lu-ble dis'ső-lū-bl im-i-ta-ble îm'ē-tă-bl : dis-syl-la-ble dis'sil-lă-bl im-i-ta-tive im'ē-tā-tiv dor-mi-tor-y

dòr'mē-tūr-ē in-no-va-tor in'no-vå-tur drom-ed-a-ry drūm'ë-dă-rē in-sti-ga-tur in'stē-gā-tur dys-en-ter-y dis'sěn-těr-ē ins-u-la-ted ins yu-ly-tel ef-fi-ca-cy effe-kă-se in-ti-ma-cy în'tē-mă-sē el-i-gi-ble ěl'e-je-bl in-tri-ca-cy

in'trē-kă-sē em-an-a-tive emăn-8-tin in-ven-tor-y ¡n'věn-tūrem-is-sar-y ēm'is-săr-ē ir-ri-ta-ble ir rē-tă-bl ep-i-lep-sy čp'e-lep-se is-o-lat-ed iz'ö-lā-těd eq-ui-ta-ble ěk'we-tă-bl ju-di-ca-ture jū’dē-ka-tūre est-u-a-ry

ěst'yū-à-rē lam-el-la-ted lăm'měl-la-těd ex-e-cra-ble ěx'ă-krā-bl lam-en-ta-ble lammăn-ta-b ex-em-plar-y égz'ěm-plăr-ê lap-i-da-ry lắp ê-d5r-ẽ ex-o-ra-ble ex'o-ră-bl lat-er-al-ly lăt'těr-ăl-lé ex-pi-a-ble ěx'pē-a-bl

leg-en-da-ry lěj'ěn-dă-rē ex-pli-ca-tive ex'plē-kā-tiv leg-is-la-tive lej'is-lā-tiv ex-quis-ite-ly ěx"kwé-sit-lē lib-er-tin-ism lib'běr-tin-izm fash-ion-a-ble făsh'ún-o-bl lin-e-al-ly lin'ēcăl-lē fa-vour-a-ble fa'yūr-a-bi lit-er-a-ry

lit'tēr-ā-re

fig-u-ra-tive fig'ů-ră-tiv lit-er-a-ture lit'těr-ă-türe ílata-len-cy flăt'ū-lěn-sē lu-mi-na-ry lū'mē-nă-rē gov-er-na-ble guy wr-na-bl mag-is-tra-cy mãi is-trữ-se hab-er-dash-er hăbʻūr-dăsh-úr mal-le-a-ble măl'le-à-bl hab-i-ta-ble hăbʻē-tă-bl man-age-a-ble mănje-x-bl hi-e-rar-chy hi'ē-ràr-kē man-tua-ma-ker măntu-ma-kun hon-our-a-ry on'nŭr-ă-re mar-riage-a-ble măr'rije-a-bl hon-our-a-ble ăn/nur-8-bl mat-ri-mo-nymăt'rē.mũn-ē jan-i-zar-y jăn'ně-zăr-e meas-u-ra-ble měz'yūr-o-bl id-i-o-cy id'é--so med-ul-la-ry měd'ül-Jă-rē id-i-ot-ism id'e-ot-izm mel-an-chol-y měl'ăn-kol-e

LESSON 10.

Brigadier General Marion. 1. General Marion was a native of South Carolina. The scene of his intrepid daring, was the maratime regions of low and unhealthy country, in the vicinity of Georgetown. In stature, Marion was unusually dimin:itive, and bis person, proportionably light. While in service, he rode the fleetest and most powerful charger of the south;-nothing escaped him in pursuit, and in retreat he was never overtaken.

2. This lion hearted hero, was admirably fitted for the times in which he lived, and the station in which he acted. His iron constitution enabled him to endure fatigue; his

wary

and cautious habits, fitted him for dangerous enterprise, and a perfect knowledge of his ground and his foe, enabled him to achieve more with the same means, and in similar situations, than any other man of any age or country.

3. The region over which, with his trusty few, he swayed the sceptre of dominion, with a prowess that charmed his friends, and baffled his foes, abounded in dense thickets and deep swamps. To the dreary solitudes of these, when pressed by unconquerable numbers, or fatigued with pursuing the prowling invader, he would retire in safety from the vigilance of his pursuers, and the eye of the world.

4. Unlooked for, as a bolt of thunder from a cloudless sky, and with the celerity of the lightning's flash, he would gain some remote point, in an unguarded moment, pounce upon his enemy, like a falcon upon

his
prey,

fold him in his toils and bear him to the bush:--and to pursue, were as useless as dangerous. In no instance was he overtaken in his course, surprised in his movements, or discovered in his hiding place.

5. His followers were dear to him;--their blood was pre

cious in his eye, and was never wantonly spilt ;---but, when the enterprize was possible, there was the stir of the storm. His rapidity of movement, his daring decision, his boldness of attack, and desperate valour in action, often secured him the victory over ten fold his strength.

6. On one occasion, Marion discovered that he was nearly surrounded by the enemy, and, to save himself, leapt a fence and entered a cornfield. The British dragoons, in full pursuit, leapt the fence also, and bole down upon him. No means of escape was left, except over another fence, on the opposite side of the field. This fence, erected upon a bank of dirt thrown from a ditch on the outer side, was elevated above seven feet, and within two feet of the ditch, which was four feet wide and as many deep.

7. The dragoons, aware of the obstacle, and sure of their game, press’d on, shouting exultation and insult, bade the hero surrender or die. Reekless of their clamours, Marion measured the fence with his eye, and patting his horse to the charge, lit, like an eagle, upon the extreme bank of the ditch in perfect safety. He then wheeled and faced his pursuers, gave them the contents of his pistols, and, bidding them good morning, plunged into the adjoining thicket.

GEOMETRICAL PROGRESSION.--LESSON 11. Geometrical Progression is the increase of a series of numbers, by a common multiplier, or the decrease by a common (livisor. Thus:

Increasing series, 2, 4, 8, 16, 32, 64; Common multiplier 2.
Decreasing series, 64, 32, 16, 8, 4, 2; Common divisor 2.

The common multiplier or divisor is called the ratio of inárease or decrease.

CASE 1. When the first term, the last term, (the extremes,) and the ratio, are given to find the sum of the series;

Rule. Multiply the last term by the ratio,---from the pro-. cluct, subtract the first term, divide the remainder by the ratio less one, and the quotient will be the answer. Thus:-

(1) The first term in a series of geometrical progression, is 3; the last term 531441, and the ratio, 3:-what is the sum of all the terms?

3, 9, 2, 81, 243, 729, 2187, 6561, 19683, 59049, 177147, 531441. Then, 531441 X32_1594323——3=1594320. and 3-1=2. finally, 1594320;2=797160. Ans.

[2] The extremes of a series in geometrical progression are 1, and 65536, and the ratio 4:-what is the sum of the series?

Ans. 87381.

CASE 2. When the first term and ratio are equal, and both given to find any other term assigned;

Rule. 1. Write down a few of the leading terms of the series, and place their indices over them, beginning with an unit.

2. Add such of the most convenient indices, as will make ир

the entire index to the sum required.

3. Multiply the terms of the geometrical series, which belongs to the indices, and the product will be the sum sought. Thus:-

[1] The first term of a series of geometrical progression, is 2, and the ratio is 2:- what is the 15th term?

1, 2, 3, 4, 5, 6, indices.—4+5=9+6=15 index. and 2, 4, 8, 16, 32, 64, leading terms.

16 X 32=512 X 64=32768. Ans. [2] A bought 16 cords of wood; the first at 2 cts, the second at 4 cts. the third at 8, &c.:--what does the wood cost him.

Ans. $1310.70. Note. When the first term of the series is equal to the ratio, the indices must begin with an unit, and the indices added must make the entire index of the term added ;-but when the first term is greater or less than the ratio, the iridices must begin with a cypher, and those added must make an index less by one than the number expressing the place of the term sought.

REMARKS, &c.-LESSON 12. 2. Allegory. This figure is merely a continued metaphor, or the representation of one thing by another thing that resembles it, and which by the help of the figure is made to stand for it. Thus:--Thou hast brought a vine out of Egypt;-thou hast cast out the heathen, and planted it; thou didst prepare room before it, and didst cause it to take deep root and grow, and it filled the land.

RULE. 1. Avoid the inconsistent mixture of figurative and literal language in the same sentence.

2. Let the resemblance of the thing employed, be, to the thing represented, clear and perspicuous. Thus:-

Who is this beautiful virgin that approaches us, clad in a robe of light green? Her head is crowned with a garland of flowers, and the violet grows wherever she sets her foot. Who is this beautiful virgin, and what is her name?

I am the rose of Sharon, and the lily of the valley. As the lily among the thorns, so is my love among the daughters My beloved is mine, and I am his, he feedeth me among the

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