McGuffey's Sixth Eclectic Reader Part 17

"Fifty thalers," cried a sonorous voice. This time a tall man in black was the speaker. There was a silence of hushed expectation. "One hundred thalers," at length thundered the picture dealer.

"Three hundred!" "Five hundred!" "One thousand!" Another profound silence, and the crowd pressed around the two opponents, who stood opposite each other with eager and angry looks.

"Two thousand thalers!" cried the picture dealer, and glanced around him triumphantly, when he saw his adversary hesitate. "Ten thousand!"

vociferated the tall man, his face crimson with rage, and his hands clinched convulsively. The dealer grew paler; his frame shook with agitation; he made two or three efforts, and at last cried out "Twenty thousand!"

His tall opponent was not to be vanquished. He bid forty thousand. The dealer stopped; the other laughed a low laugh of insolent triumph, and a murmur of admiration was heard in the crowd. It was too much for the dealer; he felt his peace was at stake. "Fifty thousand!" exclaimed he in desperation. It was the tall man's turn to hesitate. Again the whole crowd were breathless. At length, tossing his arms in defiance, he shouted "One hundred thousand!" The crestfallen picture dealer withdrew; the tall man victoriously bore away the prize.

How was it, meanwhile, with Duhobret, while this exciting scene was going on? He was hardly master of his senses. He rubbed his eyes repeatedly, and murmured to himself, "After such a dream, my misery will seem more cruel!"

When the contest ceased, he rose up bewildered, and went about asking first one, then another, the price of the picture just sold. It seemed that his apprehension could not at once be enlarged to so vast a conception.

The possessor was proceeding homeward, when a decrepit, lame, and humpbacked invalid, tottering along by the aid of a stick, presented himself before him. He threw him a piece of money, and waved his hand as dispensing with his thanks. "May it please your honor," said the supposed beggar, "I am the painter of that picture!" and again he rubbed his eyes.

The tall mall was Count Dunkelsback, one of the richest n.o.blemen in Germany. He stopped, took out his pocketbook, took out a leaf, and wrote on it a few lines. "Take it, friend," said he; "it is a check for your money. Adieu."

Duhobret finally persuaded himself that it was not a dream. He became the master of a castle, sold it, and resolved to live luxuriously for the rest of his life, and to cultivate painting as a pastime. But, alas, for the vanity of human expectation! He had borne privation and toil; prosperity was too much for him, as was proved soon after, when an indigestion carried him off. His picture remained long in the cabinet of Count Dunkelsback, and afterward pa.s.sed into the possession of the King of Bavaria.

Notes.--Albert Durer (b. 1471, d. 1528) lived at Nuremburg, Germany. He was eminent as a painter, and as an engraver on copper and wood. He was one of the first artists who studied anatomy and perspective. His influence on art is clearly felt even at the present day.

Newburg, or Neuburg, is on the Danube, fifty miles south of Nuremburg.

Bergen Abbey was north of the village.

X. PICTURES OF MEMORY. (88)

Alice Cary, 1820-1871, was born near Cincinnati. One of her ancestors was among the "Pilgrim Fathers," and the first instructor of Latin at Plymouth, Ma.s.s. Miss Cary commenced her literary career at her western home, and, in 1849, published a volume of poems, the joint work of her younger sister, Phoebe, and herself. In 1850, she moved to New York. Two of her sisters joined her there, and they supported themselves by their literary labor. Their home became a noted resort for their literary and artistic friends. Miss Cary was the author of eleven volumes, besides many articles contributed to periodicals. Her poetry is marked with great sweetness and pathos. Some of her prose works are much admired, especially her "Clovernook Children."

Among the beautiful pictures That hang on Memory's wall, Is one of a dim old forest, That seemeth best of all; Not for its gnarled oaks olden, Dark with the mistletoe; Not for the violets golden, That sprinkle the vale below; Not for the milk-white lilies, That lean from the fragrant hedge, Coquetting all day with the sunbeams, And stealing their golden edge; Not for the vines on the upland, Where the bright red berries rest, Nor the pinks, nor the pale, sweet cowslip, It seemeth to me the best.

I once had a little brother, With eyes that were dark and deep; In the lap of that dim old forest, He lieth in peace asleep: Light as the down of the thistle, Free as the winds that blow, We roved there the beautiful summers, The summers of long ago; But his feet on the hills grew weary, And, one of the autumn eves, I made for my little brother, A bed of the yellow leaves.

Sweetly his pale arms folded My neck in a meek embrace, As the light of immortal beauty Silently covered his face; And when the arrows of sunset Lodged in the tree tops bright, He fell, in his saintlike beauty, Asleep by the gates of light.

Therefore, of all the pictures That hang on Memory's wall, The one of the dim old forest Seemeth the best of all.

XI. THE MORNING ORATORIO. (90)

Wilson Flagg, 1806-1884, was born in Beverly, Ma.s.s. He pursued his academical course in Andover, at Phillips Academy, and entered Harvard College, but did not graduate. His chief Works are: "Studies in the Field and Forest," "The Woods and Byways of New England," and "The Birds and Seasons of New England."

Nature, for the delight of waking eyes, has arrayed the morning heavens in the loveliest hues of beauty. Fearing to dazzle by an excess of delight, she first announces day by a faint and glimmering twilight, then sheds a purple tint over the brows of the rising morn, and infuses a transparent ruddiness throughout the atmosphere. As daylight widens, successive groups of mottled and rosy-bosomed clouds a.s.semble on the gilded sphere, and, crowned with wreaths of fickle rainbows, spread a mirrored flush over hill, grove, and lake, and every village spire is burnished with their splendor.

At length, through crimsoned vapors, we behold the sun's broad disk, rising with a countenance so serene that every eye may view him ere he arrays himself in his meridian brightness. Not many people who live in towns are aware of the pleasure attending a ramble near the woods and orchards at daybreak in the early part of summer. The drowsiness we feel on rising from our beds is gradually dispelled by the clear and healthful breezes of early day, and we soon experience an unusual amount of vigor and elasticity.

During the night, the stillness of all things is the circ.u.mstance that most powerfully attracts our notice, rendering us peculiarly sensitive to every accidental sound that meets the ear. In the morning, at this time of year, on the contrary, we are overpowered by the vocal and mult.i.tudinous chorus of the feathered tribe. If you would hear the commencement of this grand anthem of nature, you must rise at the very first appearance of dawn, before the twilight has formed a complete semicircle above the eastern porch of heaven.

The first note that proceeds from the little warbling host, is the shrill chirp of the hairbird,--occasionally vocal at an hours on a warm summer night. This strain, which is a continued trilling sound, is repeated with diminishing intervals, until it becomes almost incessant. But ere the hairbird has uttered many notes, a single robin begins to warble from a neighboring orchard, soon followed by others, increasing in numbers until, by the time the eastern sky is flushed with crimson, every male, robin in the country round is singing with fervor.

It would be difficult to note the exact order in which the different birds successively begin their parts in this performance; but the bluebird, whose song is only a short, mellow warble, is heard nearly at the same time with the robin, and the song sparrow joins them soon after with his brief but finely modulated strain. The different species follow rapidly, one after another, in the chorus, until the whole welkin rings with their matin hymn of gladness.

I have often wondered that the almost simultaneous utterance of so many different notes should produce no discords, and that they should result in such complete harmony. In this mult.i.tudinous confusion of voices, no two notes are confounded, and none has sufficient duration to grate harshly with a dissimilar sound. Though each performer sings only a few strains and then makes a pause, the whole mult.i.tude succeed one another with such rapidity that we hear an uninterrupted flow of music until the broad light of day invites them to other employments.

When there is just light enough to distinguish the birds, we may observe, here and there, a single swallow perched on the roof of a barn or shed, repeating two twittering notes incessantly, with a quick turn and a hop at every note he utters. It would seem to be the design of the bird to attract the attention of his mate, and this motion seems to be made to a.s.sist her in discovering his position. As soon as the light has tempted him to fly abroad, this twittering strain is uttered more like a continued song, as he flits rapidly through the air.

But at this later moment the purple martins have commenced their more melodious chattering, so loud as to attract for a while the most of our attention. There is not a sound in nature so cheering and animating as the song of the purple martin, and none so well calculated to drive away melancholy. Though not one of the earliest voices to be heard, the chorus is perceptibly more loud and effective when this bird has united with the choir.

When the flush of the morning has brightened into vermilion, and the place from which the sun is soon to emerge has attained a dazzling brilliancy, the robins are already less tuneful. They are now becoming busy in collecting food for their morning repast, and one by one they leave the trees, and may be seen hopping upon the tilled ground, in quest of the worms and insects that, have crept out during the night from their subterranean retreats.

But as the robins grow silent, the bobolinks begin their vocal revelries; and to a fanciful mind it might seem that the robins had gradually resigned their part in the performance to the bobolinks, not one of which is heard until some of the former have concluded their songs. The little hairbird still continues his almost incessant chirping, the first to begin and the last to quit the performance. Though the voice of this bird is not very sweetly modulated, it blends harmoniously with the notes of other birds, and greatly increases the charming effect of the combination.

It would be tedious to name all the birds that take part in this chorus; but we must not omit the pewee, with his melancholy ditty, occasionally heard like a short minor strain in an oratorio; nor the oriole, who is really one of the chief performers, and who, as his bright plumage flashes upon the sight, warbles forth a few notes so clear and mellow as to be beard above every other sound. Adding a pleasing variety to all this harmony, the lisping notes of the meadowlark, uttered in a shrill tone, and with a peculiar pensive modulation, are plainly audible, with short rests between each repet.i.tion.

There is a little brown sparrow, resembling the hairbird, save a general tint of russet in his plumage, that may be heard distinctly among the warbling host. He is rarely seen in cultivated grounds, but frequents the wild pastures, and is the bird that warbles so sweetly at midsummer, when the whortleberries are ripe, and the fields are beautifully spangled with red lilies.

There is no confusion in the notes of his song, which consists of one syllable rapidly repeated, but increasing in rapidity and rising to a higher key towards the conclusion. He sometimes prolongs his strain, when his notes are observed to rise and fall in succession. These plaintive and expressive notes are very loud and constantly uttered, during the hour that precedes the rising of the sun. A dozen warblers of this species, singing in concert, and distributed in different parts of the field, form, perhaps, the most delightful part of the woodland oratorio to which we have listened.

At sunrise hardly a robin can be beard in the whole neighborhood, and the character of the performance has completely changed during the last half hour. The first part was more melodious and tranquilizing, the last is more brilliant and animating. The gra.s.s finches, the vireos, the wrens, and the linnets have joined their voices to the chorus, and the bobolinks are loudest in their song. But the notes of the birds in general are not so incessant as before sunrise. One by one they discontinue their lays, until at high noon the bobolink and the warbling flycatcher are almost the only vocalists to be heard in the fields.

XII. SHORT SELECTIONS IN POETRY. (94)

1. THE CLOUD.

A cloud lay cradled near the setting sun, A gleam of crimson tinged its braided snow; Long had I watched the glory moving on, O'er the still radiance of the lake below: Tranquil its spirit seemed, and floated slow, E'en in its very motion there was rest, While every breath of eve that chanced to blow, Wafted the traveler to the beauteous west.

Emblem, methought, of the departed soul, To whose white robe the gleam of bliss is given, And by the breath of mercy made to roll Right onward to the golden gate of heaven, While to the eye of faith it peaceful lies, And tells to man his glorious destinies.

--John Wilson

II. MY MIND.

My mind to me a kingdom is; Such perfect joy therein I find, As far exceeds all earthly bliss That G.o.d or nature hath a.s.signed; Though much I want that most would have, Yet still my mind forbids to crave.

NOTE.--This is the first stanza of a poem by William Byrd (b, 1543, d.

1623), an English composer of music.

III. A GOOD NAME. (95)

Good name, in man or woman, dear my lord, Is the immediate jewel of their souls.

Who steals my purse, steals trash; 'tis something, nothing; 'Twas mine, 'tis his, and has been slave to thousands; But he that filches from me my good name, Robs me of that which not enriches him, And makes me poor indeed.

Shakespeare.--Oth.e.l.lo, Act III, Scene III.