next thing that happened was a noise of footsteps on the stairs, and then Paul woke-woke mind and body— and sat upright in his bed. He saw them now about him. There was no gray mist before them, as there 90 had been sometimes in the night. He knew them every one, and called them by their names.

"And who is this? Is this my old nurse?" said the child, regarding, with a radiant smile, a figure coming in. Yes, yes. No other stranger would have shed those 95 tears at the sight of him, and called him her dear boy, her pretty boy, her own poor blighted child. No other woman would have stooped down by his bed, and taken up his wasted hand, and put it to her lips and breast, as one who had some right to fondle it. No other woman 100 would have so forgotten everybody there but him and Floy, and been so full of tenderness and pity.

'Floy! this is a kind, good face!" said Paul. "I am glad to see it again. Don't go away, old nurse! Stay here!"

His senses were all quickened, and he heard a name he knew.

"Who was that? who said Walter ?" he asked, looking round. "Some one said Walter. Is he here? I should like to see him very much."

105

110

Nobody replied directly, but his father soon said to Susan, "Call him back, then : let him come up." After a short pause of expectation, during which he looked with smiling interest and wonder on his nurse, and saw that she had not forgotten Floy, Walter was brought 115

ANALYSIS.-91, 92. knew them every one. Give the grammatical

construction of one.

101, 102. but him and Floy. Parse but and Floy.

106, 107. heard a name he knew. Supply the ellipsis.

108. Name the object of asked.

111, 112. Name the modifiers of said.

into the room. His open face and manner, and his cheerful eyes, had always made him a favorite with Paul; and when Paul saw him he stretched out his hand, and said, "Good-bye!"

"Good-bye, my child!" cried Mrs. Pipchin, hurrying 120 to his bed's head. "Not good-bye?"

For an instant, Paul looked at her with the wistful face with which he had so often gazed upon her in his corner by the fire. "Ah, yes," he said, placidly, "goodbye!-Walter dear, good-bye!" turning his head to where 125 he stood, and putting out his hand again.-"Where is papa ?"

He felt his father's breath upon his cheek before the words had parted from his lips.

"Remember Walter, dear papa," he whispered, look- 130 ing in his face-" remember Walter. I was fond of Walter!" The feeble hand waved in the air, as if it cried "Good-bye!" to Walter once again.

"Now lay me down again," he said; "and, Floy, come close to me, and let me see you."

Sister and brother wound their arms around each other, and the golden light came streaming in, and fell upon them, locked together.

135

"How fast the river runs between its green banks and the rushes, Floy! But it's very near the sea. I hear the 140 waves. They always said so !"

Presently he told her that the motion of the boat upon the stream was lulling him to rest. How green the banks

ANALYSIS.-116, 117. open face.... cheerful eyes. Explain the

Leaning.

119. Good-bye. This is a contraction of God be with you.

133. once again. Explain the force of once.

134, 135. come close to me.

What does close modify?

137. golden light came streaming. What figure? Give the grammatical construction of streaming.

were now, how bright the flowers growing on the.n, and Now the boat was out at sea, but 145

how tall the rushes!

gliding smoothly on.

And now there was a shore be

fore him. Who stood on the bank?

He put his hands together, as he had been used to do at his prayers. He did not remove his arms to do it, but they saw him fold them so behind her neck.

"Mamma is like you, Floy. I know her by the face! But tell them that the print upon the stairs at school is not divine enough. The light about the head is shining on me as I go !"

*

*

*

*

150

The golden ripple on the wall came back again, and 155 nothing else stirred in the room. The old, old fashion! The fashion that came in with our first garments, and will last unchanged until our race has run its course, and the wide firmament is rolled up like a scroll. old, old fashion-Death!

The

Oh thank God, all who see it, for that older fashion yet, of immortality! And look upon us, angels of young children, with regards not quite estranged, when the swift river bears us to the ocean!

ANALYSIS.-151. is like you. Parse like and you. 155. the golden ripple. What figure?

158. has run. Dispose of this verb.

159. is rolled up like a scroll. What figure? Parse like and scroll 161. al who see it. Give the person of all and wno.

160

24. WILLIAM MAKEPEACE THACKERAY,

1811-1863.

ONE of the greatest of English novelists was WILLIAM MAKEPEACE THACKERAY, who was born at Calcutta in 1811, his father being an English official stationed in India. When yet a small child the future novelist was sent to England, that he might be educated. After a careful training in the old Charter-House School, he was admitted to the University of Cambridge, but he did not remain long enough to take his degree. His father having died and left him a large fortune, Thackeray resolved to become an artist, and therefore spent four or five years in studying the masterpieces in the art-galleries of France, Italy, and Germany. On returning to London he continued his art-studies. But having a distrust of his abilities as an artist, and having lost a large part of his fortune, he was compelled to adopt literature as his profession.

Under the signatures "Michael Angelo Titmarsh " and "George Fitzboodle, Esq.," he contributed a number of articles-poetry, criticism, and fiction-to Fraser's Magazine. Among the chief was a story, Barry Lyndon, which gave a humorous account of the adventures of an Irish fortune-hunter.

Thackeray's next venture was in writing sketches for Punch. To this periodical he contributed The Snob Papers and Jeames's Diary, the wit of which has rarely been equaled. Whether the author meant it or not, the latter is said to have been an excellent caricature on the phonetic system of spelling.

The foundation of Thackeray's success as a novelist was laid by his first book of fiction, Vanity Fair, which appeared in 1846. This production, unlike in character any preceding English novel, at once became a favorite. and gave its author an honorable place among the writer of English fiction. Its two chief characters are Becky Sharp, a governess, who personifies intellect without virtue, and Amelia Sedley, who represents virtue without intellect. The characters throughout are admirably drawn, and the book shows the author to have been not only a keen satirist, but also a novelist of great excellence.

In 1849, Thackeray published a second novei, entitled The History of Arthur Pendennis. Following this came The History of Henry Esmond, Esq., which by many is considered the author's best literary work. The Newcomes, Thackeray's most popular novel, appeared in 1855, and two years later The Virginians, a continuation of Esmond, was published. This last purports to be a history of the grandson of Esmond.

The most important of Thackeray's other literary work was his editorship of the Cornhill Magazine from 1860 to 1862, and his admirable lectures on The Four Georges and The English Humorists, which were delivered in both Great Britain and America, and all of which are models of style and criticism. The work of this lamented author was suddenly brought to an end by his death on the 24th of December, 1863.

CRITICISM BY W. F. COLLIER.

THACKERAY's language is fresh and idiomatic English, abounding in the better coinage from the mint of slang, though never descending to its baser metals. Words that would have shocked Dr. Johnson, and which still