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hei'ght, hanging broken over the lake in horrible gra'ndeur ; some of them a thousand feet hi’gh, the woods climbing up their steep and shaggy s'ides, where mortal fo'ot/ never yet approa
a'ched. On these dreadful he'ights/ the e’agles build their ne'sts; a variety of wa'ter-falls/ is seen pouring from their sum'mits, and tumbling (in vast sh'eets) from roʻck to ro‘ck/ in ru’de and ter'rible magʻnificence ; while on all sides of this immense amphith'eatre, the lofty mo'untains rise arou'nd, piercing the clouds in sha'pes/ as sp'iry and fanta'stic/ as the very ro`cks of Dov'edale. To th'is/ I must add the frequent and bold projection of the cli'ffs into the la'ke, forming noble b'ays and pro'-, montories : in other pa'rts/ they finely reti're-from-it, and often oʻpen/ in abrupt chasm's or cle'fts/, through which, at hand, you see rich and cultivated va'les ; and beyond the’se (at various di'stance) mo’untain rising over mou'ntain ; among wh'ich, new, prospects present themselves in mist, till the eye is lo'st/ in an agreeable perplexity
Where active fan'cy/ travels beyond sěnse,
And pictures thi'ngs/ unsee'n Were I to analyze the two places in their constituent prsinciples, I should tell you, that the fu'll perfection of Ke'swick/ consists of three circumstances—bea'uty, hor'ror, and imm'ensity, united ; (the second of which aloʼne/ is found in Doîvedale.) Of be‘auty/ it has lit'tle, (nature having left it almost a de'sert) ; neither its small exten't, nor the diminutive and li feless form of the hi'lls/, admits magn'ificence; but/ to give you a completeidea of these three perfe'ctions (as they are joined in Kěswick) would require the united powers of Cla'ude, Salvator, and Pous'sin. The first/ should throw his delicate su’nshine over the cultivated va'les, the scattered co'ts, the gro'ves, the lak'e, and wooded i’slands : the se'cond/ should dash out the horror of the rugged cli'ffs, the stee'ps, the hanging woods, and foaming water-falls ; while the grand pencil of Pou'ssin/ should crown the whole with the ma jesty of the impending mou'ntains.
So much for what I could call the permanent-beauties of this aston'ishing-scene. Were I not afraid of being tire'some, I could now dwell as long on its va'rying or accideîntal-beauties. I would sail round the la’ke, anchor in every b'ay, and land you on every promontory and is'land. I would point out the perpetual cha'nge of pro'spect ; the woʻods, ro'cks, cli'ffs, and mou’ntains, by turns va'nishing or ris'ing into vi'ew; now
gaining on the sig'ht, hanging over our he’ads/ in their full dimen'sions, beautifully dre'adful ; and no'w (by a change of situʼation) assuming new romantic shapes ; retiring and les'sening on the e'ye, and insensibly losing the'mselves in an azure mis't. I would remark the contrast of light and shade, produced by the moʻrning and e‘vening-sun; the on'e/ gilding the we'stern, the o’ther/ the eủastern-side of this immense amphith'eatre ; while the vast shadow/ projected by the mo'umtains/ buries the opposite part/ in a deep and purple glo'om, which the e'ye can hardly penetrate. The natural variety of c'olouring/ which the several objects prod’uce, is no less won'derful/ than pl’easing ; the ruling tints in the va'lley/ being those of aʼzure, gre'en, and gold ; yet ever va'rious, arising from an intermixture of the la'ke, the wo'ods, the gra'ss and corn-fields: the'se/ are finely contrasted by the grey rocks and cli'ffs : and the whoʻle/ heightened by the yellow streams of li'ght, the purple hu'es and misty aʼzure of the mou'ntains. Sometimes/ a serene air and clear sky/ disclose the tops of the highest hi'lls; at other-times/ you see the clouds involving their su'mmits, re’sting on their si des, or descending to their b'ase, and ro'lling/ among the v'alleys/ as in a vast fur'nace. When the winds are hi’gh, they roar among the cliffs and c'averns/ like peals of thu'nder; th’en,-too, the clouds are seen in vast bo'dies/ sweeping along the hills in gloomy greatness, while the la‘ke joi'ns the tu'mult, and tos'ses like a s'ea. But in călm-weather, the whole scene becomes ne'w; the laʼke is a perfect mir'ror, and the landscape/ is in all its bea'uty: isla'nds, fi'elds, woods, roc'ks, and moʻuntains, are seen inv'erted, and floating on its sur face. I will now carry you to the top of a cliff, wh'ere (if you dare approach the r'idge) a new scene of asto'nishment/ presents its'elf; where the v’alley, * lak'e, and i'slands, seem lying at your fe'et; where this expanse of water/ appears diminished to a little poʻol (amidst the vast and immeasurable o'bjects/ that surr’ound it); for here/ the sum'mits of more distant hi'lls/ appear beyond those you have already se'en ; a’nd, rising behind each other/ in successive ranges and azure grosups-of crag‘gy and br’oken-steeps, form an immense and awful pic'ture, which can only be expre'ssed/ by the image of a tempes
* Though giving“ valley” the rising slide may be considered a depar. ture from rule, I feel persuaded the euphony is not diminished by it.-ED.
tuous s'ea of mou'ntains. Let me now conduct you down to the va'lley, and conclude with one circumstance mor'e ; which is', th’at/ when I walk by still mo'on-light (at which time the distant water-falls are heard in all the variety of sou'nd/ among these encha'nting-dales), it opens such scenes of d'elicate beau'ty, rep'ose, and sole'mnity, as exceed a'll descri'ption.
CELADON AND AMELIA.
Her frame'/ near dissolu'tion. He perceived
vosice, (Which thunders terror through the guilty heart',) “ With tongues of seraphs/ whispers pe'ace to thine'. “ 'Tis saf'ety/ to be near thee sure', and thus'/ “ To clasp perfection !” From his void embrace', (Mysterious Hea'ven !) that mo'ment to the ground/, A blackened corse' was struck' the beauteous maid'. But, wh'o can paint the lover as he stood', Pierced by severe amazeʼment, hating life', Speech'less, and fixed in all the death' of wo' ? So', (faint resem'blance !) on the marble tomb', The well-dissembled mourn'er, stooping stands', For ever si'lent, and for e’ver sad'.
OTHELLO'S ADDRESS TO THE SENATE.
head' and front of my offend’ing/
A simile or comparison should be pronounced in a lower tone of voice—something in the way of a parenthesis.
† This mighty master of “The Passions”--this prince of dramatic poets—“whom no age or nation can pretend to equal”-died at Stratfordupon-Avon (which had the honour of giving birth to the immortal bard) on the 23rd of April, 1616, aged 52.
Till now' (some nine moons wasted) they have used
Her fa'ther lo'ved me ; o'ft invit'ed me;