of it. If I feel unable to labor, not because I am feeble, but because I am not in the mood, then I have the mood in my hands, to be dealt with intelligently. If my reason tell me that it is only a mood that hides from me the face of my Maker, my reason will also tell me that my first business is to get rid of my mood, and that my will must approach the work, directly or indirectly. We are always and necessarily in some mood of mind-in some condition of passion or feeling. It is the intensification and the dominant influence of moods that are to be guarded against or destroyed. Moods are dangerous only when they obscure reason, and destroy self-control, and disturb the mental poise, and become the media of false impressions from all the life around us and within us.

LESSON II.

BODILY IMPERFECTIONS AND IMPEDIMENTS.

"I that am curtailed of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinished, sent before my time
Into this breathing world, scarce half made up."
RICHARD III.

"None can be called deformed but the unkind."
SHAKSPEARE.

""Tis true, his nature may with faults abound;
But who will cavil when the heart is sound?"
STEPHEN Montague.

T is a bright June morning. The fresh grass is

I

loaded with dew, every bead of which sparkles in the light of the brilliant sun. A big, yellow-shouldered bee comes booming through the open window, and buzzes up and down my room, and threatens my shrinking ears, and then dives through the window again; and his form recedes and his hum dies away, as if it were the note of a reed-stop in the "swell" of a church organ. There is such confusion in the songs of the

birds, that I can hardly select the different notes, so as to name their owners. There is a great deal of birdsinging that is simply what a weaver would call "filling." Robins and bobolinks and blue-birds and sundry other favorites furnish the warp, and color and characterize the tapestry of a flowing, vocal morning; while the little, gray-backed multitude work in the neutral ground tones, and bring the sweeter and more elaborate notes into beautiful relief. Thus, with a little aid of imagination, I get up some very exquisite fabricsvocal silks and satins :-robins on a field of chickadees; bobolinks and thrushes alternately on a hit-or-miss ground of blackbirds, wrens, and pewees. Into the midst of all this delicious confusion there breaks a note that belongs to another race of creatures; and as I look from my window, and see the singer, my eyes fill with tears. It is a little boy, possibly twelve years old, though he looks younger, walking with a crutch. One withered limb dangles as he goes. He is a cripple for life; yet his face is as bright and cheerful as the face of the morning itself; and what do you think he is singing? "Hail Columbia, happy land," at the top of his lungs! The birds are merrily wheeling over his head, and diving through the air, and moving here and there as freely as the wind, yet not one among them carries a lighter heart than that which he is jerking along by the side of the little crutch.

As I see how cheerfully he bears the burden of his hopeless halting, there comes back to me the story of the lame lord who sang a different sort of song-the lame lord who died at Missolonghi, and whose friend Trelawny-human jackal that he was-stole to his bedside after the breath had left his body, and examined his clubbed feet, and then went away and wrote about them. Here was a man with regal gifts of mind-a poet of splendid genius-a titled aristocrat-a man admired and praised wherever the English language was read- -a man who knew that he held within himself the power to make his name immortal-a man with wealth sufficient for all grateful luxuries-yet with clubbed feet; and those feet! Ah! how they embittered and spoiled that man of magnificent achievements and sublime possibilities! It would appear, from the disgusting narrative of Mr. Trelawny, that he was in reality the only man who had ever seen Byron's feet. Those feet had been kept so closely hidden, or so cunningly disguised, that nobody had known their real deformity; and the poor lord who had carried them through his thirty-six years of life, had done it in constantly tormented and mortified pride. Those misshapen organs had an important agency in making him a misanthropic, morbidly sensitive, unhappy, desperate man. When he sang, he did not forget them; and the poor fools who turned down their shirt-collars, and imitated his songs,

and thought they were inspired by his winged genius, had under them only a pair of halting, clubbed feet.

There is a class of unfortunate men and women in the world to whom the boy and the bard have introduced us. They are not all lame: but they all think they have cause to be dissatisfied with the bodies God has given them. Perhaps they are simply ugly, and are aware that no one can look in their faces with other thought than that they are ugly. Now it is a pleasant thing to have a pleasant face, and an agreeable form. It is pleasant for a man to be large, well-shaped, and good-looking, and it is unpleasant for him to be small, and to carry an ill-shaped form and an ugly face. It is pleasant for a woman to feel that she has personal attractions for those around her, and it is unpleasant for her to feel that no man can ever turn his eyes admiringly upon her. A misshapen limb, a hump in the back, a withered arm, a shortened leg, a clubbed foot, a hare-lip, an unwieldy corpulence, a hideous leanness, a bald head-all these are unpleasant possessions, and all these, I suppose, give their possessors, first and last, a great deal of pain. Then there is the taint of an unpopular blood, that a whole race carry with them as a badge of humiliation. I have heard of Africans who declared that they would willingly go through the pain of being skinned alive, if, at the close of the operation, they could become white men. There are men of genius,