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A moment only he feels the spell
Of the place and the hour, the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black that bends and floats
On the rising tide, like a bridge of boats.
Meanwhile, impatient to mount and ride,
And lo! as he looks, on the belfry's height
x. A hurry of hoofs in a village street, A shape in the moonlight, a bulk in the dark, And beneath, from the pebbles, in passing,1 a spark Struck out by a steed flying fearless and fleet: That was all! And yet, through the gloom and the light, The fate of a nation was riding that night; And the spark struck out by that steed, in his flight, Kindled the land into flame with its heat.
XI. It was twelve by the village clock, When he crossed the bridge into Medford town. He heard the crowing of the cock, And the barking of the fanner's dog, And felt the damp of the river-fog, That rises after the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
Ho saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When he came to the bridge in Concord town.
lie heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.
You know the rest. In the books you have read
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance and not of fear,—
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.
II. W. LONGFELLOW.
XI.—HANDSOME IS THAT HANDSOME DOES.
"~| TANDSOME is that handsome docs,—hold up your I I heads, girls!" was the language of Primrose in the play when addressing her daughters. The worthy matron was right. What is good-looking, as Horace Smith remarks, but looking good? Be good, be womanly, be gentle,—generous in your sympathies, heedful of the well-being of all around you; and, my word for it, you will not lack kind words of admiration. Loving and pleasant associations will gather about you.
2. Never mind the ugly reflection which your glass may give you. That mirror has no heart. But quite another picture is yours on the retina of human sympathy. There *he beauty of holiness, of purity, of that inward grace which passeth show, rests over it, softening and mellowing its features just as the calm moonlight melts those of a rough landscape into harmonious loveliness.
3. "Hold up your heads, girls!" I repeat after Primrose. Why should you not? Every mother's daughter of you can be beautiful. You can envelop yourselves in an atmosphere of moral and intellectual beauty, through which