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ELSON

GRAMMAR SCHOOL LITERATURE

BOOK FOUR


BY

WILLIAM H. ELSON

SUPERINTENDENT OF SCHOOLS, CLEVELAND, OHIO

AND

CHRISTINE KECK

PRINCIPAL OF SIGSBEE SCHOOL, GRAND RAPIDS, MICH.

1912




TABLE OF CONTENTS

PART I--Famous Rides, Selections from Shakespeare and other Poets, and
Studies in Rhythm.

FAMOUS RIDES:

PAUL REVERE'S RIDE, Henry W. Longfellow
THE LEAP OF ROUSHAN BEG, Henry W. Longfellow
THE CHARGE OF THE LIGHT BRIGADE AT BALAKLAVA, Alfred, Lord Tennyson
THE DIVERTING HISTORY OF JOHN GILPIN, William Cowper
HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX, Robert Browning
INCIDENT OF THE FRENCH CAMP, Robert Browning
HERVÉ RIEL, Robert Browning

STUDIES IN RHYTHM:

THE BUGLE SONG, Alfred, Lord Tennyson
THE BROOK, Alfred, Lord Tennyson
SONG OF THE CHATTAHOOCHEE, Sidney Lanier
THE CATARACT OF LODORE, Robert Southey
THE BELLS, Edgar Allan Poe
ANNABEL LEE, Edgar Allan Poe
OPPORTUNITY, Edward Rowland Sill

NATURE:

TO A WATERFOWL, William Cullen Bryant
THE SKYLARK, James Hogg
TO A SKYLARK, Percy Bysshe Shelley
THE CLOUD, Percy Bysshe Shelley
APOSTROPHE TO THE OCEAN, Lord Byron

STORIES:

THE DESTRUCTION OF SENNACHERIB, Lord Byron
THE EVE BEFORE WATERLOO, Lord Byron
SONG OF THE GREEK BARD, Lord Byron
MARCO BOZZARIS, Fitz-Greene Halleck
THE BURIAL OF SIR JOHN MOORE, Charles Wolfe
ABSALOM, Nathaniel Parker Wills
LOCHINVAR, Sir Walter Scott
PARTING OF MARMION AND DOUGLAS, Sir Walter Scott
FOR A' THAT AND A' THAT, Robert Burns

SELECTIONS FROM SHAKESPEARE:

MERCY, The Merchant of Venice
THE SEVEN AGES OF MAN, As You Like It
POLONIUS'S ADVICE, Hamlet
MAN, Hamlet
HAMLET'S SOLILOQUY, Hamlet
REPUTATION, Othello
WOLSEY AND CROMWELL, King Henry VIII
CASSIO AND IAGO, Othello


PART II--Great American Authors

WASHINGTON IRVING
RIP VAN WINKLE
THE VOYAGE

NATHANIEL HAWTHORNE
THE GREAT STONE FACE
MY VISIT TO NIAGARA

EDGAR ALLAN POE
A DESCENT INTO THE MAELSTRÖM
THE RAVEN

HENRY WADSWORTH LONGFELLOW
EVANGELINE: A TALE OF ACADIE
THE BUILDING OF THE SHIP

JOHN GREENLEAF WHITTIER
SNOW-BOUND
THE SHIP BUILDERS

OLIVER WENDELL HOLMES
THE CHAMBERED NAUTILUS
THE DEACON'S MASTERPIECE; OR THE WONDERFUL "ONE-HOSS SHAY"
OLD IRONSIDES
THE BOYS
THE LAST LEAF

JAMES RUSSELL LOWELL
THE VISION OF SIR LAUNFAL
YUSSOUF

SIDNEY LANIER
THE MARSHES OF GLYNN


PART III--Patriotic Selections

REGULUS BEFORE THE ROMAN SENATE, Epes Sargent
THE RETURN OF REGULUS, Elijah Kellogg
SPARTACUS TO THE GLADIATORS, Elijah Kellogg
MERIT BEFORE BIRTH, Sallust
RIENZI'S ADDRESS TO THE ROMANS, Mary Russell Mitford
EMMET'S VINDICATION Robert Emmet
KING PHILLIP TO THE WHITE SETTLER, Edward Everett
THE CAPTURE OF QUEBEC, Francis Parkman
ENGLAND AND HER COLONIES, Edmund Burke
THE WAY TO WEALTH, Benjamin Franklin
SPEECH ON A RESOLUTION TO PUT VIRGINIA INTO A STATE OF DEFENCE, Patrick Henry
THE MAN WITHOUT A COUNTRY, Edward Everett Hale
LOVE OF COUNTRY, Sir Walter Scott
NAPOLEON BONAPARTE, Charles Phillips
THE TRUE GRANDEUR OF NATIONS, Charles Sumner
THE EVILS OF WAR, Henry Clay
PEACE, THE POLICY OF A NATION, John C. Calhoun
THE FIRST SETTLEMENT OF NEW ENGLAND, Daniel Webster
SUPPOSED SPEECH OF JOHN ADAMS, Daniel Webster
SOUTH CAROLINA AND THE UNION, Robert Hayne
REPLY TO HAYNE, Daniel Webster
DEDICATION SPEECH AT GETTYSBURG, Abraham Lincoln
LINCOLN, THE GREAT COMMONER, Edwin Markham
O CAPTAIN, MY CAPTAIN, Walt Whitman
FAREWELL ADDRESS, George Washington
THE MEMORY OF OUR FATHERS, Henry Ward Beecher
THE AMERICAN FLAG, J. R. Drake
WARREN'S ADDRESS AT THE BATTLE OF BUNKER HILL, John Pierpont
COLUMBUS, Joaquin Miller RECESSIONAL--A VICTORIAN, Rudyard Kipling
A DEFINITION OF A GENTLEMAN, Cardinal Newman



COURSE OF READING

In the ELSON READERS selections are grouped according to theme or
authorship. This arrangement, however, is not intended to fix an order for
reading in class; its purpose is to emphasise classification, facilitate
comparison, and enable pupils to appreciate similarities and contrasts in
the treatment of like themes by different authors.

To give variety, to meet the interests at different seasons and festivals,
and to go from prose to poetry and from long to short selections, a
carefully planned order of reading should be followed. Such an order of
reading calls for a full consideration of all the factors mentioned above.
The Course here offered meets these ends but may easily be varied to fit
local conditions.

FIRST HALF-YEAR

BIOGRAPHY OF HAWTHORNE
THE GREAT STONE FACE
MY VISIT TO NIAGARA
THE DIVERTING HISTORY OF JOHN GILPIN
HOW THEY BROUGHT THE GOOD NEWS
INCIDENT OF THE FRENCH CAMP
HERVÉ RIEL
COLUMBUS (COLUMBUS'S BIRTHDAY, OCT. 12)
SUPPOSED SPEECH OF JOHN ADAMS
SPEECH OF RESOLUTION TO PUT VIRGINIA INTO A STATE OF DEFENCE
THE EVE BEFORE WATERLOO
THE BUGLE SONG
BIOGRAPHY OF HOLMES
THE CHAMBERED NAUTILUS
THE DEACON'S MASTERPIECE
OLD IRONSIDES
THE BOYS
THE LAST LEAF
MERIT BEFORE BIRTH
WEBSTER-HAYNE DEBATE
THE BROOK
THE SONG OF THE CHATTAHOOCHEE
THE CATARACT OF LODORE
BIOGRAPHY OF POE
A DESCENT INTO THE MAELSTRÖM
THE RAVEN
ANNABEL LEE
THE BELLS
BIOGRAPHY OF WHITTIER (WHITTIER'S BIRTHDAY, DEC. 17)
SNOW-BOUND (WHITTIER'S BIRTHDAY, DEC. 17)
THE SHIP-BUILDERS (WHITTIER'S BIRTHDAY, DEC. 17)
REGULUS BEFORE THE ROMAN SENATE
THE RETURN OF REGULUS
SPARTACUS TO THE GLADIATORS
THE WAY TO WEALTH (FRANKLIN'S BIRTHDAY, JAN, 17)
EMMET'S VINDICATION
MARCO BOZZARIS
RIENZI'S ADDRESS TO THE ROMANS
BIOGRAPHY OF LANIER (LANIER'S BIRTHDAY, FEB. 3)
THE MARSHES OF GLYNN (LANIER'S BIRTHDAY, FEB. 3)


SECOND HALF-YEAR

LOVE OF COUNTRY
WARREN'S ADDRESS
PEACE, THE POLICY OF A NATION
THE AMERICAN FLAG (LINCOLN'S BIRTHDAY, FEB. 12)
LINCOLN, THE GREAT COMMONER (LINCOLN'S BIRTHDAY, FEB. 12)
DEDICATION SPEECH (LINCOLN'S BIRTHDAY, FEB. 12)
O CAPTAIN, MY CAPTAIN (WASHINGTON'S BIRTHDAY, FEB. 22)
FAREWELL ADDRESS (WASHINGTON'S BIRTHDAY, FEB. 22)
BIOGRAPHY OF LOWELL (LOWELL'S BIRTHDAY, FEB. 22)
THE VISION OF SIR LAUNFAL (LOWELL'S BIRTHDAY, FEB. 22)
YUSSOUF (LOWELL'S BIRTHDAY, FEB. 22)
BIOGRAPHY OF LONGFELLOW (LONGFELLOW'S BIRTHDAY, FEB. 27)
EVANGELINE (LONGFELLOW'S BIRTHDAY, FEB. 27)
THE BUILDING OF THE SHIP (LONGFELLOW'S BIRTHDAY, FEB. 27)
NAPOLEON BONAPARTE
THE EVILS OF WAR
BIOGRAPHY OF IRVING (IRVING'S BIRTHDAY, APRIL 3)
RIP VAN WINKLE (IRVING'S BIRTHDAY, APRIL 3)
THE VOYAGE (IRVING'S BIRTHDAY, APRIL 3)
PAUL REVERE'S RIDE (APRIL 19)
THE LEAP OF ROUSHAN BEG
THE CHARGE OF THE LIGHT BRIGADE
SELECTIONS FROM SHAKESPEARE (SHAKESPEARE'S BIRTHDAY, APRIL 23)
TO A WATER FOWL
THE SKYLARK
TO A SKYLARK (SPRING AND ARBOR DAY)
THE CLOUD
APOSTROPHE TO THE OCEAN
ABSALOM
LOCHINVAR
PARTING OF MARMION AND DOUGLAS
FOR A' THAT AND A' THAT
KING PHILIP TO THE WHITE SETTLER
THE CAPTURE OF QUEBEC
ENGLAND AND HER COLONIES
THE MAN WITHOUT A COUNTRY
OPPORTUNITY
THE DESTRUCTION OF SENNACHERIB
SONG OF THE GREEK BARD
THE BURIAL OF SIR JOHN MOORE
THE TRUE GRANDEUR OF NATIONS
THE MEMORY OF OUR FATHERS
THE RECESSIONAL




INTRODUCTION

This book is designed to furnish reading material of choice literary and
dramatic quality. The selections for the most part are those that have
stood the test of time and are acknowledged masterpieces. The groupings
into the separate parts will aid both teachers and pupils in the
classification of the material, indicating at a glance the range and
variety of the literature included.

Part One deals with poetry, and it is believed the poems offered in this
group are unsurpassed. No effort on the teacher's part will be needed to
arouse the enthusiasm of pupils who read the series of famous rides with
which this group opens. The thrill of delight which children feel as they
read of "A hurry of hoofs in a village street," or "Charging an army while
all the world wondered," may lead to the stronger and more enduring
emotions of patriotism and devotion. "John Gilpin's Ride," which has
furnished amusement for generations of old and young, finds a place here.
The rhythmic movement of these poems makes a natural transition to those
selections especially designed as studies in rhythm. The series of nature
poems and selections from Shakespeare complete a group of choice literary
creations. Part Two is given to a study of the great American authors, and
no apology is needed either for the choice of material or for the
prominence given to this group. It is especially suited to parallel and
supplement the work of this grade in American history. Part Three contains
patriotic selections and some of the great orations. These are lofty and
inspiring in style, within the grasp of the pupils, and are especially
helpful in developing power of expression.

It is not expected that the order of selections will be followed. On the
contrary, each teacher will follow the order which will best suit her own
plans and purposes. While there is much material in the book that will
re-enforce lessons in history, geography, and nature study, yet it is not
for this that these selections should be studied, but rather for the
pleasure that comes from reading beautiful thoughts beautifully expressed.
The reading lesson should therefore be a study of literature, and it should
lead the children to find beauty of thought and imagery, fitness in figures
of speech, and delicate shades of meaning in words. Literature is an art,
and the chief aim of the reading lesson is to discover and interpret its
art qualities. In this way children learn how to read books and are enabled
to appreciate the literary treasures of the race. The business of the
reading book is to furnish the best available material for this purpose.

It is worth while to make a thorough study of a few well-chosen selections.
Through the power gained in this way children are enabled to interpret and
enjoy other selections without the aid of the teacher. If the class work is
for the most part of the intensive kind, the pupils will read the remaining
lessons alone for sheer pleasure, which is at once the secret and goal of
good teaching in literature. Moreover, they will exercise a discriminating
taste and judgment in their choice of reading matter. To love good
literature, to find pleasure in reading it and to gain power to choose it
with discrimination are the supreme ends to be attained by the reading
lesson. For this reason, some selections should be read many times for the
pleasure they give the children. In music the teacher sometimes calls for
expressions of preference among songs: "What song shall we sing, children?"
So in reading, "What selection shall we read?" is a good question for the
teacher to ask frequently. Thus children come to make familiar friends of
some of the stories and poems, and find genuine enjoyment in reading these
again and again.

Good results may also be obtained by assigning to a pupil a particular
lesson which he is expected to prepare. On a given day he will read to the
class the selection assigned to him. The orations are especially suited to
this mode of treatment. The pupil who can read one selection well has gone
a long way toward being a good reader. The teacher who said to her pupils,
"I shall read to you tomorrow," recognized this truth and knew the value of
an occasional exercise of that kind. Good pedagogy approves of a judicious
use of methods of imitation in teaching reading.

The biographies are intended to acquaint the children with the personal
characteristics and lives of the authors, making them more interesting and
real to the children, giving them the human touch and incidentally
furnishing helpful data for interpreting their writings. In this
connection, the authors have, by permission, drawn freely from Professor
Newcomer's English and American Literatures. "Helps to Study" include
questions and notes designed to stimulate inquiry on the part of pupils and
to suggest fruitful lines of study. Only a few points are suggested, to
indicate the way, and no attempt is made to cover the ground adequately;
this remains for the teacher to do.

While placing emphasis primarily on the thought-getting process the
formalities of thought-giving must not be overlooked. The technique of
reading, though always subordinate and secondary to the mastery of the
thought, nevertheless claims constant and careful attention. Good reading
requires clear enunciation and correct pronunciation and these can be
secured only when the teacher steadily insists upon them. The increase of
foreign elements in our school population and the influence of these upon
clearness and accuracy of speech furnish added reason for attention to
these details. Special drill exercises should be given and the habit of
using the dictionary freely should be firmly established in pupils. The
ready use of the dictionary and other reference books for pronunciation and
meaning of words, for historical and mythical allusions should be steadily
cultivated. Without doubt much of the reading accepted in the public
schools is seriously deficient in these particulars. The art of good
reading can be cultivated by judicious training and the school should spare
no pains to realize this result.

Professor Clark, in his book on "How to Teach Reading," sets forth the four
elements of vocal expression--Time, Pitch, Quality and Force. We quote a
few of the sentences from his treatment of each of these elementary topics.

"I. TIME. Time, then, refers to the rate of vocal movement. It may be fast,
or moderate, or slow, according to the amount of what may be called the
collateral thinking accompanying the reading, of any given passage. To put
it another way: a phrase is read slowly because it means much; because the
thought is large, sublime, deep. The collateral thinking may be revealed by
an expansive paraphrase. For instance, in the lines

"Not a drum was heard, not a funeral note
As his corse to the rampart we hurried,"

_why_ do we read slowly? The paraphrase answers the question. It was
midnight. There lay our beloved leader, who should have been borne in
triumphal procession to his last resting place. Bells should have tolled,
cannon thundered, and thousands should have followed his bier. But now,
alas, by night, by stealth, without even a single drum tap, in fear and
dread, we crept breathless to the rampart. This, or any one of a hundred
other paraphrases, will suffice to render the vocal movement slow. And so
it is with all slow time. Let it be remembered that a profound or sublime
thought may be uttered in fast time; but that when we dwell upon that
thought, when we hold it before the mind, the time must necessarily be
slow. If a child read too rapidly, it is because his mind is not
sufficiently occupied with the thought; if he read too slowly, it is
because he does not get the words; or because he is temperamentally slow;
or because, and this is the most likely explanation, he is making too much
of a small idea. To tell him to read fast or slow is but to make him
affected, and, incidentally, even if unconsciously, to impress upon him
that reading is a matter of mechanics, and not of thought-getting and
thought-giving."

"II. PITCH. By Pitch is meant everything that has to do with the acuteness
or gravity of the tone--in other words, with keys, melodies, inflections
and modulations. When we say of one that he speaks in a high key, we should
be understood as meaning that his pitch is prevailingly high; and that the
reverse is true when we say of one that he speaks in a low key. While it is
true that the key differs in individuals, yet experience shows that within
a note or two, we all use the same keys in expressing the same states of
minds. The question for us is, what determines the key? It can be set down
as a fixed principle, that controlled mental states are expressed by low
keys, while the high keys are the manifestation of the less controlled
mental conditions. Drills in inflections as such are of very little value,
and potentially very harmful. Most pupils have no difficulty in making
proper inflections, so that for them class drills are time wasted; for
those whose reading is monotonous, because of lack of melodic variety, the
best drills are those which teach them to make a careful analysis of the
sentences, and those which awaken them to the necessity of impressing the
thought upon others. We have learned that when a pupil has the proper
motive in mind and is desirous of conveying his intention to another, a
certain melody will always manifest that intention. The melody, then, is
the criterion of the pupil's purpose. The moment a pupil loses sight of a
phrase and its relation to the other phrases, that moment his melody
betrays him."

"III. QUALITY. Quality manifests emotional states. By Quality we mean that
subtle element in the voice by which is expressed at one time tenderness,
at another harshness, at another awe, and so on through the whole gamut of
feeling. The teacher now knows that emotion affects the quality of tone.
Let him then use this knowledge as he has learned to use his knowledge of
the other criteria. We recognize instinctively the qualities that express
sorrow, tenderness, joy, and the other states of feeling. When the proper
quality does not appear it is because the child has no feeling, or the
wrong feeling, generally the former. There is but one way to correct the
expression, i. e., by stimulating the imagination."

"IV. FORCE. Force manifests the degree of mental energy. When we speak in a
loud voice, there is much energy; when softly, there is little. Do not tell
the child to read louder. If you do, you will get loudness--that awful
grating schoolboy loudness--without a particle of expression in it. Many a
child reads well, but is bashful. When we tell him to read louder, he
braces himself for the effort and kills the quality, which is the finer
breath and spirit of oral expression, and gives us a purely physical
thing--force. Put your weak-voiced readers on the platform; let them face
the class and talk to you, seated in the middle of the room, and you will
get all the force you need. On the whole, we have too much force, rather
than too little. Let the teacher learn that we want quality, not quantity,
and our statement of the mental action behind force will be of much benefit
in creating the proper conditions."

To discriminating teachers it will be apparent that this book is not the
usual school reader. On the contrary it differs widely from this in the
cultural value of the selections, in the classification and arrangement of
material, in the variety of interest to which it appeals, and in the
abundance of classic literature from American authors which it contains. It
aims to furnish the best in poetry and prose to be found in the literature
of the English-speaking race and to furnish it in abundance. If these
familiar old selections, long accepted as among the best in literature,
shall be the means of cultivating in pupils a taste for good reading, the
book will have fulfilled its purpose.

For permission to use valuable selections from their lists, acknowledgment
is due to Messrs. Houghton, Mifflin and Company, Charles Scribner's Sons,
and The Whitaker and Ray Company.

Grateful acknowledgment is also made to those teachers who have given
valuable suggestions and criticisms in the compilation of this book.

THE AUTHORS.

April, 1909.

* * * * *

"We live in deeds, not years, in thoughts, not breaths;
In feelings, not in figures on a dial."

PHILIP JAMES BAILEY.




PART I.

FAMOUS RIDES, SELECTIONS FROM SHAKESPEARE AND OTHER POETS, AND STUDIES IN
RHYTHM

* * * * *

PAUL REVERE'S RIDE

HENRY WADSWORTH LONGFELLOW


Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five:
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend: "If the British march
By land or sea from the town tonight,
Hang a lantern aloft in the belfry-arch
Of the North Church tower, as a signal-light,--
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm."

Then he said "good night," and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where, swinging wide at her moorings, lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack-door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.

Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,--
Up the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead
In their night-encampment on the hill,
Wrapped in silence so deep and still,
That he could hear, like a sentinel's tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, "All is well!"
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,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now gazed at the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely, and spectral, and sombre, and still.
And lo! as he looks, on the belfry's height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!

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, 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.

He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of the steed as he rides.

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 farmer'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.
He 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.
He 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
How the British regulars fired and fled,--
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
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.

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