Among those things that do so, there are governments;

.. Governments ought to be resisted.

(6) If the wife you espouse be beautiful, she excites jealousy; If she be ugly, she disgusts;

Therefore it is best not to marry.-Bias.

9. The following lines were addressed to the American people in time of despondency. Classify the argument:

Great Britain, at the expense of three millions of pounds, has killed a hundred and fifty Yankees this campaign, which is twenty thousand pounds a head; and at Bunker Hill she gained a mile of ground, half of which she lost again by our taking post on Plowed Hill. During the same time sixty thousand children have been born in America. From these data may easily be calculated the time and expense necessary to kill us all, and conquer the whole territory. 10. Give the topical outline of the history of creation as presented in Genesis.

11. Write out in order the leading incidents in the life of Cæsar, Pitt, and Napoleon.

12. Describe:

(1) The British Parliament.

(2) The Government of the United States.

(3) Mount Etna.

(4) The Yosemite Valley.

13. Reduce to the syllogistic form:

(1) Why boast we, Glaucus, our extended reign,
Where Xanthus' streams enrich the Lycian plain,
Our numerous herds, that range the fruitful field,
And hills, where vines their purple harvest yield,
Our foaming bowls with purer nectar crown'd,
Our feasts enhanc'd with music's sprightly sound;
Why on those shores are we with joy survey'd,
Admir'd as heroes, and as gods obey'd,
Unless great acts superior merit prove,
And vindicate the bounteous powers above?
"Tis ours the dignity they give to grace;
The first in valor, as the first in place.-Homer.

(2)

If there's a power above us,

And that there is all nature cries aloud

In all her works, he must delight in virtue;

And that, which he delights in, must be happy.—Addison.

(3) Man is either a free or a necessitated agent. If the latter, he cannot, of himself, decide between conflicting motives, and is irresponsible. But these conclusions are contradicted by consciousness. Therefore he is free.

14. Discuss: Ought capital punishment to be abolished?

See Nation, Vol. VIII, p. 166, Vol. XVI, p. 213; North American Review, Vol. LXII, p. 40, Vol. CXVI, p. 138, Vol. CXXXIII, p. 534; Foreign Quarterly Review, Vol. XXIV, p. 394; Blackwood's Magazine, Vol. XXVII, p. 865; Westminster Review, Vol. XVII, p. 52, Vol. XCI, p. 429; Carson's Capital Punishment is Murder Legalized; Montagu's On the Punishment of Death; Cheever's Punishment by Death; Cox's Principles of Punishment, pp. 1-14, 77 seq.; S. G. Goodrich's Young American, pp. 234, 235; Fortnightly Review, Vol. XL, p. 581.

15. Discuss: Is America ready for the adoption of free-trade principles?

See Thompson's Political Economy, pp. 351-360; Fawcett's Free Trade and Protection, pp. 48-73; Cairnes' Political Economy, pp. 375 seq.; Young's Introduction to the Science of Government, pp. 277 seq.; Bowen's American Political Economy, pp. 480 seq.; Sullivan's Protection to Native Industry; North American Review, Vol. XL, p. 122, Vol. XCV, p. 463, Vol. CXXVIII, p. 695; Atlantic, Vol. XXXVI, p. 298; Nation, Vol. XXVIII, p. 161; Fraser's Magazine, Vol. CCXXII, p. 604; Blackwood's Magazine, Vol. CCXXII, p. 447; Edinburgh Review, Vol. XC, p. 133.

16. Discuss: Are labor-strikes, on the whole, beneficial and justifiable?

See Bowen's American Political Economy, p. 110; Brassey's On Work and Wages, p. 1; North American Review, January, 1885; William Trant's Trade Unions; Nation, Vol. XXXVII, p. 70; International Review, Vol. XIV, p. 353; Fraser's Magazine, Vol. C, p. 767; Westminster Review, Vol. LXXIV, p. 1; British Quarterly, Vol. LVIII, p. 336; Living Age, Vol. XXXIX, p. 227; Blackwood's Magazine, Vol. CI, p. 718; Henry George's Social Problems, p. 178; Henry George's Progress and Poverty, p. 281; F. B. Hawley's Capital and Population, p. 130; Joseph's Cook's Labor, p. 286; William Boscher's Principles of Political Economy, Vol. I, p. 176, Vol. II, p. 84.

CHAPTER XI.

ESTHETICS OF EXPRESSION - IMAGINATION.

IN

Imagination is the air of mind. - BAILLEY.

The poet's eye, in a fine frenzy rolling,

Doth glance from heaven to earth, from earth to heaven,
And, as imagination bodies forth

The forms of things unknown, the poet's pen

Turns them to shapes, and gives to airy nothing

A local habitation and a name.- SHAKESPEARE.

N a book of topography or a tourist's journal, we might read, 'See yon row of pines at twilight eve, how, shorn and bowed, they bend before the sea-blast.' Now observe the magical effect of union with the spiritual, or rather of refraction through it:

Yon row of bleak and visionary pines,

By twilight glimpse discerned, mark! how they flee
From the fierce sea-blast, all their tresses wild
Streaming before them.-Shakespeare.

So the landscape painter, omitting the details, gives us only the spirit and splendor. Prose reality values Nature as substance; poetic, as symbol. Note, in the following stanza on the death of Keats, the vitalizing and exalting power of mind, when, penetrated with its sentiment, it projects it outward, as if heaven and earth were but the painted vicissitudes of soul:

Morning sought

Her eastern watch-tower, and, her hair unbound,
Wet with the tears that should adorn the ground,
Dimmed the aerial eyes that kindle day;

Afar the melancholy thunder moaned,

Pale Occan in unquiet slumber lay,

And the wild winds flew 'round, sobbing in their dismay.

Keats, contemplating the figures sculptured upon a Grecian urn, sees a marble youth in pursuit of a marble maid, and finds in that suspended scene a type or picture of his own teased aspiration-finds consolation, too, in the thought that, though the youth can never succeed in his chase, he can never fall any farther behind in it. What finer instance of moulding and interpretative energy?

Fair youth beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;

Bold lover, never, never canst thou kiss,

Though winning near the goal! Yet do not grieve:
She cannot fade though thou hast not thy bliss,
Forever wilt thou love and she be fair.

That faculty which thus perceives the symbolic character of things; which transfuses the inanimate with an intelligent presence and depicts it in living movement; or collects and fuses objects and facts, and weaves over them a vascular web of emotional relationship, aiming at a new and fairer whole, because speaking after the ideal and not after the apparent is the Imagination.

The word means an imaging, or a marking of likenesses. The power itself gives form to thought-not necessarily uttered form, but form capable of being uttered in shape or in sound, or in any mode upon which the senses can lay hold. Because it resembles most the prime operation of the power of God, it has been called the creative faculty, and its exercise creation.

Its function is to replace in thought, former perceptions and sensations, to combine them, not according to the original and actual, but rather according to the mind's own desire and standard; so that while the groundwork of the representation is something which has been, at some time, an object of perception, the picture itself, as it stands before the mind in its completeness, is not a copy of anything actually perceived, but a creation of the

mind's own. Time, place, and circumstance fall out, or are varied at will; the scene is laid when and where we like; the incidents follow each other no longer in their actual order, but are conformed to the pleasure of the artist. Thus Shelley, taking the sky, the abstraction of death, and the inventions of his fellow-men in glass, in color, in dome, and putting them together according to the harmony of truths embodied in each, presents us this figure of the destroyer that, walking aloft, treads out this lifebubble of colors:

The one remains; the many change and pass;

Heaven's light forever shines; earth's shadows fly;
Life like a dome of many colored glass,

Stains the white radiance of eternity,
Until death tramples it to fragments.

Here is a new thought-form, though none of the material that goes to make it has been originated. Generally speaking, the imagination takes forms already existing, and gathers them about a thought so much higher than they, that it can group and subordinate and harmonize them into a whole which shall unveil or render visible that thought.

Of imagination as the faculty of recombining or constructing anew the materials which experience and observation furnish for it to work with or upon, there are several varieties. When it combines to classify and generalize, to invent, to discover, or to instruct, it is scientific. When it deals ideally and suggestively with the higher objects of nature and spirit, exciting the nobler feelings and calling into action the nobler capacities of man, it is poetic, or artistic, by eminence. In the former case, the result is a formula, whose paramount purpose is to be as brief and comprehensive as possible; as, 'Evolution is a process from the uniform and indefinite to the multiform and definite.' In the latter, the result is a form