pacing down steep hills, which they afterward found had been acquired in leading sad trains of mourners to the modest graveyards, wherein rest the earthly remains of the peaceful dwellers in this pastoral vale. The first four or five miles of road were excellent, but the last one or two so rough and stony, that they were quite willing to walk. On top of the mountain stands a little inn, commanding a magnificent view in several directions. As they neared the end of their journey, they rejoiced to see a white house gleaming through the trees, and promising food and shelter. The sound of coming wheels brought out the land-lady, who gave the travellers a hearty welcome, and assured them of her ability to harbor them for the night. The end was accomplished—the goal reached! And what a goal! Nowhere among all the beautiful scenery in the Middle and Eastern States is there a spot more characteristic and interesting than Paltz Point, and the lake that lies under its shadow—that lake, whose name was a mystery, even to the inmates of the house built upon its brink. Its waters are clear, and of a deep green hue; its depth is said to be great, and its rocky shores rise in perpendicular cliffs of from ten to two hundred feet. The highest point stands three or four hundred feet above the surface of the water; but in that part the cliffs are no longer perpendicular. The length of the lake is about a mile, and the width perhaps half that distance. The rocks are gray sandstone or quartz conglomerate, making the cliffsides, except where covered by black lichens, of a glittering white. On one side, the rocks rise in steep, precipitous masses, while on the other they are shattered into every imaginable form. The clefts are deep and narrow, great hemlocks rise from the bottoms of the fissures, and the vast masses of fallen or split rock lie piled and cloven, confusedly tossed about, gigantic memorials of the great convulsion that in days long gone by heaped up the long ridge of the Shawangunk, and shattered its northern dip into such majestic and fantastic cliffs. The deepest and wildest chasm is filled by the weird, green lake. Straying along the tops of the precipices bordering the water, our travellers beheld lovely vistas of the far-away country, north, south, east, or west, stealing in through rocky or leafy openings. An easy ascent of about half a mile leads to the summit of the Point. Blueberries were ripe, and beguiled the pair into many a moment's dallying by the wayside. Not until they reached the very top were they quite sure they had after all found the place they came to seek; but one view down the jagged line of the Shawangunk, convinced our Elsie that no other spot could have furnished the sketch seen in the studio, where she had been advised to seek 'the lake on the Shawangunk mountain.'

The view from Paltz Point is magical. The long line of the Catskills sweeps boldly across the near northern horizon. Nowhere do those mountains seem so majestic, or their forms so broken and beautiful; nearer are the Olive mountains, beyond which flows the Esopus. Rondout creek, the Wallkill, and the Hudson, water the fertile vales lying among the hills. To the south stretches the line of the Shawangunk toward the Delaware river, and on the extreme southern and southeastern horizon rise the Highlands, with the river gap, the rifted sides of the Storm King, the Beacons, the great broad shoulders of Schunemunk;—even the white buildings on the plain at West Point may be seen glittering in the afternoon sun. A clear atmosphere is needed for the full enjoyment of the view, as the panorama is so vast that even a slight haze obscures many of the more interesting distant objects. And what words could describe the jutting headlands—wild, broken lines of white cliffs stretching to the southward, deep chasms, steep, forest-clad mountains, green or blue as distance, sunshine, or shadow may decree, and the tranquil green lake, smiling as a deep, strong and cheerful spirit amid the ruins of a shattered, wasted life? As our travellers gazed, they thanked God that His world was so beautiful, and wondered if even Aunt Sarah would not be willing to run the risk of being thought strong minded to see so fair a corner of it.

The moon that night rose late; and the air was chill as the sisters stood on a rock waiting until its rays should silver the placid waves. Overhead ran a strange, broad, coruscating band of magnetic light, meteors flashed down the sky, a solitary loon sent a wild, despairing cry athwart the lake, and for the first time did our travellers feel they were alone, eighteen hundred feet above the Hudson, far away from other human habitation. A truly feminine shudder ran through their hearts, as they turned toward the house and betook them to the cells appropriated to their use. The following day they were driven down the mountain by the owner (not the keeper) of the little inn beside the lake. He was one of nature's own gentlemen; tall,—six feet, perhaps,—gray haired, blue eyed, with every feature well cut, and with the most honest expression ever beaming through a human countenance. The hearts of the sisters warmed toward him, and never were they more willing to acknowledge the solidarity of the race, the great fact of the brotherhood of all humanity.

Cornwall once again safely reached, and the outlines of the journey duly sketched, Aunt Sarah's first question was: 'Well, and what is the name of this famous lake?'

The travellers were forced to confess the ill success of their efforts in discovering the proper appellation of that exquisite gem, and it was not until many months later that, when visiting an exhibition of paintings, they found their new friend accurately portrayed under the name of—Mogunk Lake.

REASON, RHYME, AND RHYTHM.

'All arts are one, howe'er distributed they stand,
Verse, tone, shape, color, form, are fingers on one hand.'

PREFACE TO VOLUME SECOND.

Our first volume having been devoted to the Reason or Theory of Art in general, it is our intention in the second, Rhyme and Rhythm, to bring these comprehensive thoughts to a focus, and concentrate their light upon the art of Versification. Indeed, this volume is to be considered as a manual of poetic Rhythm. Practical rules are given for its construction and criticism; simple solutions offered of its apparent irregularities and anomalies; and examples of sufficient length are quoted from the best poets to afford just ideas of the scope and power of the measure under consideration. The numerous citations given under their appropriate metrical heads are intended not only to assist the student in the analysis of verse, but to aid him in the choice of forms in accordance with his subject, in case he should himself wish to create Poems.

By its extrication from the entanglement of quantity and syllabic accent, under which it has been almost buried, an effort has been made to simplify the study of Rhythm: by tracing its origin and characteristics, and by the citation of poems in which its power and beauty are conspicuous, we have endeavored to render the subject one of vivid interest.

CHAPTER_FIRST.

RHYTHM.

What is Rhythm? The best definition of this perplexing word has been given by the grand old Bohemian composer Tomaschek: