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![Voices of wrath and fear—
“The walls grow weak, the strife is vain—
We will not perish here!
Yield! yield! and let the Crescent gleam
O’er tower and bastion high!
Our distant homes are beautiful—
We stay not here to die!”
They bore those fearful tidings
To the sad queen where she lay—
They told a tale of wavering hearts,
Of treason and dismay:
The blood rush’d through her pearly cheek,
The sparkle to her eye—
“Now call me hither those recreant knights
From the bands of Italy!”[402]
Then through the vaulted chambers
Stern iron footsteps rang;
And heavily the sounding floor
Gave back the sabre’s clang.
They stood around her—steel-clad men,
Moulded for storm and fight,
But they quail’d before the loftier soul
In that pale aspect bright.
Yes! as before the falcon shrinks
The bird of meaner wing,
So shrank they from th’ imperial glance
Of her—that fragile thing!
And her flute-like voice rose clear and high
Through the din of arms around—
Sweet, and yet stirring to the soul,
As a silver clarion’s sound.
“The honour of the Lily](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-19-2048.jpg)
![True to the Cross and thee;
The spirit of thy kindling words
On every sword shall be!
Rest, with thy fair child on thy breast!
Rest—we will guard thee well!
St Denis for the Lily-flower
And the Christian citadel!”
[401] Queen of St Louis. Whilst besieged by the Turks in
Damietta, during the captivity of the king her husband, she there
gave birth to a son, whom she named Tristan, in commemoration
of her misfortunes. Information being conveyed to her, that the
knights intrusted with the defence of the city had resolved on
capitulation, she had them summoned to her apartment; and, by
her heroic words, so wrought upon their spirits, that they vowed
to defend her and the Cross to the last extremity.
[402] The proposal to capitulate is attributed by the French
historian to the Knights of Pisa.
THE WANDERER.
TRANSLATED FROM THE GERMAN OF SCHMIDT VON LUBECK.
I come down from the hills alone;
Mist wraps the vale, the billows moan!
I wander on in thoughtful care,
For ever asking, sighing—where?
The sunshine round seems dim and cold,
And flowers are pale, and life is old,
And words fall soulless on my ear—
Oh, I am still a stranger here!
Where art thou, land, sweet land, mine own!
Still sought for, long’d for, never known?
The land, the land of hope, of light,
Where glow my roses freshly bright,](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-21-2048.jpg)
![And where my friends the green paths tread,
And where in beauty rise my dead;
The land that speaks my native speech,
The blessed land I may not reach!
I wander on in thoughtful care,
For ever asking, sighing—where?
And spirit-sounds come answering this—
“There, where thou art not, there is bliss!”
THE LAST WORDS OF THE LAST WASP OF
SCOTLAND,
—A jeu-d’esprit produced at this time, which owed its origin to a simple remark on
the unseasonableness of the weather, made by Mrs Hemans to Mr Charles
Kirkpatrick Sharpe, whom she was in the habit of seeing at Sir David
Wedderburn’s. “It is so little like summer,” she said, “that I have not even seen a
butterfly.” “A butterfly!” retorted Mr Sharpe, “I have not even seen a wasp!” The
next morning, as if in confutation of this calumny, a wasp made its appearance at
Lady Wedderburn’s breakfast table. Mrs Hemans immediately proposed that it
should be made a prisoner, inclosed in a bottle, and sent to Mr Sharpe: this was
accordingly done, and the piquant missive was acknowledged by him as follows:—
“SONNET TO A WASP, IN THE MANNER OF MILTON, &c., BUT
MUCH SUPERIOR.
Poor insect! rash as rare!—Thy sovereign,[403] sure,
Hath driven thee to Siberia in disgrace—
Else what delusion could thy sense allure
To buzz and sting in this unwholesome place,
Where e’en the hornet’s hoarser, and the race
Of filmy wing are feeble? Honey here
(Scarce as its rhyme) thou find’st not. Ah, beware
Thy golden mail, to starved Arachne dear![404]
Though fingers famed, that thrill the immortal lyre,
Have pent thee up, a second Asmodeus,
I wail thy doom—I warm thee by the fire,](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-22-2048.jpg)
![And blab our secrets—do not thou betray us!
I give thee liberty, I give thee breath,
To fly from Athens, Eurus, Doctors, Death!!”
To this Mrs Hemans returned the following rejoinder:—
Sooth’d by the strain, the Wasp thus made reply—
(The first, last time he spoke not waspishly)—
“Too late, kind Poet! comes thine aid, thy song,
To aught first starved, then bottled up so long.
Yet, for the warmth of this thy genial fire,
Take a Wasp’s blessing ere his race expire:—
Never may provost’s foot find entrance here!
Never may bailie’s voice invade thine ear!
Never may housemaid wipe the verd antique
From coin of thine—Assyrian, Celt, or Greek!
Never may Eurus cross thy path!—to thee
May winds and wynds[405] alike propitious be!
And when thou diest—(live a thousand years!)—
May friends fill classic bottles[406] with their tears!
I can no more—receive my parting gasp!—
Bid Scotland mourn the last, last lingering Wasp!”
[403] Beelzebub is the king of flies.
[404] A beautiful allusion to our starving weavers.
[405] Alluding to antiquarian visits to these renowned closes.
[406] Referring to certain precious lachrymatories in the
possession of Mr Sharpe.
TO CAROLINE.
When thy bounding step I hear,
And thy soft voice, low and clear;
When thy glancing eyes I meet,
In their sudden laughter sweet—](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-23-2048.jpg)
![For the lorn one rose in heart made strong
By the lonely, loneliest flower!”
CRITIQUE BY PROFESSOR NORTON.
“The [American] collection of Mrs Hemans’ Miscellaneous Poems opens with verses
in honour of the Pilgrim Fathers. She has celebrated with solemnity and truth the
circumstances which gave sublimity to the glorious scene of their landing; and
their descendants cannot be but pleased to see the devotedness displayed by
them introduced into poetry, and incorporated among the bright examples held up
by the inventive as well as the historic muse for the admiration of mankind.
“Freedom, not licentiousness—religious freedom, not the absence of religious rites
—was the object for which the fathers came. An air of earnestness was thus
originally imparted to the character of the country, and succeeding ages have not
worn it away. Though it may suit the humour of moralisers to declaim against the
degeneracy of the times, we believe that the country has of late years made
advances in moral worth. We infer this from the more general diffusion of
intelligence, and the higher standard of learning; from the spirit of healthy action
pervading all classes; from the diminished number of crimes; from the general
security of property; from the rapid multiplication of Sabbath schools, than which
no discovery of our age has been more important for the moral education of the
people; from the philanthropy which seeks for the sources of vice, and restrains it
by removing its causes; from the active and compassionate benevolence, which
does not allow itself to consider any class so vicious or so degraded as to have
forfeited its claim to humane attention—which seeks and relieves misery wherever
it is concealed, and, embracing every continent in its regard, has its messengers in
the remotest regions of the world. Religious freedom is the last right which, even
in our days, the inhabitants of this country would surrender. It would be easier to
drive them from their houses and their lands, than to take from them the liberty of
worshipping God according to the dictates of conscience. There is no general
assertion of this right, and no energetic display of zeal in maintaining it, solely
because it is menaced by no alarming danger.
“In a state of society like ours, there may be little room for the exercise of those
arts of which it is the chief aim to amuse and delight; and yet attention is by no
means confined to those objects which are directly connected with the
advancement of personal or public wealth. For the costly luxuries of life, and even
for its elegant pleasures, there may as yet be little room; and still the morality of
the nation be far from forming itself on the new system of morals devised by our
political economists. There has been no age—we assert it with confidence—there
has been no people, where the efforts of mind, directly connected with the
preservation of elevated feeling and religious earnestness, are more valued than
they are by the better part of our own community. We can no support, or we hold
it not best to support, an expensive religious establishment; but every where the
voice of religious homage and instruction is heard: we cannot set apart large
estates to give splendour to literary distinction; but you will hardly find a retired
nook, where only a few families seek their shelter near each other, so destitute,](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-26-2048.jpg)
![but right to show now (as has just been done) the general estimate in which her
genius is held in America, as evidenced by the North American Review, the best-
known and most widely-circulated of the Transatlantic periodicals.
Judging from the state of feeling in America—from the ideas of practical
philosophy entertained there—and from the pervading utilitarian bias of its prose
literature, we must confess that, had we been asked to name any votary of the
British muse more likely than another to be appreciated in that country, we should
have had very little hesitation in fixing upon Crabbe. And why? Because his poetry
is characterised by a stern adherence to the realities of life, as contradistinguished
from romance, and because his characters and situations are taken from existing
aspects of society, appreciable by all. In this theory it appears we are wrong; and
Professor Norton has here done his best to account for it. We are most given to
admire what is least attainable; and therefore it is that the spiritual glow which
Mrs Hemans has blent with human sentiment—the imaginative beauty with which
she has clothed “the shows of earth and heaven,”—and the leaven of romance
which she has infused into the communications of daily life, have, as lucus a non
lucendo, been elements of, and not the impediments to, her American popularity.]](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-34-2048.jpg)
![HYMNS FOR CHILDHOOD.
[We are quite aware that the Hymns for Childhood were written at a much earlier
period than that which we have here chronologically assigned them. They had
been sent to Professor Norton for the use of his children, and were printed under
his auspices at Boston, New England, so early as 1827. Not, however, having had
an opportunity of seeing the original American edition, we are in the dark as to
whether the hymns in it were the same in number as those published in Dublin
under the eye of the author, or whether she afterwards revised and altered them.
It has been therefore judged best to place them here in the order of publication,
and as they appeared in this country under the supervision of Mrs Hemans herself.
The hymns (as they deserved to be) were very favourably received by the public,
and it is only to be regretted that Mrs Hemans did not from time to time add to
their number. She thus wrote to Mrs Lawrence with a presentation copy of her
little book:—“I send you the fairy volume of hymns. You will immediately see how
unpretending a little book it is; but it will give you pleasure to know that it has
been received in the most gratifying manner, having seemed (as a playful child
might have done) to win criticism into a benignant smile.”—Vide Letter to Mrs
Lawrence, Recollections, p. 354.]
INTRODUCTORY VERSES.
Oh! blest art thou whose steps may rove
Through the green paths of vale and grove,
Or, leaving all their charms below,
Climb the wild mountain’s airy brow;
And gaze afar o’er cultured plains,
And cities with their stately fanes,
And forests, that beneath thee lie,
And ocean mingling with the sky.
For man can show thee naught so fair
As Nature’s varied marvels there;
And if thy pure and artless breast
Can feel their grandeur, thou art blest!](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-35-2048.jpg)
![Know, hadst thou eagle-pinions free,
To track the realms of air,
Thou couldst not reach a spot, where He
Would not be with thee there!
In the wide city’s peopled towers,
On the vast ocean’s plains,
Midst the deep woodland’s loneliest bowers,
Alike the Almighty reigns!
Then fear not, though the angry sky
A thousand darts should cast;
Why should we tremble, e’en to die,
And be with Him at last?
THE BIRDS.
“Are not five sparrows sold for two farthings; and not one of them is forgotten
before God?”—St Luke, xii. 6.
Tribes of the air! whose favour’d race
May wander through the realms of space,
Free guests of earth and sky;
In form, in plumage, and in song,
What gifts of nature mark your throng
With bright variety!
Nor differ less your forms, your flight,
Your dwellings hid from hostile sight,
And the wild haunts ye love;
Birds of the gentle beak![407] how dear
Your wood-note to the wanderer’s ear,
In shadowy vale or grove!
Far other scenes, remote, sublime,
Where swain or hunter may not climb](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-44-2048.jpg)
![Yet know, our Heavenly Father guides
The least of these, and well provides
For each, with tenderest care.
Shall He not then thy guardian be?
Will not His aid extend to thee?
Oh, safely may’st thou rest!—
Trust in His love; and e’en should pain,
Should sorrow, tempt thee to complain,
Know what He wills is best!
[407] The Italians call all singing-birds, birds of the gentle beak.
THE SKYLARK.
CHILD’S MORNING HYMN.
The skylark, when the dews of morn
Hang tremulous on flower and thorn,
And violets round his nest exhale
Their fragrance on the early gale,
To the first sunbeam spreads his wings,
Buoyant with joy, and soars and sings.
He rests not on the leafy spray
To warble his exulting lay;
But high above the morning cloud
Mounts in triumphant freedom proud,
And swells, when nearest to the sky,
His notes of sweetest ecstasy.
Thus, my Creator! thus the more
My spirit’s wing to Thee can soar,
The more she triumphs to behold
Thy love in all thy works unfold,
And bids her hymns of rapture be
Most glad, when rising most to Thee!](https://image.slidesharecdn.com/7698-250223123016-06840f88/75/New-Perspectives-on-HTML5-CSS3-JavaScript-6th-Edition-Carey-Solutions-Manual-46-2048.jpg)
New Perspectives on HTML5 CSS3 JavaScript 6th Edition Carey Solutions Manual
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- 5. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 1 of 12 New Perspectives on HTML5, CSS3, and JavaScript Tutorial Eight: Enhancing a Website with Multimedia A Guide to this Instructor’s Manual: We have designed this Instructor’s Manual to supplement and enhance your teaching experience through classroom activities and through a cohesive chapter summary. This document is organized chronologically and uses the same headings in blue that you see in the textbook. Under each heading, you will find (in order): Lecture Notes that summarize the section, Figures and Boxes found in the section (if any), Teacher Tips, Classroom Activities, and Lab Activities. Pay special attention to teaching tips and activities, which are geared toward quizzing your students, enhancing their critical thinking skills, and encouraging experimentation within the software. In addition to this Instructor’s Manual, our Instructor Companion Site also contains PowerPoint Presentations, Test Banks, and other supplements to aid in your teaching experience. Table of Contents Tutorial Objectives 2 Introducing Multimedia on the Web 2 Working with the audio Element 3 Exploring Embedded Objects 4 Exploring Digital Video 4 Using the HTML5 video Element 5 Adding a Text Track to Video 6 Using Third-Party Video Players 7 Creating Transitions with CSS 8 Animating Objects with CSS End of Tutorial Material Glossary 9 11 12 Tutorial Objectives Students will have mastered the material in Tutorial Eight when they can: Session 8.1 • Understand audio and video formats • Insert an HTML audio clip • Support multiple audio formats Session 8.2 Session 8.3 • Create a CSS transition • Explore transition attributes • Create a CSS key frame animation • Apply a CSS animation
- 6. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 2 of 12 • Insert an HTML video clip • Write a video caption track • Format video captions Introducing Multimedia on the Web LECTURE NOTES • Discuss the purpose of introducing multimedia on the web. • Explain the concept of a codec. • Explain lossy compression. • Discuss lossless compression. • Point out the disadvantage of lossless compression. • Discuss the role of a container with respect to codecs. • Point out the usage of a media player. • Explain the usage of a plug-in. • Point out that a plug-in can run within the web page as an embedded object. • List the problems associated with the plug-in approach. BOXES • None FIGURES • Figure 8-1 TEACHER TIP Prepare a few examples of lossy and lossless compression. Mention to the students the disadvantage of lossless compression. CLASSROOM ACTIVITIES • Internet Activity: Ask the students to research the advantages and disadvantages of multimedia. • Quick Quiz: o True/False: In lossless compression, data is compressed by removing redundant information. (Answer: True) o Fill in the blank: _____ is a computer program that encodes and decodes streams of data. (Answer: Codec) LAB ACTIVITY • None Working with the audio Element LECTURE NOTES • Discuss the syntax to embed an audio element within a web page. • Using figure 8-2, discuss the different attributes associated with HTML audio and video elements. • Using figure 8-3, discuss the most popular audio formats in HTML.
- 7. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 3 of 12 • Using figure 8-4, discuss the different browser support audio formats. • Discuss the syntax to nest several source elements within a single audio element. • Explain the process of applying styles to a native media player. • Using figure 8-6, show the default audio player for different browsers. • Explain the concept of a fallback option. BOXES • Tip: Because XHTML requires values for every attribute, enter the controls attribute as controls="controls" to display media player controls on a page written in XHTML (HTML 591). • Tip: If no type attribute is provided, the browser will download a section of the file to determine whether it corresponds to a recognized format (HTML 593). • Insight: Exploring MIME Types (HTML 593) • Tip: By default, audio and video elements are displayed in-line with the surrounding page content (HTML 595). • Proskills: Verbal Communication: Tips for Effective Web Audio (HTML 598) FIGURES • Figure 8-2, Figure 8-3, Figure 8-4, Figure 8-5, Figure 8-6, Figure 8-7, Figure 8-8, Figure 8-9, Figure 8-10 TEACHER TIP Remind the students that CSS can be applied to modify the media player’s appearance. Use figure 8-10 to show how a fallback text is displayed within a web page. Gather a few images to show the latest audio players for different browsers. CLASSROOM ACTIVITIES • Class Discussion: Ask the students to make a list of any four attributes of the HTML audio element. • Quick Quiz: o True/False: The mobile version of the Firefox browser supports the AAC audio format. (Answer: False) o True/False: Apple devices support all audio formats except AAC. (Answer: False) LAB ACTIVITY • Have the students open an editor of their choice and create a new file with the extension .html or take up any file from their previous lab activities. Follow the instructions from the following section: o HTML 593 “To add an audio clip” o HTML 595 “To apply styles to the Media Player” o HTML 595 “To play the audio clip” o HTML 597 “To provide alternate text to the audio clip” Exploring Embedded Objects LECTURE NOTES
- 8. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 4 of 12 • Define the syntax of several plug-in attributes applied to an embed element. • Point out the challenges faced in installing plug-ins. • Explain how to use plug-ins as fallback options. BOXES • Tip: Browsers that don’t support HTML5 ignore the audio and source elements but apply the embed element to insert the media player via a plug-in (HTML 599). FIGURES • None TEACHER TIP Have a discussion with the students on the challenges faced with plug-ins. Remind students that plug- ins use the attributes designed for them and ignore the others. Also, tell them that plug-ins can act as fallback options for browsers that do not support HTML5. CLASSROOM ACTIVITIES • Quick Quiz: o True/False: Older browsers relied on plug-ins to play audio and video files. (Answer: True) o True/False: Plug-ins cannot act as a fallback option for browsers that do not support the HTML5 multimedia elements. (Answer: False) LAB ACTIVITY • None Exploring Digital Video LECTURE NOTES • Point out the codecs for a video file. • Using figure 8-11, discuss the most commonly used video codecs on the web. • Using figure 8-12, discuss the several video formats used on the web. • Using figure 8-13, list the browser support for several video formats. BOXES • None FIGURES • Figure 8-11, Figure 8-12, Figure 8-13 TEACHER TIP Remind the students to supply multiple versions of the same video to achieve widest cross-browser support. Have a discussion with the students on the advantages of embedding a video in a web page.
- 9. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 5 of 12 CLASSROOM ACTIVITIES • Quick Quiz o True/False: The most popular video codec is H.264. (Answer: True) o True/False: The desktop version of Internet Explorer only supports MPEG-4 video format. (Answer: True) LAB ACTIVITY • None Using the HTML5 video Element LECTURE NOTES • Define the syntax to embed videos into a web page using the video element. • Discuss the fallback option with respect to videos in HTML5. • Explain the attribute and syntax used to define the video’s preview image. BOXES • None FIGURES • Figure 8-14, Figure 8-15, Figure 8-16, Figure 8-17, Figure 8-18 TEACHER TIP Mention to the students that a browser uses the first source it finds in a format it supports. Remind the students that by default, media players show the first video frame as a preview of the video’s content when the player initially loads a video file. CLASSROOM ACTIVITIES Quick Quiz: • True/False: The poster attribute is used to define the video’s preview image. (Answer: True) • True/ False: The media player shows the last video frames as a preview of the video’s content when the player initially loads a video file. (Answer: False) LAB ACTIVITY • Have the students use an editor of their choice to modify the file they created in the last lab. Follow the instructions from the following section: o HTML 604 “To embed a video file into the web page” o HTML 606 “To set the video’s poster image” Adding a Text Track to Video LECTURE NOTES • Discuss the syntax to add text tracks to an audio or video clip using the track element. • Use Figure 8-19 to list the different kinds of tracks that can be associated with an audio or a video file.
- 10. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 6 of 12 • Explain the format of a WebVTT file. • Discuss the general form of a cue in a WebVTT file. • Using Figure 8-23, explain the different cue attributes that are used to set the size and position of the cue text. • Define the syntax of the cue pseudo-element to format the appearance of the cues. • Discuss the different styles for the cue pseudo-element. • Discuss the several markup tags used to identify sections of the cue text. BOXES • Tip: A WebVTT file has the file extension .vtt (HTML 608). • Tip: Cue text entered on multiple lines in the WebVTT file will also be displayed on multiple lines when played back (HTML 608). • Tip: To center the cue in the video window, set the line and position values to 50% and the align value to middle (HTML 611). • Tip: Ruby text refers to annotative characters placed above or to the right of other characters and is often used with Chinese or Japanese symbols (HTML 613). FIGURES • Figure 8-19, Figure 8-20, Figure 8-21, Figure 8-22, Figure 8-23, Figure 8-13, Figure 8-24, Figure 8-25, Figure 8-26, Figure 8-27, Figure 8-28 TEACHER TIP Remind the students that the default attribute is required even if the track list contains only one track. Also, stress that the list of cues is separated by a single blank line after the cue text. Inform the students that the cue pseudo-element formats all of the cue text in the media clip by default. CLASSROOM ACTIVITIES • Class Discussion: Ask the students to express their views on the necessity of adding a text track to a video/image. • Quick Quiz: o Fill in the blank: Tracks are stored as simple text files written in the _____ language. (Answer: Web Video Text Tracks or WebVTT) o True/False: By default, a cue is placed at the top-right corner of a video window. (Answer: False) LAB ACTIVITY • Have the students use an editor of their choice to modify the file they created in the last lab. Follow the instructions from the following section: o HTML 608 “To create a track file” o HTML 609 “To add captions to a video clip” o HTML 611 “To position the track cues”
- 11. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 7 of 12 o HTML 613 “To format the cue text” o HTML 614 “To apply styles to the cue text” Using Third-Party Video Players LECTURE NOTES • Discuss the object element with reference to the earlier browsers. • Explain the syntax used to embed the Adobe Flash player using the object element. • Discuss the process of embedding videos from YouTube. • Discuss the use of an iframe element. • Define inline frames. • Discuss the various HTML5 video players. BOXES • Tip: To hide the Flash player, set the width and height values to 0 (HTML 618). • Proskills: Problem Solving: Tips for Effective Web Video (HTML 620) FIGURES • Figure 8-29, Figure 8-30 TEACHER TIP Inform the students that the most-used plug-in for video playback is the Adobe Flash player. Use figure 8-29 to discuss about the various parameters recognized by the Adobe Flash player. CLASSROOM ACTIVITIES • Class Discussion: Ask the students to list and describe any three parameters recognized by the Adobe Flash player. • Quick Quiz: o True/False: The most-used plug-in for video playback was the Adobe Flash player. (Answer: True) o True/False: The inline-frame element is used to mark iframes. (Answer: False) LAB ACTIVITY • None Creating Transitions with CSS LECTURE NOTES • Define the term transition. • Use figure 8-31 to discuss the difference between the hover and transition properties. • Explain the syntax of the transition style. • Discuss the syntax to apply transition to more than one property. • Discuss the syntax to define the varying speed of a transition. • Discuss the several keywords used for timing-function.
- 12. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 8 of 12 • Using figure 8-35, compare the transition results of background color with different timing- functions. • Discuss the syntax of the cubic-bezier function. • Explain the advantage of Cubic Bezier curves. • Explain the syntax to delay the start of a transition. • Discuss the effect of a hover transition. • Discuss the limitations of transitions. BOXES • Tip: To specify a time in milliseconds, use the “ms” unit (HTML 624). • Insight: Properties Affected by Transitions (HTML 626). • Tip: You can also set the properties affected by the transition and their duration using the transition-property and transition-duration styles (HTML 626). • Tip: You can also define the timing-function using the transition-timing- function property (HTML 626). • Tip: You can also define the timing-function using the transition-delay property (HTML 629). • Insight: Creating an Asymmetric Transition (HTML 634) FIGURES • Figure 8-31, Figure 8-32, Figure 8-33, Figure 8-34, Figure 8-35, Figure 8-36, Figure 8-37, Figure 8-38, Figure 8-39, Figure 8-40, Figure 8-41, Figure 8-42 TEACHER TIP Inform the students that two transitions can involve totally different effects and durations. Remind the students that another way to visualize a timing function is as a graph. Have a discussion with students on hover transition. CLASSROOM ACTIVITIES • Class Discussion: Ask the students to differentiate between ease-in and ease-in-out keywords. • Quick Quiz: o True/False: A transition can be run in a loop for an infinite number of times. (Answer: False) o True/False: The hover effect is instantaneous with no intermediate steps. (Answer: True) LAB ACTIVITY • Have the students use an editor of their choice to modify the file they created in the last lab. Follow the instructions from the following section: o HTML 629 “To define the initial and end state for the navigation links” o HTML 631 “To define styles for the navigation links”
- 13. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 9 of 12 Animating Objects with CSS LECTURE NOTES • Define animation. • Point out the role of key frames in animation. • Explain the syntax to define a sequence of key frames in CSS. • Using figure 8-43, show the students how path animation takes place over a ten-second duration. • Discuss the properties used to apply a key frames animation to an object. • Using figure 8-46, discuss the various animation properties used to control the behavior and style of the animation. • Point out that there are two states of operation in an animation. • Explain the process of controlling an animation using a check box. BOXES • Insight: Stepping between Key Frames (HTML 640) • Proskills: Problem Solving: Safe Animation and Motion Sensitivity (HTML 650) FIGURES • Figure 8-43, Figure 8-44, Figure 8-45, Figure 8-46, Figure 8-47, Figure 8-48, Figure 8-49, Figure 8-50, Figure 8-51, Figure 8-52, Figure 8-53, Figure 8-54, Figure 8-55, Figure 8-56, Figure 8-57, Figure 8-58 TEACHER TIP Have a discussion with the students about animation and its usage. Remind students that once an animation has been defined and applied to an object, it will run automatically when the page is loaded. Have a discussion with the students on how to control an animation using the check box or playback icons. Remind the students that any timing value entered for the last key frame is ignored because there are no key frames to transition to. CLASSROOM ACTIVITIES • Quick Quiz: o Fill in the blank: The sequence of changing images is known as _____. (Answer: key frames) o True/False: An animation can contain only two styles defined at the initial and end states. (Answer: False) LAB ACTIVITY • Have the students use an editor of their choice to modify the file they created in the last lab. Follow the instructions from the following section: o HTML 636 “To create the spin animation” o HTML 639 “To apply the spin animation” o HTML 641 “To create the animation check box”
- 14. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 10 of 12 o HTML 643 “To create styles for animation playback” o HTML 644 “To format the play and pause icons” o HTML 646 “To revise the spin sequence”
- 15. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 11 of 12 End of Tutorial Material • Review Assignments: Review Assignments provide the students with additional practice for the skills they learned in the tutorial using the same tutorial case with which they are already familiar. • Case Problems: A typical NP tutorial has four Case Problems following the Review Assignments. Short tutorials can have fewer Case Problems (or none at all); other tutorials may have five Case Problems. The Case Problems provide further hands-on assessment of the skills and topics presented in the tutorial, but with new case scenarios. There are three types of Case Problems: • Apply. In this type of Case Problem, students apply the skills that they have learned in the tutorial to solve a problem. • Challenge. A Challenge Case Problem involves three or more Explore steps. These steps challenge students by having them go beyond what was covered in the tutorial, either with guidance in the step or by using online Help as directed. • Create. In a Create Case Problem, students are either shown the end result, such as a finished website, and asked to create the document based on the figure provided or asked to create something from scratch in a more free-form manner. • ProSkills Exercises: This feature is new for Office 2010 and Windows 7. ProSkills exercises integrate the technology skills students learn with one or more of the following soft skills: decision making, problem solving, teamwork, verbal communication, and written communication. The goal of these exercises is to enhance students’ understanding of the soft skills and how to apply them appropriately in real-world, professional situations that also involve software application skills. ProSkills exercises are offered at various points throughout a text, encompassing the concepts and skills presented in a standalone tutorial or a group of related tutorials.
- 16. New Perspectives onHTML5, CSS3, and JavaScript, 6th edition Instructor’s Manual Page 12 of 12 Glossary • Advanced Audio Coding or AAC (HTML 592) • asymmetric transition (HTML 634) • codec (HTML 588) • container (HTML 588) • embedded object (HTML 589) • H.264 (HTML 602) • iframe element (HTML 619) • inline frames (HTML 619) • key frames (HTML 634) • lossless compression (HTML 588) • lossy compression (HTML 588) • media player (HTML 589) • MPEG-1 Audio Layer 3 or MP3 (HTML 592) • MPEG-4 or MP4 (HTML 602) • Multipurpose Internet Mail Extension or MIME type (HTML 593) • Ogg (HTML 592) • plug-in (HTML 589) • sprites (HTML 640) • symmetric transition (HTML 634) • Theora (HTML 602) • transition (HTML 624) • VP8 (HTML 602) • VP9 (HTML 602) • WAV (HTML 592) • Web Video Text Tracks or WebVTT (HTML 608) • WebM (HTML 602) Top of document
- 17. Discovering Diverse ContentThrough Random Scribd Documents
- 18. On the beleaguer’dwall, And dark their slumber, dark with dreams Of slow defeat and fall. Yet a few hearts of chivalry Rose high to breast the storm, And one—of all the loftiest there— Thrill’d in a woman’s form. A woman, meekly bending O’er the slumber of her child, With her soft, sad eyes of weeping love, As the Virgin Mother’s mild. Oh! roughly cradled was thy babe, Midst the clash of spear and lance, And a strange, wild bower was thine, young queen! Fair Marguerite of France! A dark and vaulted chamber, Like a scene for wizard-spell, Deep in the Saracenic gloom Of the warrior citadel; And there midst arms the couch was spread, And with banners curtain’d o’er, For the daughter of the minstrel-land, The gay Provençal shore! For the bright queen of St Louis, The star of court and hall! But the deep strength of the gentle heart Wakes to the tempest’s call! Her lord was in the Paynim’s hold, His soul with grief oppress’d, Yet calmly lay the desolate, With her young babe on her breast! There were voices in the city,
- 19. Voices of wrathand fear— “The walls grow weak, the strife is vain— We will not perish here! Yield! yield! and let the Crescent gleam O’er tower and bastion high! Our distant homes are beautiful— We stay not here to die!” They bore those fearful tidings To the sad queen where she lay— They told a tale of wavering hearts, Of treason and dismay: The blood rush’d through her pearly cheek, The sparkle to her eye— “Now call me hither those recreant knights From the bands of Italy!”[402] Then through the vaulted chambers Stern iron footsteps rang; And heavily the sounding floor Gave back the sabre’s clang. They stood around her—steel-clad men, Moulded for storm and fight, But they quail’d before the loftier soul In that pale aspect bright. Yes! as before the falcon shrinks The bird of meaner wing, So shrank they from th’ imperial glance Of her—that fragile thing! And her flute-like voice rose clear and high Through the din of arms around— Sweet, and yet stirring to the soul, As a silver clarion’s sound. “The honour of the Lily
- 20. Is in yourhands to keep, And the banner of the Cross, for Him Who died on Calvary’s steep; And the city which for Christian prayer Hath heard the holy bell— And is it these your hearts would yield To the godless infidel? “Then bring me here a breastplate And a helm, before ye fly, And I will gird my woman’s form, And on the ramparts die! And the boy whom I have borne for woe, But never for disgrace, Shall go within mine arms to death Meet for his royal race. “Look on him as he slumbers In the shadow of the lance! Then go, and with the Cross forsake The princely babe of France! But tell your homes ye left one heart To perish undefiled; A woman, and a queen, to guard Her honour and her child!” Before her words they thrill’d, like leaves When winds are in the wood; And a deepening murmur told of men Roused to a loftier mood. And her babe awoke to flashing swords, Unsheath’d in many a hand, As they gather’d round the helpless One, Again a noble band! “We are thy warriors, lady!
- 21. True to theCross and thee; The spirit of thy kindling words On every sword shall be! Rest, with thy fair child on thy breast! Rest—we will guard thee well! St Denis for the Lily-flower And the Christian citadel!” [401] Queen of St Louis. Whilst besieged by the Turks in Damietta, during the captivity of the king her husband, she there gave birth to a son, whom she named Tristan, in commemoration of her misfortunes. Information being conveyed to her, that the knights intrusted with the defence of the city had resolved on capitulation, she had them summoned to her apartment; and, by her heroic words, so wrought upon their spirits, that they vowed to defend her and the Cross to the last extremity. [402] The proposal to capitulate is attributed by the French historian to the Knights of Pisa. THE WANDERER. TRANSLATED FROM THE GERMAN OF SCHMIDT VON LUBECK. I come down from the hills alone; Mist wraps the vale, the billows moan! I wander on in thoughtful care, For ever asking, sighing—where? The sunshine round seems dim and cold, And flowers are pale, and life is old, And words fall soulless on my ear— Oh, I am still a stranger here! Where art thou, land, sweet land, mine own! Still sought for, long’d for, never known? The land, the land of hope, of light, Where glow my roses freshly bright,
- 22. And where myfriends the green paths tread, And where in beauty rise my dead; The land that speaks my native speech, The blessed land I may not reach! I wander on in thoughtful care, For ever asking, sighing—where? And spirit-sounds come answering this— “There, where thou art not, there is bliss!” THE LAST WORDS OF THE LAST WASP OF SCOTLAND, —A jeu-d’esprit produced at this time, which owed its origin to a simple remark on the unseasonableness of the weather, made by Mrs Hemans to Mr Charles Kirkpatrick Sharpe, whom she was in the habit of seeing at Sir David Wedderburn’s. “It is so little like summer,” she said, “that I have not even seen a butterfly.” “A butterfly!” retorted Mr Sharpe, “I have not even seen a wasp!” The next morning, as if in confutation of this calumny, a wasp made its appearance at Lady Wedderburn’s breakfast table. Mrs Hemans immediately proposed that it should be made a prisoner, inclosed in a bottle, and sent to Mr Sharpe: this was accordingly done, and the piquant missive was acknowledged by him as follows:— “SONNET TO A WASP, IN THE MANNER OF MILTON, &c., BUT MUCH SUPERIOR. Poor insect! rash as rare!—Thy sovereign,[403] sure, Hath driven thee to Siberia in disgrace— Else what delusion could thy sense allure To buzz and sting in this unwholesome place, Where e’en the hornet’s hoarser, and the race Of filmy wing are feeble? Honey here (Scarce as its rhyme) thou find’st not. Ah, beware Thy golden mail, to starved Arachne dear![404] Though fingers famed, that thrill the immortal lyre, Have pent thee up, a second Asmodeus, I wail thy doom—I warm thee by the fire,
- 23. And blab oursecrets—do not thou betray us! I give thee liberty, I give thee breath, To fly from Athens, Eurus, Doctors, Death!!” To this Mrs Hemans returned the following rejoinder:— Sooth’d by the strain, the Wasp thus made reply— (The first, last time he spoke not waspishly)— “Too late, kind Poet! comes thine aid, thy song, To aught first starved, then bottled up so long. Yet, for the warmth of this thy genial fire, Take a Wasp’s blessing ere his race expire:— Never may provost’s foot find entrance here! Never may bailie’s voice invade thine ear! Never may housemaid wipe the verd antique From coin of thine—Assyrian, Celt, or Greek! Never may Eurus cross thy path!—to thee May winds and wynds[405] alike propitious be! And when thou diest—(live a thousand years!)— May friends fill classic bottles[406] with their tears! I can no more—receive my parting gasp!— Bid Scotland mourn the last, last lingering Wasp!” [403] Beelzebub is the king of flies. [404] A beautiful allusion to our starving weavers. [405] Alluding to antiquarian visits to these renowned closes. [406] Referring to certain precious lachrymatories in the possession of Mr Sharpe. TO CAROLINE. When thy bounding step I hear, And thy soft voice, low and clear; When thy glancing eyes I meet, In their sudden laughter sweet—
- 24. Thou, I dream,wert surely born For a path by care unworn! Thou must be a shelter’d flower, With but sunshine for thy dower. Ah, fair child! not e’en for thee May this lot of brightness be; Yet, if grief must add a tone To thine accents now unknown; If within that cloudless eye Sadder thought must one day lie, Still I trust the signs which tell On thy life a light shall dwell, Light—thy gentle spirit’s own, From within around thee thrown. THE FLOWER OF THE DESERT. “Who does not recollect the exultation of Valiant over a flower in the torrid wastes of Africa? The affecting mention of the influence of a flower upon the mind, by Mungo Park, in a time of suffering and despondency, in the heart of the same savage country, is familiar to every one.”—Howitt’s “Book of the Seasons.” Why art thou thus in thy beauty cast, O lonely, loneliest flower! Where the sound of song hath never pass’d From human hearth or bower? I pity thee, for thy heart of love, For that glowing heart, that fain Would breathe out joy with each wind to rove— In vain, lost thing! in vain! I pity thee, for thy wasted bloom, For thy glory’s fleeting hour, For the desert place, thy living tomb— O lonely, loneliest flower!
- 25. I said—but alow voice made reply, “Lament not for the flower! Though its blossoms all unmark’d must die, They have had a glorious dower. “Though it bloom afar from the minstrel’s way, And the paths where lovers tread; Yet strength and hope, like an inborn day, By its odours have been shed. “Yes! dews more sweet than ever fell O’er island of the blest, Were shaken forth, from its purple bell, On a suffering human breast. “A wanderer came, as a stricken deer, O’er the waste of burning sand, He bore the wound of an Arab spear, He fled from a ruthless band. “And dreams of home in a troubled tide Swept o’er his darkening eye, As he lay down by the fountain-side, In his mute despair to die. “But his glance was caught by the desert’s flower, The precious boon of heaven; And sudden hope, like a vernal shower, To his fainting heart was given. “For the bright flower spoke of One above— Of the presence felt to brood, With a spirit of pervading love, O’er the wildest solitude. “Oh! the seed was thrown those wastes among In a bless’d and gracious hour,
- 26. For the lornone rose in heart made strong By the lonely, loneliest flower!” CRITIQUE BY PROFESSOR NORTON. “The [American] collection of Mrs Hemans’ Miscellaneous Poems opens with verses in honour of the Pilgrim Fathers. She has celebrated with solemnity and truth the circumstances which gave sublimity to the glorious scene of their landing; and their descendants cannot be but pleased to see the devotedness displayed by them introduced into poetry, and incorporated among the bright examples held up by the inventive as well as the historic muse for the admiration of mankind. “Freedom, not licentiousness—religious freedom, not the absence of religious rites —was the object for which the fathers came. An air of earnestness was thus originally imparted to the character of the country, and succeeding ages have not worn it away. Though it may suit the humour of moralisers to declaim against the degeneracy of the times, we believe that the country has of late years made advances in moral worth. We infer this from the more general diffusion of intelligence, and the higher standard of learning; from the spirit of healthy action pervading all classes; from the diminished number of crimes; from the general security of property; from the rapid multiplication of Sabbath schools, than which no discovery of our age has been more important for the moral education of the people; from the philanthropy which seeks for the sources of vice, and restrains it by removing its causes; from the active and compassionate benevolence, which does not allow itself to consider any class so vicious or so degraded as to have forfeited its claim to humane attention—which seeks and relieves misery wherever it is concealed, and, embracing every continent in its regard, has its messengers in the remotest regions of the world. Religious freedom is the last right which, even in our days, the inhabitants of this country would surrender. It would be easier to drive them from their houses and their lands, than to take from them the liberty of worshipping God according to the dictates of conscience. There is no general assertion of this right, and no energetic display of zeal in maintaining it, solely because it is menaced by no alarming danger. “In a state of society like ours, there may be little room for the exercise of those arts of which it is the chief aim to amuse and delight; and yet attention is by no means confined to those objects which are directly connected with the advancement of personal or public wealth. For the costly luxuries of life, and even for its elegant pleasures, there may as yet be little room; and still the morality of the nation be far from forming itself on the new system of morals devised by our political economists. There has been no age—we assert it with confidence—there has been no people, where the efforts of mind, directly connected with the preservation of elevated feeling and religious earnestness, are more valued than they are by the better part of our own community. We can no support, or we hold it not best to support, an expensive religious establishment; but every where the voice of religious homage and instruction is heard: we cannot set apart large estates to give splendour to literary distinction; but you will hardly find a retired nook, where only a few families seek their shelter near each other, so destitute,
- 27. that the elementsof knowledge are not freely taught: we cannot establish galleries for the various works of the arts of design; but the eye that can see the beauties of nature is common with us, and the recital of deeds of high worth meets with ready listeners. The luxuries, which are for display, are exceedingly little known; but the highest value is set on every effort of mind connected with the investigation of truth, or the nurture of generous and elevated sentiments. “Where the public mind had been thus formed, the poetry of Mrs Hemans was sure to find admirers. The exercise of genius, if connected with no respect for virtue, might have remained unnoticed; the theory, which treats of beauty as of something independent of moral effect, is still without advocates among us. It has thus far been an undisputed axiom that, if a production is indecent or immoral, it for that very reason cannot claim to be considered beautiful. “We do not go so far as to assert, that there can be no merit in works of which the general tendency is immoral; but the merit, if there is any, does not lie in the immoral part, in the charm that is thrown round vice, but rather in an occasional gleam of better principles, in nature occasionally making her voice heard above the din of the dissolute, in the pictures of loveliness and moral truth that shine out through the darkness. Amidst all the horrors and depravity of superstition, the strange and the abominable vagaries of the human imagination, exercised on religion in heathenish ignorance, the observing mind may yet recognise the spirit that connects man with a better world. And so it is with poetry: amidst all the confusion which is manifest where the heavenly gift is under the control of a corrupted judgment, something of its native lustre will still appear. When we see the poet of transcendent genius delineating any thing but the higher part of our nature; when we observe how, after borrowing fiendish colours, he describes states of mind with which devils only should have sympathy, rails at human nature in a style which spiteful misanthropy alone can approve, or gives descriptions of sensuality fit only for the revels of Comus; when we see him ‘hurried down the adulterate age, adding pollutions of his own,’ we can have little to say to excuse or to justify an admiration of poetic talent, till we are reconciled to human nature and the muse by the pure lustre of better-guided minds. “In what view of the subject can it be held a proper design of poetry to render man hateful to himself? How can it delight or instruct us to see our fellow-men ranged under the two classes of designing villains and weak dupes? Or what sources of poetic inspiration are left, if all the relations of social life are held up to derision, and every generous impulse scorned as the result of deluded confidence? “To demand that what is called poetical justice should be found in every performance may be unreasonable, since the events of life do not warrant us in expecting it; but we may demand what is of much more importance, moral justice —a consistency of character, a conformity of the mind to its career of action. It may not be inconsistent with reality, though it is with probability, that an unprincipled miscreant, governing himself in his gratifications by the narrowest selfishness, should be successful in his pursuits; but it is unnatural and false to give to such a nature any of the attributes of goodness. Vice is essentially mean and low; it has no dignity, no courage, no beauty; and while the poet can never impart to a production, tending to promote vice, the power and interest which
- 28. belong to theworthy delineation of honourable actions, he can never invest a false heart with the noble qualities of a generous one. Observe in this respect the manner of the dramatic poet, who is acknowledged to have delineated the passions with the greatest fidelity. Shakspeare describes the mind as gradually sinking under the influence of the master-passion. It stamps itself on the whole soul, and obliterates all the finer traces in which humanity had written a witness of gentler qualities. Macbeth is a moral picture of terrific sublimity, and an illustration of that moral justice which we contend should never be wanting. The one strong passion moulds the character, and blasts every tender sentiment. When once Othello is jealous, his judgment is gone; the selfishness of Richard leads to wanton cruelty. In one of Shakspeare’s tragedies, not a crime, but a fault is the foundation of the moral interest. Here, too, he is consistent; and the irresolution of Hamlet leaves his mind without energy, and his contending passions without terror. We might explain our views by examples from the comedies of the great dramatist, but Macbeth and Richard furnish the clearest illustration of them. And it is in such exhibitions of the power of vice to degrade, that ‘gorgeous tragedy’ performs her severest office; lifting up the pall which hides the ghastliness of unprincipled depravity, and showing us, where vice gains control, the features, that before may have been resplendent with loveliness, marred and despoiled of all their sweet expression. “There can, then, be no more hideous fault in a literary work than profligacy. Levity is next in order. The disposition to trifle with topics of the highest moment— to apply the levelling principle to the emotions of the human mind, to hold up to ridicule the exalted thoughts and kindling aspirations of which human nature is capable—can at best charm those only who have failed to enter the true avenues to happiness. Such works may be popular, because the character of the public mind may for a season be corrupt. A literature, consisting of such works, is the greatest evil with which a nation can be cursed. National poverty is nothing in comparison, for poverty is remedied by prudent enterprise; but such works poison the life-blood of the people, the moral vigour, which alone can strive for liberty and honour. The apologists for this class of compositions, in which Voltaire and La Fontaine are the greatest masters, defend it on the ground that it is well adapted to give pleasure to minds which have been accustomed to it, and that foreigners need only a different moral education to be able to enjoy it. Now, without wasting a word on the enormity of defending what is intrinsically sensual, we reply merely on the score of effect. He who adapts his inventions to a particular state of society, can please no further; he depends on circumstances for his popularity; he does not appeal to man, but to accidental habits, a fleeting state of the public mind; he is the poet, not of nature, but of a transient fashion. The attraction which comes from the strangeness or novelty of the manner is of very little value. On the most brilliant night a meteor would be followed by all eyes for a while; and why? Because it is as evanescent as bright; we must gaze at once, or it will be too late. Yet the mind soon returns to the contemplation of the eternal stars which light up the heavens with enduring lustre. Any popularity, obtained by gratifying a perverse taste, is essentially transitory; while all that is benevolent and social, all that favours truth and goodness, is of universal and perpetual interest.
- 29. “These are butplain inferences from facts in the history of literature. The plays of Dryden were written to please an audience of a vicious taste; they may have been received with boisterous applause, but nobody likes them now, though in their form not unsuited to the stage; and as for the grossest scenes, any merit in the invention is never spoken of as compensating for their abominable coarseness. On the other hand, Milton’s Comus, though in its form entirely antiquated, has the beautiful freshness of everlasting youth, delights the ardent admirer of good poetry, and is always showing new attractions to the careful critic. And where lies this immense difference in the lasting effect of these two writers? Dryden, it is true, fell far short of Milton in poetic genius; but the true cause lies in this,—virtue, which is the soul of song, is wanting in the plays of Dryden, while the poetry of Milton bears the impress of his own magnanimity. “We are contending for no sickly morality: we would shut out the poet from the haunts of libertinism, not from the haunts of men; we would have him associate with his fellows, hold intercourse with the great minds that light up the gloom of ages, and share in the best impulses of human nature, and not, under the influence of a too delicate sensibility, treat only of the harmless flowers, and the innocent birds, and the exhilarating charm of agreeable scenery; and still less, in the spirit of a sullen misanthropy, delight in obscure abstractions, find comfort only in solitude, and rejoice, or pretend to rejoice, chiefly in the mountains, and the ocean, and the low places of the earth. Their pursuit of moral beauty does not lead to an affected admiration, or an improper idolatry of the visible creation. The genius of the poet can impart a portion of its eloquence to the external world, and elevate creation by connecting it with moral associations. But descriptions, except of scenes where moral beings are to move, possess little interest. If landscape- painting is an inferior branch of that art, though the splendid works of Claude demand praise without measure, landscape poetry is a kind of affectation, an unnatural result of excessive refinement. Description is important, but subordinate. The external world, with all its gorgeousness and varied forms of beauty; the cataract, ‘with its glory of reflected light;’ the forests, as they wave in the brilliancy of early summer; the flowers, that are crowded in gardens, or waste their sweetness on the desert air; ‘the noise of the hidden brook, that all night long in the leafy months sings its quiet tune to the sleeping woods;’ the ocean, whether reposing in tranquil majesty or tossed by the tempest; night, when the heavens are glittering with the splendour of the constellations; morning, when one perfect splendour beams in the sky, and is reflected in a thousand colours from the guttering earth—these are not the sublimest themes that awaken the energies of the muse. It is mind, and mind only, which can exhibit the highest beauty. The hymn of martyrdom, the strength by which the patriot girds himself to die, ‘God’s breath in the soul of man,’ the unconquerable power of generous passion, the hopes and sorrows of humanity—love, devotion, and all the deep and bright springs of affection—these are higher themes of permanent interest and exalted character. “Here, too, we find an analogy between poetic and religious feeling. The image of God is to be sought for, not so much in the outward world as in the mind. No combination of inanimate matter can equal the sublimity and wonderful power of life. To impart organic life, with the power of reproduction, is a brighter display of
- 30. Omnipotence than anyarrangement of the inanimate, material world. A swarm of flies, as through their short existence they buzz and wheel in the summer’s sun, offer as clear, and, to some minds, a clearer demonstration of Omnipotence, than the everlasting, but silent, courses of the planets. But moral life is the highest creation of divine power. We, at least, know and can conceive of none higher. We are, therefore, not to look for God among the rivers and the forests, nor yet among the planets and the stars, but in the hearts of men; he is not the God of the dead, but of the living. “Those who accord with the general views which we have here maintained, will be prepared to express unqualified approbation of the literary career of Mrs Hemans. Had her writings been merely harmless, we should not have entered into an analysis of them; but the moral charm which is spread over them is so peculiar, so full of nature, and truth, and deep feeling, that her productions claim at once the praise of exquisite purity and poetic excellence. She adds the dignity of her sex to a high sense of the duties of a poet; she writes with buoyancy, yet with earnestness; her poems bear the impress of a character worthy of admiration. In the pursuit of literary renown, she never forgets what is due to feminine reserve. We perceive a mind endowed with powers to aspire, and are still further pleased to find no unsatisfied cravings, no passionate pursuit of remote objects, but high endowments, graced by contentment. There is plainly the consciousness of the various sorrow to which life is exposed, and with it the spirit of resignation. She sets before herself a clear and exalted idea of what a female writer should be, and is on the way to realise her own idea of excellence. Living in domestic retirement, in a beautiful part of Wales, it is her own feelings and her own experience which she communicates to us. We cannot illustrate our meaning better, than by introducing our readers at once to Mrs Hemans herself, as she describes to us the occupations of a day. AN HOUR OF ROMANCE. ‘There were thick leaves above me and around, And low sweet sighs, like those of childhood’s sleep, Amidst their dimness, and a fitful sound As of soft showers on water,’ etc. etc. “The poetry is here as beautiful as the scene described is quiet and pleasing. It forms an amiable picture of the occupations of a contemplative mind. The language, versification, and imagery, are of great merit, the beauties of nature described by a careful observer; the English scene is placed in happy contrast with the Eastern, and the dream of romance pleasantly disturbed by the cheerfulness of life. But we make but sorry work at commenting on what the reader must feel. “It has been said that religion can never be made a subject of interest in poetry. The position is a false one, refuted by the close alliance between poetic inspiration and sacred enthusiasm. Irreligion has certainly no place in poetry. There may have
- 31. been Atheist philosophers;an Atheist poet is an impossibility. The poet may doubt and reason like Hamlet, but the moment he acquiesces in unbelief, there is an end to the magic of poetry. Imagination can no longer throw lively hues over the creation: the forests cease to be haunted; the sea, and the air, and the heavens, to teem with life. The highest interest, we think, attaches to Mrs Hemans’s writings, from the spirit of Christianity which pervades them. “The poetry of our author is tranquillising in its character, calm and serene. We beg pardon of the lovers of excitement, but we are seriously led to take notice of this quality as of a high merit. A great deal has been said of the sublimity of directing the passions; we hold it a much more difficult and a much more elevated task, to restrain them. It may be sublime to ride on the whirlwind, and direct the storm; but it seems to us still more sublime to appease the storm, and still the whirlwind. Virgil, no mean authority, was of this opinion. The French are reported to be particularly fond of effect and display; but we remember to have read that, even in the splendid days of Napoleon, the simplicity of vocal music surpassed in effect the magnificence of a numerous band. It was when Napoleon was crowned Emperor in the Cathedral of Notre Dame. The Parisians, wishing to distinguish the occasion by some novel exhibition, and to produce a great effect, filled the orchestra with eighty harps, which were all struck together with unequalled skill. The fashionable world was in raptures. Presently the Pope entered, and some thirty of his singers, who came with him from Rome, received him with the powerful Tu es Petrus of the old-fashioned Scarlatti; and the simple majesty of the air, assisted by no instruments, annihilated in a moment the whole effect of the preceding fanfaronade. And in literature the public taste seems to us already weary of those productions which aim at astonishing and producing a great effect, and there is now an opportunity of pleasing by the serenity of contemplative excellence. “It is the high praise of Mrs Hemans’s poetry that it is feminine. The sex may well be pleased with her productions, for they could hardly have a better representative in the career of letters. All her works seem to come from the heart, to be natural and true. The poet can give us nothing but the form under which the objects he describes present themselves to his own mind. That form must be noble, or it is not worthy of our consideration; it must be consistent, or it will fail to be true. Now, in the writings of Mrs Hemans, we are shown how life and its concerns appear to woman, and hear a mother intrusting to verse her experience and observation. So, in ‘The Hebrew Mother,’ ‘the spring-tide of nature’ swells high as she parts from her son, on devoting him to the service of the Temple:— ‘Alas, my boy! thy gentle grasp is on me, The bright tears quiver in thy pleading eyes; And now fond thoughts arise, And silver cords again to earth have won me, And like a vine thou claspest my full heart— How shall I hence depart? ‘And oh! the home whence thy bright smile hath parted, Will it not seem as if the sunny day
- 32. Turn’d from itsdoor away? While through its chambers wandering, weary-hearted, I languish for thy voice, which past me still Went like a singing rill? ‘I give thee to thy God—the God that gave thee, A well-spring of deep gladness to my heart! And, precious as thou art, And pure as dew of Hermon, He shall have thee, My own, my beautiful, my undefiled! And thou shalt be His child. ‘Therefore, farewell! I go—my soul may fail me, As the hart panteth for the water-brooks, Yearning for thy sweet looks. But thou, my first-born! droop not, nor bewail me; Thou in the Shadow of the Rock shalt dwell, The Rock of Strength.—Farewell!’ “The same high feeling of maternal duty and love inspires the little poem, ‘The Wreck,’ which every one has read. ‘The Lady of the Castle,’ ‘The Grave of Körner,’ ‘The Graves of a Household,’ are all on domestic subjects. But why do we allude to poems which are in every one’s hands? The mother’s voice breaks out again in the piece entitled ‘Elysium.’ Children, according to the heathen mythology, were banished to the infernal regions, and religious faith had no consolation for a mourning parent. ‘Calm, on its leaf-strewn bier, Unlike a gift of Nature to Decay, Too roselike still, too beautiful, too dear, The child at rest before its mother lay; E’en so to pass away, With its bright smile! Elysium! what wert thou To her who wept o’er that young slumberer’s brow? ‘Thou hadst no home, green land! For the fair creature from her bosom gone, With life’s fresh flowers just opening in its hand, And all the lovely thoughts and dreams unknown, Which in its clear eye shone Like spring’s first wakening! But that light was past— —Where went the dewdrop swept before the blast? ‘Not where thy soft winds play’d, Not where thy waters lay in glassy sleep!— Fade with thy bowers, thou land of visions! fade! From thee no voice came o’er the gloomy deep, And bade man cease to weep! Fade, with the amaranth plain, the myrtle grove,
- 33. Which could notyield one hope to sorrowing love! ‘For the most loved are they Of whom Fame speaks not with her clarion voice In regal halls! The shades o’erhang their way; The vale, with its deep fountains, is their choice, And gentle hearts rejoice Around their steps; till silently they die, As a stream shrinks from summer’s burning eye. ‘And the world knows not then— Not then, nor ever, what pure thoughts are fled! Yet these are they, who on the souls of men Come back, when night her folding veil hath spread, The long-remember’d dead! But not with thee might aught save glory dwell— Fade, fade away, thou shore of asphodel!’ “And the same feelings of a woman and mother dictated ‘The Evening Prayer at a Girls’ School,’—a poem which merits to be considered in connexion with Gray’s ‘Ode on a Distant Prospect of Eton College.’ ‘O joyous creatures! that will sink to rest, Lightly, when those pure orisons are done,” etc. “Of other spirited, and lively, and pathetic short poems of Mrs Hemans, which form some of the brightest ornaments of the lyric poetry of the language, we take no particular notice—for in what part of the United States are they not known? So general has been the attention to those of her pieces adapted to the purposes of a newspaper, we hardly fear to assert that, throughout a great part of this country, there is not a family of the middling class in which some of them have not been read. The praise which was not sparingly bestowed upon her, when her shorter first productions became generally known among us, has been often repeated on a careful examination of her works; and could we hope that our remarks might one day fall under her eye, we should hope she would not be indifferent to the good wishes which are offered her from America, but feel herself cheered and encouraged in her efforts, by the prospect of an enlarged and almost unlimited field of useful influence, opened to her among the descendants of her country in an independent land. The ocean divides us from the fashions as well as the commotions of Europe. The voice of America, deciding on the literature of England, resembles the voice of posterity more nearly than any thing else, that is contemporaneous, can do. We believe that the general attention which has been given to Mrs Hemans’s works among us, may be regarded as a pledge that they will not be received with indifference by posterity.”—North American Review. [At the conclusion of “The Records” we gave the opinions of one of our most celebrated Cisatlantic critics regarding the poetry of Mrs Hemans, and we think it
- 34. but right toshow now (as has just been done) the general estimate in which her genius is held in America, as evidenced by the North American Review, the best- known and most widely-circulated of the Transatlantic periodicals. Judging from the state of feeling in America—from the ideas of practical philosophy entertained there—and from the pervading utilitarian bias of its prose literature, we must confess that, had we been asked to name any votary of the British muse more likely than another to be appreciated in that country, we should have had very little hesitation in fixing upon Crabbe. And why? Because his poetry is characterised by a stern adherence to the realities of life, as contradistinguished from romance, and because his characters and situations are taken from existing aspects of society, appreciable by all. In this theory it appears we are wrong; and Professor Norton has here done his best to account for it. We are most given to admire what is least attainable; and therefore it is that the spiritual glow which Mrs Hemans has blent with human sentiment—the imaginative beauty with which she has clothed “the shows of earth and heaven,”—and the leaven of romance which she has infused into the communications of daily life, have, as lucus a non lucendo, been elements of, and not the impediments to, her American popularity.]
- 35. HYMNS FOR CHILDHOOD. [Weare quite aware that the Hymns for Childhood were written at a much earlier period than that which we have here chronologically assigned them. They had been sent to Professor Norton for the use of his children, and were printed under his auspices at Boston, New England, so early as 1827. Not, however, having had an opportunity of seeing the original American edition, we are in the dark as to whether the hymns in it were the same in number as those published in Dublin under the eye of the author, or whether she afterwards revised and altered them. It has been therefore judged best to place them here in the order of publication, and as they appeared in this country under the supervision of Mrs Hemans herself. The hymns (as they deserved to be) were very favourably received by the public, and it is only to be regretted that Mrs Hemans did not from time to time add to their number. She thus wrote to Mrs Lawrence with a presentation copy of her little book:—“I send you the fairy volume of hymns. You will immediately see how unpretending a little book it is; but it will give you pleasure to know that it has been received in the most gratifying manner, having seemed (as a playful child might have done) to win criticism into a benignant smile.”—Vide Letter to Mrs Lawrence, Recollections, p. 354.] INTRODUCTORY VERSES. Oh! blest art thou whose steps may rove Through the green paths of vale and grove, Or, leaving all their charms below, Climb the wild mountain’s airy brow; And gaze afar o’er cultured plains, And cities with their stately fanes, And forests, that beneath thee lie, And ocean mingling with the sky. For man can show thee naught so fair As Nature’s varied marvels there; And if thy pure and artless breast Can feel their grandeur, thou art blest!
- 36. For thee thestream in beauty flows, For thee the gale of summer blows; And, in deep glen and wood-walk free, Voices of joy still breathe for thee. But happier far, if then thy soul Can soar to Him who made the whole. If to thine eye the simplest flower Portray His bounty and His power! If, in whate’er is bright or grand, Thy mind can trace His viewless hand; If Nature’s music bid thee raise Thy song of gratitude and praise; If heaven and earth, with beauty fraught, Lead to His throne thy raptured thought; If there thou lovest His love to read— Then, wanderer! thou art blest indeed. THE RAINBOW. “I do set my bow in the cloud, and it shall be for a token of a covenant between me and the earth.”—Genesis, ix. 13. Soft falls the mild, reviving shower From April’s changeful skies, And rain-drops bend each trembling flower They tinge with richer dyes. Soon shall their genial influence call A thousand buds to day, Which, waiting but that balmy fall, In hidden beauty lay. E’en now full many a blossom’s bell With fragrance fills the shade;
- 37. And verdure clotheseach grassy dell, In brighter tints array’d. But mark! what arch of varied hue From heaven to earth is bow’d? Haste, ere it vanish!—haste to view The rainbow in the cloud! How bright its glory! there behold The emerald’s verdant rays, The topaz blends its hue of gold With the deep ruby’s blaze. Yet not alone to charm thy sight Was given the vision fair— Gaze on that arch of colour’d light, And read God’s mercy there. It tells us that the mighty deep, Fast by the Eternal chain’d, No more o’er earth’s domain shall sweep, Awful and unrestrain’d. It tells that seasons, heat and cold, Fix’d by his sovereign will, Shall, in their course, bid man behold Seed-time and harvest still; That still the flower shall deck the field, When vernal zephyrs blow, That still the vine its fruit shall yield, When autumn sunbeams glow. Then, child of that fair earth! which yet Smiles with each charm endow’d, Bless thou His name, whose mercy set The rainbow in the cloud!
- 38. THE SUN. The Suncomes forth: each mountain-height Glows with a tinge of rosy light, And flowers that slumber’d through the night Their dewy leaves unfold; A flood of splendour bursts on high, And ocean’s breast gives back a sky All steep’d in molten gold. Oh! thou art glorious, orb of day! Exulting nations hail thy ray, Creation swells a choral lay To welcome thy return; From thee all nature draws her hues, Thy beams the insect’s wing suffuse, And in the diamond burn. Yet must thou fade! When earth and heaven By fire and tempest shall be riven, Thou, from thy sphere of radiance driven, O Sun! must fall at last; Another heaven, another earth, New power, new glory shall have birth, When all we see is past. But He who gave the word of might, “Let there be light,”—and there was light, Who bade thee chase the gloom of night, And beam the world to bless; For ever bright, for ever pure, Alone unchanging shall endure, The Sun of Righteousness! THE RIVERS.
- 39. Go! trace th’unnumber’d streams, o’er earth That wind their devious course, That draw from Alpine heights their birth, Deep vale, or cavern-source. Some by majestic cities glide, Proud scenes of man’s renown; Some lead their solitary tide Where pathless forests frown. Some calmly roll o’er golden sands, Where Afric’s deserts lie; Or spread, to clothe rejoicing lands With rich fertility. These bear the bark, whose stately sail Exulting seems to swell; While these, scarce rippled by a gale, Sleep in the lonely dell. Yet on, alike, though swift or slow Their various waves may sweep, Through cities or through shades, they flow To the same boundless deep. Oh! thus, whate’er our path of life, Through sunshine or through gloom, Through scenes of quiet or of strife, Its end is still the tomb. The chief whose mighty deeds we hail, The monarch throned on high, The peasant in his native vale— All journey on to die! But if Thy guardian care, my God! The pilgrim’s course attend,
- 40. I will notfear the dark abode To which my footsteps bend. For thence thine all-redeeming Son, Who died the world to save, In light, in triumph, rose, and won The victory from the grave! THE STARS. “The heavens declare the glory of God, and the firmament showeth his handy- work.”—Psalm xix. 1. No cloud obscures the summer sky, The moon in brightness walks on high; And, set in azure, every star Shines, a pure gem of heaven, afar! Child of the earth! oh, lift thy glance To yon bright firmament’s expanse; The glories of its realm explore, And gaze, and wonder, and adore! Doth it not speak to every sense The marvels of Omnipotence? Seest thou not there the Almighty name Inscribed in characters of flame? Count o’er these lamps of quenchless light, That sparkle through the shades of night: Behold them! can a mortal boast To number that celestial host? Mark well each little star, whose rays In distant splendour meet thy gaze: Each is a world, by Him sustain’d Who from eternity hath reign’d.
- 41. Each, kindled notfor earth alone, Hath circling planets of its own, And beings, whose existence springs From Him, the all-powerful King of kings. Haply, those glorious beings know No stain of guilt, or tear of woe; But, raising still the adoring voice, For ever in their God rejoice. What then art thou, O child of clay! Amid creation’s grandeur, say? E’en as an insect on the breeze, E’en as a dew-drop, lost in seas! Yet fear thou not! The sovereign hand Which spread the ocean and the land, And hung the rolling spheres in air, Hath, e’en for thee, a Father’s care! Be thou at peace! The all-seeing Eye, Pervading earth, and air, and sky— The searching glance which none may flee, Is still in mercy turn’d on thee. THE OCEAN. “They that go down to the sea in ships, that do business in great waters; these see the works of the Lord, and his wonders in the deep.”—Psalm cvii. 23, 24. He that in venturous barks hath been A wanderer on the deep, Can tell of many an awful scene, Where storms for ever sweep. For many a fair, majestic sight Hath met his wandering eye,
- 42. Beneath the streamingnorthern light, Or blaze of Indian sky. Go! ask him of the whirlpool’s roar, Whose echoing thunder peals Loud, as if rush’d along the shore An army’s chariot-wheels; Of icebergs, floating o’er the main, Or fix’d upon the coast, Like glittering citadel or fane, Mid the bright realms of frost; Of coral rocks from waves below In steep ascent that tower, And, fraught with peril, daily grow, Form’d by an insect’s power; Of sea-fires, which at dead of night Shine o’er the tides afar, And make the expanse of ocean bright, As heaven with many a star. O God! thy name they well may praise Who to the deep go down, And trace the wonders of thy ways Where rocks and billows frown! If glorious be that awful deep No human power can bind, What then art Thou, who bid’st it keep Within its bounds confined! Let heaven and earth in praise unite! Eternal praise to Thee, Whose word can rouse the tempest’s might, Or still the raging sea!
- 43. THE THUNDER-STORM. Deep, fieryclouds o’ercast the sky, Dead stillness reigns in air; There is not e’en a breeze, on high The gossamer to bear. The woods are hush’d, the waves at rest, The lake is dark and still, Reflecting on its shadowy breast Each form of rock and hill. The lime-leaf waves not in the grove, The rose-tree in the bower; The birds have ceased their songs of love, Awed by the threatening hour. ’Tis noon;—yet nature’s calm profound Seems as at midnight deep: But hark! what peal of awful sound Breaks on creation’s sleep? The thunder-burst!—its rolling might Seems the firm hills to shake; And in terrific splendour bright The gather’d lightnings break. Yet fear not, shrink not thou, my child! Though by the bolt’s descent Were the tall cliffs in ruins piled, And the wide forests rent. Doth not thy God behold thee still, With all-surveying eye? Doth not his power all nature fill, Around, beneath, on high?
- 44. Know, hadst thoueagle-pinions free, To track the realms of air, Thou couldst not reach a spot, where He Would not be with thee there! In the wide city’s peopled towers, On the vast ocean’s plains, Midst the deep woodland’s loneliest bowers, Alike the Almighty reigns! Then fear not, though the angry sky A thousand darts should cast; Why should we tremble, e’en to die, And be with Him at last? THE BIRDS. “Are not five sparrows sold for two farthings; and not one of them is forgotten before God?”—St Luke, xii. 6. Tribes of the air! whose favour’d race May wander through the realms of space, Free guests of earth and sky; In form, in plumage, and in song, What gifts of nature mark your throng With bright variety! Nor differ less your forms, your flight, Your dwellings hid from hostile sight, And the wild haunts ye love; Birds of the gentle beak![407] how dear Your wood-note to the wanderer’s ear, In shadowy vale or grove! Far other scenes, remote, sublime, Where swain or hunter may not climb
- 45. The mountain-eagle seeks; Alonehe reigns a monarch there, Scarce will the chamois’ footstep dare Ascend his Alpine peaks. Others there are that make their home Where the white billows roar and foam Around the o’erhanging rock; Fearless they skim the angry wave, Or, shelter’d in their sea-beat cave, The tempest’s fury mock. Where Afric’s burning realm expands, The ostrich haunts the desert-sands, Parch’d by the blaze of day; The swan, where northern rivers glide, Through the tall reeds that fringe their tide Floats graceful on her way. The condor, where the Andes tower, Spreads his broad wing of pride and power, And many a storm defies; Bright in the Orient realms of morn, All beauty’s richest hues adorn The bird of paradise. Some, amidst India’s groves of palm, And spicy forests breathing balm, Weave soft their pendant nest; Some, deep in Western wilds, display Their fairy form and plumage gay, In rainbow colours drest. Others no varied song may pour, May boast no eagle-plume to soar, No tints of light may wear;
- 46. Yet know, ourHeavenly Father guides The least of these, and well provides For each, with tenderest care. Shall He not then thy guardian be? Will not His aid extend to thee? Oh, safely may’st thou rest!— Trust in His love; and e’en should pain, Should sorrow, tempt thee to complain, Know what He wills is best! [407] The Italians call all singing-birds, birds of the gentle beak. THE SKYLARK. CHILD’S MORNING HYMN. The skylark, when the dews of morn Hang tremulous on flower and thorn, And violets round his nest exhale Their fragrance on the early gale, To the first sunbeam spreads his wings, Buoyant with joy, and soars and sings. He rests not on the leafy spray To warble his exulting lay; But high above the morning cloud Mounts in triumphant freedom proud, And swells, when nearest to the sky, His notes of sweetest ecstasy. Thus, my Creator! thus the more My spirit’s wing to Thee can soar, The more she triumphs to behold Thy love in all thy works unfold, And bids her hymns of rapture be Most glad, when rising most to Thee!
- 47. THE NIGHTINGALE. CHILD’S EVENINGHYMN. When twilight’s gray and pensive hour Brings the low breeze, and shuts the flower, And bids the solitary star Shine in pale beauty from afar; When gathering shades the landscape veil, And peasants seek their village-dale, And mists from river-wave arise, And dew in every blossom lies; When evening’s primrose opes to shed Soft fragrance round her grassy bed; When glow-worms in the wood-walk light Their lamp to cheer the traveller’s sight;— At that calm hour, so still, so pale, Awakes the lonely nightingale; And from a hermitage of shade Fills with her voice the forest glade. And sweeter far that melting voice Than all which through the day rejoice; And still shall bard and wanderer love The twilight music of the grove. Father in heaven! oh, thus when day With all its cares hath pass’d away, And silent hours waft peace on earth, And hush the louder strains of mirth; Thus may sweet songs of praise and prayer To Thee my spirit’s offering bear— Yon star, my signal, set on high,
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