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MORAL.—He left the name at which the world grew pale,
To point a moral, or adorn a tale.

Dr. Johnson.-Vanity of Human Wishes,

Line 221.
Our stage-play has a moral-and, no doubt,
You all have sense enough to find it out.

GAY.-What do Ye Call it ? Epilogue.

From morn To noon he fell, from noon to dewy eve.

Milton.-Paradise Lost, Book I. Line 742.
From morn till night, from night till startled morn.

BYRON.-Childe Harold, Canto I. Stanza 54.
The sun had long since in the lap
Of Thetis taken out his nap,
And, like a lobster boil'd, the morn
From black to red began to turn.

BUTLER.—Hudibras, Part II, Canto II. Line 29. The morn that lights you to your love.

COLLINS.-Eclogue I. Line 23. (Selim.) MORNING.–The day begins to break, and night is fled, Whose pitchy mantle over-veil'd the earth.

SHAKSPERE.—King Henry VI. Part I. Act II.

Scene 2.
The grey-ey'd morn smiles on the frowning night,
Checkering the eastern clouds with streaks of light.

SHAKSPERE.—Romeo and Juliet, Act II. Scene 3.
Night's swift dragons cut the clouds full fast,
And yonder shines Aurora's harbinger;
At whose approach, ghosts, wandering here and there,
Troop home to churchyards.

SHAKSPERE.—Midsummer Night's Dream, Act III.
Scene 2.

The silent hours steal on,
And flaky darkness breaks within the east.
SHAKSPERE.—King Richard III. Act V. Scene 3.

Morn, Wak'd by the circling hours, with rosy hand Unbarr'd the gates of light.

MILTON.-Paradise Lost, Book VI. Line 2,

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MORNING.–Parent of day! whose beauteous beams of light, Spring from the darksome womb of night.

YALDEN.—Hymn to Morning,

Brown night Retires : young day pours in apace.

Thomson.-Summer, Line 51. Breaking the melancholy shades of night.

Prior.—Love and Friendship. The meek-ey'd morn appears, mother of dews.

Thomson.-Summer, Line 47.
When day arises, in that sweet hour of prime.

See how the morning opes her golden gates,
And takes her farewell of the glorious sun!

SHAKSPERE.—Henry VI. Part III. Act II. Scene I
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountains' tops.

SHAKSPERE.—Romeo and Juliet, Act III. Scene 5. MORTAL.-All men think all men mortal but themselves.

Young.–Night I. Line 424. MORTAR.-If he take you in hand, sir, with an argument, He'll bray you in a mortar.

Ben Jonson.—The Alchemist, Act II. Scene 1. MOTES.—The gay motes that people the sunbeams.

MILTON.-I1 Penseroso, Line 8.
Like motes dependent on the sunny beam.

HooD.-Midsummer Fairies, Verse 23.
MOTHER.–There is a sight all hearts beguiling-
A youthful mother to her infant smiling,
Who with spread arms and dancing feet,
And cooing voice, returns its answer sweet.

BAILLIE.—Legend of Lady Griseld, Verse 32.
Where yet was ever found a mother
Who'd give her booby for another?

GAY.-Fable III. Line 33.
O wonderful son, that can so astonish a mother!

SHAKSPERE.—Hamlet, Act III. Scene 2.

(To Rosencrantz.)

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MOULD.—No autumn, nor no age, ever approach
This heavenly piece, which, Nature having wrought,
She lost her needle.

MASSINGER and FIELD.–Fatal Dowry, Act II.

Scene 2.

I think Nature hath lost the mould

Where she her shape did take; Or else I doubt if Nature could So fair a creature make.

ANONYMOUS.-Gilfillan's specimens of the less

known British Poets, Vol. I. Page 132.
There camps his son: of all his following
Is none so beauteous: Nature broke the mould
In which she cast him.

ARIOSTO.—The Orlando Furioso, Canto X.

Stanza 84. (Rose's Translation.)
Nature, despairing e'er to make the like,
Brake suddenly the mould in which 'twas fashion'd.

MASSINGER.— The Parliament of Love, Act V.

Scene last.

Sighing that Nature form'd but one such man,
And broke the die-in moulding Sheridan,

Byron.-Monody on the Death of R. B. Sheridan. MOUNTAINS.—The mountains and the hills shall break

forth before you into singing, and all the trees of the field shall clap their hands.

ISAIAH, Chap. LV. Verse 12. For joy, even the unshorn mountains raise their voices to the

stars: now the very rocks, the very groves, resound these notes.

BUCKLEY's Virgil, Ecl. V. Page 15. And wave your tops, ye pines, with every plant, in sign of worship wave.

MILTON.-Paradise Lost, Book V.

MOUSE.—The country mouse stole ont from his hiding-place,

and bidding his friend good-bye, whispered in his ear, “Oh, my good sir, this fine mode of living may do for those who like it; but give me my barley bread in peace and security, before the daintiest feast where fear and care are in waiting."

Esop.-Fable 30.

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MOUSE.-The bumpkin then concludes, Adieu !
This life perhaps agrees with you:
My grove and cave, secure from snares,
Shall comfort me with chaff and tares.

FRANCIS’ Horace, Book II. Sat. VI. Line 231.
Give me again my hollow tree,
A crust of bread, and liberty!

POPE.-Sat VI. last lines.

MOUTH.-I love the sex, and sometimes would reverse

The tyrant's wish, “That mankind only had
One neck, which he with one fell stroke might pierce;"

My wish is quite as wide, but not so bad,
And much more tender on the whole than fierce;

It being (not now, but only while a lad)
That womankind had but one rosy mouth,
To kiss them all at once from north to south.

Byron.-Don Juan, Canto VI. Stanza 27.
MOUTHS.-He mouths a sentence as curs mouth a bone.

CHURCHILL.—The Rosciad, Line 322. MULTITUDE.-We too are a multitude.

OviD.-Meta., Book I. Verse 355.

It is the practice of the multitude to bark at eminent men, as little dogs do at strangers.

SENECA.–Of a Happy Life, Chap. XV.
MURDER.—'Twas not enough
By subtle fraud to snatch a single life:
Puny impiety! whole kingdoms fell
To sate the lust of power: more horrid still,
The foulest stain and scandal of our nature,
Became its boast. One murder made a villain ;
Millions a hero.

Dr. Porteus.—Poem on Death.
One to destroy is murder by the law,
And gibbets keep the lifted hand in awe;
To murder thousands takes a specious name,
War's glorious art, and gives immortal fame.

Young.–Love of Fame, Satire VII. Line 55.

Murder may pass unpuni-h'd for a time,
But tardy justice will o'ertake the crime.

DRYDEN.—The Cock and Fox.

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MURDER.-Foul deeds will rise,
Though all the earth o'erwhelm them, to men's eyes.

SHAKSPERE.—Hamlet, Act I. Scene 2.

(After hearing of his Father's Ghost.) For murther, though it have no tongue, will speak With most miraculous organ.

SMAKSPERE.—Hamlet, Act II. Scene 2.

(Chiding hinuself for his apathy.) Murther most foul, as in the best it is.

SHAKSPERE.—Hamlet, Act I. Scene 5.

(His Father's Ghost to him.) 'Tis of all vices the most contrary To every virtue, and humanity ; For they intend the pleasure and delight, But this the dissolution, of nature.

MARMION.—The Antiquary, Act III. Scene 1. MURMURS.—With murmurs of soft rills and whispering trees.

Garth.—The Dispensary, Canto I. Line 84. As for murmurs, mother, we grumble a little now and then, to be sure. But there's no love lost between us.

GOLDSMITH.—She Stoops to Conquer, Act IV.

(Tony Lumpkin to Mrs. Hardcastle.) MUSE.-0, for a muse of fire, that would ascend The brightest heaven of invention.

SHAKSPERE.—King Henry V. Chorus.
MUSIC.-Music has charms to soothe a savage breast,
To soften rocks, or bend a knotted oak.

CONGREVE.-Mourning Bride, Act I. Scene 1.
The man that hath no music in himself,
Nor is not mov'd with concord of sweet sounds,
Is fit for treasons, stratagems, and spoils;
The motions of his spirit are dull as night,
And his affections dark as Erebus :
Let no such man be trusted.

SHAKSPERE.—Merchant of Venice, Act V.

Scene 1. Of a sweet nature, goat-herd, is the murmuring of yon pine,

which tunefully rustles by the fountains: and sweetly too do you play on the pipe.

BANKS' Theocritus, Idyll I. Verse 8.

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