initial commit of ebook 22795HEADmain

334 files changed, 50581 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/22795-0.txt b/22795-0.txt
new file mode 100644
index 0000000..0995273
--- /dev/null
+++ b/22795-0.txt
@@ -0,0 +1,12147 @@
+The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Ontario High School Reader
+
+Author: A.E. Marty
+
+Release Date: September 28, 2007 [EBook #22795]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+
+
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+THE ONTARIO
+
+HIGH SCHOOL READER
+
+BY
+
+A. E. MARTY, M.A.
+
+COLLEGIATE INSTITUTE, OTTAWA
+
+[Illustration]
+
+Authorized by the Minister of Education for Ontario
+For Use In
+Continuation and High Schools and Collegiate Institutes
+
+THE CANADA PUBLISHING COMPANY, LIMITED
+TORONTO
+
+Copyright, Canada, 1911, by
+
+The Canada Publishing Company, Limited.
+
++--------------------------------------------------+
+| Transcriber's note: Words with bold font style   |
+| are enclosed in equal to (=) signs.              |
++--------------------------------------------------+
+
+
+
+
+PREFACE
+
+
+After communication with many of the teachers who have
+been using the Principles and Practice of Oral Reading in their
+classes, the author has made a number of important additions and
+changes. In its amended form the book is published under the
+title of the "Ontario High School Reader."
+
+As the book is intended for the teaching of oral reading it
+contains an introductory chapter on the Principles of Reading, and
+selections for practice, with appended notes. An effort has also
+been made to grade the selections in the order of their difficulty.
+Accordingly, a number of selections, each illustrating in a marked
+degree only one, or at most two, of the various elements of Vocal
+Expression, have been placed at the beginning; these should, of
+course, be taught before the more complex selections are attempted.
+
+It is not intended that the pupil shall master the chapter on
+the principles before beginning to read the selections; he should
+become familiar with each topic as it is illustrated in the lesson.
+In dealing with each lesson the teacher should first ascertain the
+elements of vocal expression that it best exemplifies. He should
+then discuss these elements with the pupils, using the necessary
+paragraphs of the Introduction, and such black-board exercises as
+he may deem necessary, until he is satisfied that the pupils are
+ready to undertake the study of the selection. At the oral reading
+the pupils should be able to show their mastery of the principles
+thus taught. Toward the close of the course, they will naturally
+read connectedly the various sections of the Introduction, in order
+to obtain a comprehensive and systematic view of the principles.
+
+To secure good reading, systematic drill on the exercises in
+Vowel Sounds and in Articulation is also necessary.
+
+
+
+
+TABLE OF CONTENTS
+
+PRINCIPLES OF READING                                               1-35
+
+Importance of Oral Reading                                             1
+
+Mechanical Side of Oral Reading                                        2
+    Correct Pronunciation, Distinct Articulation.
+
+Expression                                                             3
+    Concrete Thinking, Abstract Thinking, Emotion.
+
+Elements of Vocal Expression                                           7
+    Pause, Grouping, Time, Inflection, Pitch, Force,
+    Stress, Emphasis, Shading, Perspective, Quality.
+
+
+SELECTIONS 36-305
+
+_The Banner of St. George_        Shapcott Wensley                    36
+
+Jean Valjean and the Bishop       Victor Hugo                         38
+
+_The Well of St. Keyne_           Robert Southey                      43
+
+Faith, Hope and Charity           Bible                               46
+
+_The Legend Beautiful_            Henry W. Longfellow                 47
+
+The Vicar's Family Use Art        Oliver Goldsmith                    52
+
+_The Soldier's Dream_             Thomas Campbell                     58
+
+_Van Elsen_ Frederick             George Scott                        60
+
+_Pibroch of Donuil Dhu_           Sir Walter Scott                    61
+
+_The Day is Done_                 Henry W. Longfellow                 63
+
+The Schoolmaster and the Boys     Charles Dickens                     65
+
+_The Knights' Chorus_             Alfred, Lord Tennyson               70
+
+_The Northern Star_               Unknown                             71
+
+_The Indigo Bird_                 Ethelwyn Wetherald                  72
+
+_The Pasture Field_               Ethelwyn Wetherald                  73
+
+Shipwrecked                       Robert Louis Stevenson              75
+
+_On His Blindness_                John Milton                         80
+
+Briggs in Luck                    William M. Thackeray                81
+
+_The Laughing Sally_              Charles G. D. Roberts               84
+
+The Prodigal Son                  Bible                               88
+
+_Christmas at Sea_                Robert Louis Stevenson              90
+
+_The Evening Wind_                William Cullen Bryant               93
+
+_Paradise and the Peri_           Thomas Moore                        95
+
+_The Lady of Shalott_             Alfred, Lord Tennyson              100
+
+_Home they brought her
+   Warrior dead_                  Alfred, Lord Tennyson              107
+
+The Sky                           John Ruskin                        108
+
+_The Return of the Swallows_      Edmund W. Gosse                    111
+
+_Barbara Frietchie_               John Greenleaf Whittier            113
+
+Bless the Lord, O My Soul         Bible                              116
+
+_The Eternal Goodness_            John Greenleaf Whittier            118
+
+The King of Glory                 Bible                              119
+
+The Four-Horse Race               "Ralph Connor"                     121
+
+_Mrs. Malaprop's Views_           Richard B. Sheridan                126
+
+_The Glove and the Lions_         Leigh Hunt                         131
+
+_The Fickleness of a Roman Mob_   William Shakespeare                133
+
+_Sir Peter and Lady Teazle_       Richard B. Sheridan                136
+
+_The Parting of Marmion
+   and Douglas_                   Sir Walter Scott                   140
+
+_Columbus_                        Joaquin Miller                     143
+
+From the "Apology" of Socrates    Benjamin Jowett                    145
+
+_Highland Hospitality_            Sir Walter Scott                   151
+
+_The Outlaw_                      Sir Walter Scott                   154
+
+Of Studies Francis,               Lord Bacon                         157
+
+The Influence of Athens           Thomas Babington,
+                                    Lord Macaulay                    159
+
+National Morality                 John Bright                        161
+
+_Hamlet's Advice to the Players_  William Shakespeare                164
+
+_Rosabelle_                       Sir Walter Scott                   166
+
+_The Island of the Scots_         William E. Aytoun                  168
+
+Cranford Society                  Mrs. Gaskell                       178
+
+_Sir Galahad_                     Alfred, Lord Tennyson              182
+
+_Song for Saint Cecilia's Day_    John Dryden                        186
+
+_The Day was Lingering_           Charles Heavysege                  189
+
+_On First Looking into
+   Chapman's  Homer_              John Keats                         189
+
+_Great Things Were Ne'er
+   Begotten in an Hour_           Sir Daniel Wilson                  190
+
+_A Wood Lyric_                    William Wilfred Campbell           191
+
+_To Night_                        Percy Bysshe Shelley               193
+
+The Opening Scene at the Trial    Thomas Babington, Lord
+  of Warren Hastings                Macaulay                         194
+
+Peroration of Opening Speech
+  against Edmund Burke            Warren Hastings                    201
+
+_The Song My Paddle Sings_        E. Pauline Johnson                 203
+
+_The Defence of the Bridge_       Thomas Babington, Lord
+                                    Macaulay                         206
+
+On the Death of King Edward VII   Sir Herbert Henry
+                                    Asquith                          217
+
+The Heroes of Magersfontein      _The London Daily News_             221
+
+_Funeral of Julius Cæsar_         William Shakespeare                225
+
+_The Revenge_                     Alfred, Lord Tennyson              234
+
+_Hervé Riel_                      Robert Browning                    241
+
+The Handwriting on the Wall       Bible                              248
+
+Paul's Defence before King
+   Agrippa                        Bible                              251
+
+_The Stranded Ship_               Charles G. D. Roberts              254
+
+_Sir Patrick Spens_               Old Ballad                         258
+
+_King John and the Abbot of
+  Canterbury_                     Old Ballad                         262
+
+The Key to Human Happiness        George Eliot                       266
+
+_The Vision of Sir Launfal_       James Russell Lowell               271
+
+On the Death of Gladstone         Sir Wilfrid Laurier                278
+
+_The Downfall of Wolsey_          William Shakespeare                286
+
+_The Italian in England_          Robert Browning                    290
+
+Advantages of Imperial
+   Federation                     George Monro Grant                 296
+
+_Collect for Dominion Day_        Charles G. D. Roberts              305
+
+       *       *       *       *       *
+
+APPENDIX A. Exercises in Vocalization and Articulation 306
+
+         B. Physical Exercises                                       312
+
+         C. List of Reference Books                                  314
+
+       *       *       *       *       *
+
+
+
+PRINCIPLES OF READING
+
+=Importance of Oral Reading=
+
+
+There are several reasons why every boy or girl should strive to
+become a good reader. In the first place, good oral reading is an
+accomplishment in itself. It affords a great deal of pleasure to
+others as well as to ourselves. In the second place, it improves our
+everyday speech and is also a preparation for public speaking; for the
+one who reads with distinctness and an accent of refinement is likely
+to speak in the same way, whether in private conversation or on the
+public platform. Moreover, it is only one step from reading aloud
+before the class to recitation, and another step from recitation to
+public speaking. Lastly, oral reading is the best method of bringing
+out and conveying to others and to oneself all that a piece of
+literature expresses. For example, the voice is needed to bring out
+the musical effects of poetry. The following lines will illustrate
+this point:
+
+  But the sea-caves rung, and the wild winds sung
+  The dirge of lovely Rosabelle.
+
+Here the music of the rhythm and the harmony between sound and sense
+would be almost entirely lost in silent reading.
+
+The voice, too, is often the surest and most effective means of
+conveying differences of meaning and feeling in both prose and poetry.
+The following words from _Hervé Riel_ (pp. 241-247) may be made to
+convey different meanings according to the intonation of the voice:
+
+  Burn the fleet and ruin France?
+
+This may be read to express hesitation and deliberation, or, as is
+the evident intention, shewn by the context as well as by the
+punctuation, to express Hervé Riel's surprise and indignation that
+such a thought should be entertained.
+
+
+=Mechanical Side of Oral Reading=
+
+Now in what does oral reading consist? It consists, first of all, in
+recognizing the words, pronouncing them correctly, and articulating
+them distinctly. The pupil in the First Book, who is learning to read,
+is trying to master this side of reading, which is the mechanical
+side. He cannot be too careful as to the habits of speech he forms;
+for correct position of the organs of speech and proper control of the
+breath make for correct pronunciation and distinct articulation, which
+are two of the foundation stones of good reading.
+
+By =Correct Pronunciation=, we mean the pronunciation approved by a
+standard dictionary. Elegance and refinement of speech depend largely
+on the correct pronunciation of the vowel sounds. The vowel _a_, which
+is sounded in seven different ways in the English language, presents
+the greatest difficulty. Many people recognize at most, only the sound
+of a in _at_, _ate_, _all_, _far_, and _mortal_ respectively. They
+ignore the sound as in _air_, and the shorter quantity of the Italian
+_a_ in _ask_, giving the sound of a in _ate_ to the former and of _a_
+in _at_ or _a_ in _all_ or _a_ in _far_ to the latter. Another
+difficulty is that of distinguishing the sound of _oo_ in _roof,
+food_, etc., from the sound of _oo_ in _book_ and _good_, and from the
+sound of _u_ in such words as _pure_ and _duke_.
+
+Pronunciation, when perfectly pure, should be free from what we call
+provincialisms; that is, from any peculiarity of tone, accent, or
+vowel sound, which would mark the speaker as coming from any
+particular locality. If our pronunciation is perfectly pure, it does
+not indicate, in the slightest degree, the part of the country in
+which we have lived.
+
+=Distinct articulation= requires that each syllable should receive its
+full value, and that the end of a word should be enunciated as
+distinctly as the beginning. It depends largely on the way in which we
+utter the consonants, just as correct pronunciation depends on the
+enunciation of the vowels. Final consonants are easily slurred,
+especially in the case of words ending in two or more consonants,
+which present special difficulties of articulation. Such words are
+_mends_, _seethes_, _thirsteth_, _breathed_, etc. Sometimes, too, the
+careless reader fails to articulate two consonants separately when the
+first word ends with the consonant or consonant sound with which the
+second begins; for example, _Sir Richard Grenville lay_, _Spanish
+ships_; or when the first word ends with a consonant and the second
+begins with a vowel, as in _eats apples_, _not at all_, _an ox_, etc.
+On the other hand, too evident an effort to secure the proper
+enunciation of the sound elements should be avoided, since a stilted
+mode of utterance is thus produced.
+
+Exercises for drill in the vowel sounds and in articulation are
+provided in Appendix A.
+
+
+=Expression=
+
+Oral reading, however, even in its earliest stages, consists in more
+than recognizing words, pronouncing them correctly, and articulating
+them distinctly. It includes thinking thoughts, seeing mental
+pictures, (which is only another form of thinking) and feeling varied
+emotions--all while the mechanical act of reading is going on. To
+illustrate, let us take a line from _The Island of the Scots_:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+If we wish to read this line well, what must we do besides pronouncing
+the words correctly and articulating them distinctly? We must think
+about the meaning of what we read. This includes two kinds of
+thinking. In the example we first think the picture presented by the
+words; that is, we make a mental image of the little band of Scots,
+hand in hand, trying to ford the swiftly flowing waters of the swollen
+river. This is called concrete thinking. At the same time we form some
+judgment based on the picture. We think of the great determination and
+courage these men showed in struggling forward in spite of the danger.
+This is called =abstract thinking=. But, as we have said, a reader
+does more than think in these two ways--he feels; and feeling, or
+=emotion=, comes of itself, if the reader thinks in the two ways
+described, for emotion is the result of thinking. Especially is it the
+result of concrete thinking; for what we see, even if only with the
+mind's eye, stirs our emotions more than that of which we think in the
+abstract.
+
+While reading the line just quoted, there are three emotions which
+spring from the thinking. As we see these men struggling against the
+strong current we have an emotion of fear for them; then as we think
+of their determination and courage in the face of such great danger,
+an emotion of determination comes to us, for we identify ourselves
+with their fortunes; and lastly we are filled with admiration for
+their heroism. Thus we experience the three emotions of fear,
+determination, and admiration, while performing the mechanical act of
+reading the words. These emotions, together with the two kinds of
+thinking mentioned, affect the voice and the manner of reading, and
+determine what we call =expression=. If the words were simply repeated
+mechanically there would be no expression. Since expression involves
+the employment of so many different powers at one time, a mastery of
+the art of expression is much harder to acquire, than a mastery of
+merely the mechanical side of reading.
+
+Accordingly, good vocal expression springs primarily from something
+within ourselves--that is, from our mental and emotional state. It
+cannot be acquired by mechanical imitation, whether of the reading of
+another, or of the movements, sounds, and gestures indicated in the
+subject matter of what we read. Nevertheless it is very stimulating
+to hear a selection well read, not because a model is thus supplied
+for our imitation, but because we get a grasp of the selection as a
+whole, and because the voice, which possesses great power in stirring
+the imagination and the feelings, thus prepares within us the mental
+and emotional state necessary for the correct expression.
+
+In the same way, imitation of the movements, sounds, and gestures,
+suggested by the subject matter may be a stimulus to thought and
+feeling when preparing a selection, since what we have actually
+reproduced is more real to us than what we have only imagined. After
+such preparation, imitation, if it enters into the reading at all,
+will be spontaneous, and not intentional and forced. In reading _The
+Charge of the Light Brigade_ or _The Ride from Ghent to Aix_, we do
+not designedly hurry along to imitate rapidity of movement; but,
+rather, the imagination having been kindled by the picture, our pulse
+is quickened, and the voice moves rapidly in sympathy with the
+feelings aroused.
+
+In the following extract (p. 216) the atmosphere is one of joy. The
+reader is moved through sympathy with Horatius, and his voice
+indicates the joy of the Romans, but he does not attempt to imitate
+vocally, or by gesture, the "shouts," "clapping," and "weeping":
+
+  Now round him throng the Fathers
+  To press his gory hands;
+  And now, with shouts and clapping,
+  And noise of weeping loud,
+  He enters through the River-Gate,
+  Borne by the joyous crowd.
+
+Sometimes, as already stated, we imitate spontaneously:
+
+  Back darted Spurius Lartius;
+  Herminius darted back:
+  And, as they passed, beneath their feet
+  They felt the timbers crack.
+
+Here we imitate spontaneously the movement expressive of sudden fear.
+Our action is prompted by our own fears for their safety.
+
+Sometimes the feeling is still more complex. In reading the following
+we spontaneously reproduce Sextus' alternate hate and fear which,
+moreover, we tinge with our own contempt:
+
+  Thrice looked he at the city;
+  Thrice looked he at the dead;
+  And thrice came on in fury,
+  And thrice turned back in dread:
+  And, white with fear and hatred,
+  Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+  The bravest Tuscans lay.
+
+In reading the little poem from _The Princess_, (page 107) note how we
+are influenced by the tense emotion of the attendants who speak. We do
+not try to imitate them; but having made the scene stand out before
+us, we speak as we in imagination hear them, in an aspirated tone of
+voice:
+
+  She must weep or she will die.
+
+In the last line it would savour of melodrama to try to impersonate
+the lady as she says:
+
+  Sweet my child, I live for thee.
+
+The important point is to show intelligent sympathy with her speech,
+not to imitate her manner of uttering it.
+
+On the other hand we must not make the mistake of supposing that if we
+get the thought and the emotion, the true vocal expression will
+follow. One who has a fine appreciation of a piece of literature may,
+notwithstanding, read it very indifferently. Even in conversation
+where we are interpreting vocally our own thoughts and feelings, we
+sometimes misplace emphasis or employ the wrong inflection. How much
+more likely we are to fall into such errors when we attempt to
+interpret vocally from a book the thoughts of another.
+
+
+=Elements Of Vocal Expression=
+
+In order to criticise ourselves or understand intelligent criticism,
+we must have a knowledge of the laws that govern speech--that is, we
+must know what properties of tone or what acts of the voice correspond
+to certain mental and emotional states. For example, the amount and
+character of thinking done while we read determines the rate of
+utterance; the purpose or motive of the thought and its completeness
+or incompleteness are indicated by an upward or downward slide of the
+voice; the nervous tension expresses itself in a certain key; the
+physical and mental energy, in a certain power or volume of the voice;
+and the character of the emotion is reflected in the quality. These
+principles of vocal expression are known technically as the =elements=
+of =time=, =inflection=, =pitch=, =force=, and =quality=. Closely
+connected with these elements are =pause=, =grouping=, =stress=,
+=emphasis=, =shading=, and =perspective=.
+
+=Pause.= It must be quite clear that when we are reading silently, for
+the purpose of getting the thought for ourselves, our minds are at
+work as has been described. We shall now examine how this work done by
+the mind affects the voice and produces what we call good expression
+when we are reading aloud for the purpose of conveying thought to
+others. As an illustration we shall take an example from _The Glove
+and the Lions_:
+
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make his bride.
+
+In these lines there are certain words or phrases which stand out
+prominently, since they call up mental pictures, namely: "nobles,"
+"benches round," "Count de Lorge," and "one." In order to give time
+to make these mental pictures, we naturally pause after each one. At
+the end of the first line we combine the details, making a larger
+mental image, with the result that we make a long pause after "side."
+In reading the second line, the eye and the mind run ahead of the
+voice, and the reader, wishing to impress the listener with the new
+and important idea "Count de Lorge," pauses before it as well as after
+it. In the same way he pauses before the phrase, "he hoped to make his
+bride," to prepare the mind of the listener to receive the impression.
+Thus we see that, if the mind is working, a pause occurs after a word
+while we are making a mental image or trying to realize the idea more
+fully, and also often before we express an important idea, in order to
+prepare the mind of the listener for what is to come.
+
+A very useful exercise in the study of pause is to image the pictures
+in selections such as the following:
+
+  Come from deep glen (picture) and
+    From mountain so rocky; (picture)
+  The war pipe and pennon (picture)
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one; (picture)
+  Come every steel blade, (picture) and
+    Strong hand that bears one. (picture)
+
+  Leave untended the herd, (picture)
+    The flock without shelter; (picture)
+  Leave the corpse uninterred, (picture)
+    The bride at the altar; (picture)
+  Leave the deer, (picture) leave the steer, (picture)
+    Leave nets and barges: (picture)
+  Come with your fighting gear,
+    Broadswords and targes, (picture)
+
+Then, too, in passing from one idea or thought to another, the mind
+requires time to make the transition:
+
+  Stout Lartius hurled down Aunus
+    Into the stream beneath:
+  Herminius struck at Seius,
+    And clove him to the teeth:
+  At Picus brave Horatius
+    Darted one fiery thrust;
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+Here the mind passes in succession from the action of Lartius to that
+of Herminius and that of Horatius. A long pause is required after
+"beneath," "teeth," and "dust," with a shorter pause after "Seius" and
+after "thrust." Further, if the thoughts concern actions far apart,
+more time is required to make the transition, and hence a longer
+pause:
+
+  All day long that free flag toss'd
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And through the hill-gaps, sunset light
+  Shone over it with a warm good-night.
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+Note the transition in thought from the day on which these stirring
+events are supposed to have taken place to the present time. This is
+indicated by a long pause after "warm good-night."
+
+Sometimes the mind requires time to fill in ideas suggested but not
+expressed:
+
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon look'd down and saw not one.
+
+Here, the tearing down of the flags between the morning and noon, is
+suggested to the mind; hence a long pause after "wind."
+
+Where an ellipsis occurs and the meaning is not obvious, there is a
+pause to give time to realize the logical connection:
+
+  I'd rather rove with Edmund there
+  Than reign our English queen.
+
+  Here's the English can and will!
+
+Note the pauses after "reign," and "English" (second example).
+
+In such examples as the following where the meaning is obvious, the
+pauses after "them," "one," "weary," and "wounded," make prominent the
+important idea following:
+
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride.
+
+  The weary to sleep and the wounded to die.
+
+When preparing to read a selection, it is of great importance to make
+the leading thoughts stand out clearly in the mind so that we may be
+able to present them one by one. The poem _Barbara Frietchie_ (p. 113)
+could be divided into paragraphs with some such titles as the
+following: (1) the town of Frederick and its surroundings, (2) the
+approach of the army, (3) the tearing down of the flags, (4) the
+raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his
+men, and so on. Each of the paragraphs is a complete section of the
+poem, and requires a well-marked pause before passing on to the next
+one.
+
+=Grouping.= In the extract from _The Glove and the Lions_, used above
+to illustrate pause, the mental pictures and important ideas are
+suggested in nearly every ease by a single word. Ideas are, however,
+suggested as often by groups of words as by single words. These groups
+are treated as single words, and may take pauses before or after them
+as the case may be. The reader, who is thinking as he reads, will
+group together words that express one idea, or symbolize one picture,
+presenting these ideas and pictures to himself and to the listener one
+by one, and separating by a pause, of greater or less length, those
+not closely connected.
+
+  A slouched leather cap|| half hid his face| bronzed
+  by the sun and wind| and dripping with sweat.|| He
+  wore a cravat twisted like a rope|| coarse blue
+  trousers| worn and shabby| white on one knee| and
+  with holes in the other;|| an old ragged gray blouse|
+  patched on one side with a piece of green cloth|
+  sewed with twine;|| upon his back| was a well-filled
+  knapsack,|| in his hand| he carried an enormous
+  knotted stick;|| his stockingless feet| were in hobnailed
+  shoes;|| his hair was cropped|| and his beard
+  long.
+
+Here the double vertical lines mark off groups of words which express
+one idea or symbolize one picture, and which are therefore each
+separated from the other by a well-marked pause. The single vertical
+lines indicate a shorter pause between the subdivisions of each group.
+The phrase "an old ragged gray blouse patched on one side with a piece
+of green cloth sewed with twine" presents one picture by itself, and
+is separated from the context by a long pause, but each detail in this
+picture is presented in turn to the mind's eye, hence the shorter
+pauses after "blouse," "cloth," and "twine."
+
+The reader should be careful not to allow pause and grouping to
+produce a jerky effect, thus interfering with the rhythm. This applies
+especially to poetry, which demands, in order to preserve the rhythm,
+that the caesural pause should not be slighted, and that there should
+be a more or less marked pause at the end of each line:
+
+  And they had trod the Pass once more, and stoop'd on either side
+  To pluck the heather from the spot where he had dropped and died.
+
+In the second line, the caesural pause occurs after "spot," but the
+phrase "from the spot where he had dropped and died" expresses one
+idea and must be given as a whole. The rhythm and the grouping appear
+to be at variance; but the difficulty is easily overcome by making the
+caesural pause shorter than the pause after "heather" which introduces
+the group, and at the same time, by not allowing the voice to fall on
+the word "spot."
+
+The following affords another instance where the grouping appears to
+interfere with the rhythm:
+
+  If the husband of this gifted well
+  Shall drink before his wife,
+  A happy man thenceforth is he,
+  For he shall be master for life.
+
+"Of this gifted well" is evidently not connected in thought with
+"husband." It must be separated from "husband" by a pause and attached
+to "shall drink" at the beginning of the next line. To do this, it is
+not, however, necessary to omit the pause at the end of the line; for
+this would mar the effect of the rhythm. The difficulty is again
+overcome by making the pause at the end of the line shorter than the
+pauses which mark the grouping, and by not allowing the voice to fall
+on "well."
+
+=Time= is the rate at which we read. It is fast or slow according to
+the number and the length of the pauses between words and phrases, and
+also according to the length of time the reader dwells on the words
+themselves. There is perhaps no more frequent criticism made on
+reading than that it is too fast. What does this mean? It means that
+the reader is not doing enough thinking as he repeats the words.
+Consequently, he does not dwell on words that are full of meaning, nor
+pause before and after words and phrases to make the mental picture
+and to grasp the thought more fully. Moreover, for the benefit of the
+listener, the reading should be slower than is required by the reader
+for himself. The reader, with his eye on the page, can allow his eye
+and mind to run ahead of his voice, and can thus realize the thought
+in less time than the listener. The following line calls for a
+comparatively small amount of thinking:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+Here, there is little except what is on the surface, and the thoughts
+suggested by the words are of the kind to make the mind think rapidly.
+Hence the line is read in faster time than the average rate. Reading
+may, accordingly, be fast from one or both of two causes. First, when
+there is no background of thought for the mind to dwell upon, and
+second when the nature of the thoughts themselves, such as the
+narration of the rapid succession of events, impels to quick mental
+action. The following lines from _Pibroch of Donuil Dhu_ (p. 61) will
+serve as an illustration:
+
+  Faster come, faster come,
+    Faster and faster,
+  Chief, vassal, page and groom,
+    Tenant and master.
+  Fast they come, fast they come;
+    See how they gather! etc.
+
+So, too, reading may be slow from the exact opposite of these two
+reasons. First, when there is a great back-ground of thought suggested
+by the words, and second, when the reflective and meditative nature of
+the thought leads to slow action on the part of the mind. In some
+selections both of these conditions are present; in others only one of
+them. In _The Day is Done_ (p. 63) there is little thought below the
+surface; but the reading is slow because the quiet, meditative nature
+of the thought tends to slow mental action:
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+Both conditions, however, exist in the lines from _Barbara Frietchie_
+which describe the effect produced on Stonewall Jackson by Barbara
+Frietchie's heroic action and daring speech:
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came.
+
+A great many thoughts are suggested by these two lines. The heart of
+the gallant Southerner is touched at the sight of this weak, decrepit
+old woman with the courage and boldness of youth, ready to die for her
+principles. His stern features relax and a look of sadness passes over
+his face. The taunting words "spare your country's flag" have struck
+home. The tragic side of civil war is forced upon him--father fighting
+against son, and brother against brother, the sons of freedom firing
+at their own star-spangled banner. The sorrow and the shame of it all
+rise before him, and the crimson flush mounts to his brow. With this
+undercurrent of thought in the mind, it is impossible to read rapidly.
+Besides, the reflective nature of the thoughts themselves tends to
+make one repeat the words slowly.
+
+Sometimes, again, reading is faster than the moderate rate because of
+the unimportance of the events or facts:
+
+  He spoke of the grass, the flowers and the trees,
+  Of the singing birds and the humming bees;
+  Then talked of the haying, and wondered whether
+  The cloud in the west would bring foul weather.
+
+Note the lightness with which the unimportant details of conversation
+are skimmed over.
+
+
+=Inflection.= If we listen to the speech of the people around us, we
+can easily detect an upward slide of the voice on some words, a
+downward slide on others, and on others again a combination of the
+two. This slide of the voice on words--generally on the accented
+syllable of an emphatic word--is called =inflection=, and the various
+inflections are known as _rising_ (/), _falling_ (\), _rising
+circumflex_ (\/), and _falling_ circumflex (/\).
+
+Each inflection has a definite and fixed meaning recognized by every
+one, and it is because of the laws of inflection that we can tell what
+meaning a speaker intends to convey when he uses certain words; for
+often the same words may carry two or three different meanings
+according to the inflection. The simple word "Yes," with an abrupt
+downward slide, expresses decided affirmation. When spoken with an
+upward slide, it expresses interrogation and is equivalent to "Is that
+really so?" When it has a combination of the downward and upward slide
+or a rising circumflex inflection, the meaning is no longer simple but
+complex. There is an assertion combined with doubt. It is equivalent
+to saying: "I think so but I am not really sure." In such a sentence
+as: "Do not say 'yes,'" where the idea "but say 'no,'" is merely
+implied, but not formally expressed, the word "yes" has a combination
+of the upward and downward slide or a falling circumflex inflection.
+
+If we take an idea for its own sake, if it is independent and complete
+in itself, the voice has the downward slide or falling inflection on
+the words which stand for the central idea:
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel.
+
+Each statement is complete in itself and has the falling inflection.
+
+Sometimes there is a slight downward slide before the statement is
+completed, because the mind feels that the ideas already expressed
+are of sufficient force to give them the value of completeness:
+
+  My strength is as the strength of tèn,
+    Because my heart is pure.
+
+  And the sick men down in the hold were most of them stark and còld,
+  And the pikes were all broken or bènt, and the powder was all of it
+    spènt;
+  And the masts and the rigging were lying over the side.
+
+Note the momentary completeness on "ten," "cold," "bent," and "spent,"
+requiring the falling inflection.
+
+If on the other hand an idea is incomplete, either pointing forward to
+some other idea or being subordinate, the voice has the upward slide
+or rising inflection. The rising inflection, like the falling, may be
+long or short, more or less abrupt, according to the importance of the
+thought:
+
+  Shé, with all a monarch's príde,
+  Felt them in her bosom glow.
+
+"She" points forward to the predicate "felt" and because of the
+importance of the idea it takes a long rising inflection; "with all a
+monarch's pride" being subordinate and incomplete also requires the
+voice to be kept up, but takes a shorter rising inflection.
+
+It is of the greatest importance to know the exact purpose of the
+thought, so that the voice may, of itself, give the corresponding
+inflection:
+
+  And you may gather garlánds thére
+  Would grace a summer quèen.
+
+The sense is evidently not complete in the first line, the intention
+being to emphasize the beauty of the garlands to be gathered, and not
+merely to state that they may be gathered there. When the reader
+understands the exact meaning he will convey it by keeping the rising
+inflection on "garlands."
+
+Similar to the foregoing is the following:
+
+  There is not a wífe in the wést cóuntry
+  But has heard of the Wèll of St. Kèyne.
+
+The sense is not complete until we read the second line. The rising
+inflection on "country" indicates this and connects the first line
+with the second, bringing out the meaning, that every wife in the west
+country has heard of the Well of St. Keyne.
+
+Sometimes we have a series of rising inflections, all pointing forward
+to the leading statement which is to follow and which is necessary to
+complete the sense, for example:
+
+  Of man's first disobédience and the frúit
+  Of that forbidden trée, whose mortal táste
+  Brought déath into the wórld, and all our wóe,
+  With loss of Éden, till one greater mán
+  Restóre us, and regáin the blissful séat,
+  Sing, heàvenly Mùse.
+
+Incompleteness may be suggested by a negative statement or its
+equivalent:
+
+  Nót from the grand old másters,
+    Nót from the bárds sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.
+
+  I do not know what I was pláying,
+    Or what I was dréaming thén,
+  But I struck one chord of music
+    Like the sound of a great Amen.
+
+Note the rising inflection on these negative clauses.
+
+On the same principle the rising inflection is used on the negative
+statements of persuasive argument as in the _Apology of Socrates_ (p.
+145).
+
+  But I thought that I ought not to do anything
+  common or mean, in the hour of danger: nor do I
+  now repent of the manner of my defence.
+
+  For neither in war nor yet at law ought any man
+  to use every way of escaping death.
+
+  Not so; the deficiency which led to my conviction
+  was not of words--certainly not.
+
+Doubt and hesitation also imply incompleteness:
+
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wondrous fine;
+  I'll drop my glove to prove his love; great glory will be mine!
+
+Note the rising inflection on the first two lines where the lady is
+still in doubt as to what shall be the test of De Lorge's love, and
+the falling inflection on the last one when she has reached a
+decision.
+
+Pleading and entreaty also convey a sense of incompleteness and take
+the rising inflection:
+
+  Good friends, sweet friends, let me not stir you up
+  To such a sudden flood of mutiny.
+
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+
+A direct interrogation, that is, one that can be answered by "Yes" or
+"No", implies incompleteness in the mind of the questioner and
+requires a decided rising inflection:
+
+  Is your name Shýlock?
+
+  May you stéad me? Will you pléasure me? Shall I knów your ánswer?
+
+Questions that require an explanatory answer and cannot be answered by
+"Yes" or "No," do not convey an idea of incompleteness, being merely
+equivalent to the statement of a desire for certain information.
+Consequently they take the falling inflection:
+
+  _Flav._ Speàk, whàt tràde art thòu?
+  _1st Cit._ Why, sir, a carpenter.
+  _Mar._ Where is thy leather àpron, and thy rùle?
+  What dost thou with thy best appàrel òn?--
+  You, sir, whàt tràde are yoù?
+
+The purpose or motive of a question must be considered. We must know
+whether the question is asked for information, or whether its purpose
+is to give information; that is, whether it is only another way of
+making an assertion--what is sometimes called a question of appeal.
+When Shylock asks Portia: "Shall I not have barely my principal?" he
+does so with the direct purpose of learning his sentence. His question
+can be answered by "Yes" or "No" and the rising inflection is used.
+But when he asks: "On what compulsion must I?" he means simply to give
+the information that there is no power on earth to compel him. This is
+a complete thought, hence the falling inflection. Other examples are:
+
+  Have you e'er heard of gallant like young Lochinvar?
+
+  God of battles, was ever a battle like this in the world before?
+
+  What conquest brings he home?
+  What tributaries follow him to Rome,
+  To grace in captive bonds his chariot wheels?
+
+The opposite inflections on antithetical words or phrases are also due
+to this law of completeness and incompleteness. The first part of the
+antithesis usually has the rising inflection marking incompleteness,
+and the second, the falling, marking completeness.
+
+  Hís blast is heard at merry mórn,
+  And mìne at dèad of nìght.
+
+  For this thy brother was déad, and is àlive again;
+  and was lóst, and is foùnd.
+
+Similarly, in a series of words or phrases parallel in construction,
+all have the rising inflection but the last:
+
+  As Cæsar lóved me, I wéep for him; as he was
+  fortúnate, I rejóice at it; as he was válíant, I hónour
+  him; but as he was ambìtious, I slèw him! There is
+  teárs for his lóve; jóy for his fórtune; hónour for
+  his válour; and deàth for his ambìtion.
+
+  Cráfty men contémn studies; símple men admíre
+  them; and wìse men ùse them.
+
+If one part of the antithesis is a negation, it takes the rising
+inflection, whether it comes first or second. This is owing
+to the fact that, as illustrated above, a negation implies
+incompleteness. The other part then takes the falling inflection:
+
+  Fall into the hands of Gòd, not into the hands of Spáin.
+
+  I come to bùry Cæsar, not to práise him.
+
+  I said an èlder soldier, not a bétter.
+
+Often only one part of the antithesis is expressed, the contrast being
+implied. In such a case, the voice brings out the contrast by placing
+a combination of the two inflections of the regularly expressed
+antithesis on the one word which does duty for both parts: Cassius
+says: "I said an elder soldier, not a better" in reply to Brutus'
+speech--"You say you are a better soldier." The antithesis is fully
+expressed, and the voice places the falling inflection on "elder" and
+the rising inflection on "better." If Cassius had omitted the words
+"not a better," the very same meaning could have been conveyed by
+placing a combination of the rising and the falling inflection or a
+falling circumflex on the word "elder," thus--"I said an êlder
+soldier." In the next line he goes on to say "Did I say bĕtter?"
+Here, there is an implied contrast with "elder," which is expressed by
+a combination of the falling and the rising inflection or a rising
+circumflex. From these two examples, we can see that the law of
+completeness and incompleteness holds good with the compound or
+circumflex inflection, just as it does with the simple inflection, and
+determines whether the circumflex shall be rising or falling.
+
+A very common mistake in reading is to use the circumflex inflection
+in emphasizing a word, thus making a contrast where none is intended.
+"Ramped and roared the lions" with a falling circumflex inflection on
+"lions," instead of a simple falling inflection, suggests that the
+tigers or some other animals did not ramp and roar. For similar
+reasons, avoid the circumflex when emphasizing "hand" and "feet" in
+"put a ring on his hand and shoes on his feet."
+
+As has already been stated, it is necessary to know the motive behind
+the words. When Shylock says: "O wise and upright judge," his
+intention is evidently to bestow sincere praise. The reader, knowing
+this, instinctively gives a straight slide. Later, when Gratiano says:
+"O upright judge, O learned judge!" his intention is to taunt and hold
+up to ridicule; there is a double meaning conveyed, which finds its
+natural expression in a curved inflection.
+
+Compare the curved inflections in the cobbler's speeches in Act I.
+Scene I, of _Julius Cæsar_ (p. 133) when he is fencing with Marullus,
+with the straight inflections of his final speech when he has thrown
+aside his raillery and speaks with sincerity:
+
+    ~     ~       ~               ~
+  Truly, sir, to wear out their shoes, to get myself
+      ~    ~
+  in more work. But, indeèd, sir, we make hòliday to
+
+  see C`æsar, and to rejoìce in his triùmph.
+
+One writer has said: "Where there is simple and genuine thought, deep
+and sincere feeling, wherever the eye is single, the inflections of
+the voice are straight; a crook in the mind however is indicated by a
+crook in the voice."
+
+=Pitch= is the key of the voice. A change of pitch is a leap from one
+key to another during silence. Inflection, as we have seen, is a
+gradual change in the key while the voice is speaking. The pitch or
+key depends upon the muscular tension of the vocal chords, which act
+like the strings of a musical instrument: the greater the tension, the
+higher the key. Muscular tension implies nervous tension and this is
+dependent upon the mental state. If the mind is calm, the nervous and
+muscular tension is normal, and the speaker uses the key habitual to
+him in his ordinary speech. If the mental state is one of excitement,
+the key is higher because of greater nervous and muscular tension. If,
+on the other hand, the mental state is one of depression, the key is
+lower because of relaxed muscular tension.
+
+In _The Defence of the Bridge_ (p. 206) the Romans, seeing the danger
+of the heroes, are wrought up to a high state of nervous tension which
+finds its natural expression in the high-pitched voice:
+
+  "Come back, come back Horatius!"
+    Loud cried the Fathers all.
+  "Back, Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+Contrast with this the lower key of Horatius, who is calm and
+self-controlled:
+
+  "O Tiber! Father Tiber!
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+
+Observe the gradual rise in pitch with the increase of tension or
+excitement in the following:
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+In the following lines, where the Douglas holds communion with
+himself, the tension is low chiefly because of his great mental
+depression, and, consequently, he speaks in a low key:
+
+  Yes! all is true my fears could frame;
+  A prisoner lies the noble Graeme,
+  And fiery Roderick soon will feel
+  The vengeance of the royal steel.
+  I, only I, can ward their fate,--
+  God grant the ransom come not late.
+  The abbess hath her promise given.
+  My child shall be the bride of Heaven:--
+  Be pardoned one repining tear!
+  For he, who gave her, knows how dear,
+  How excellent! but that is by,
+  And now my business is--to die.
+
+The low pitch is also partly due to the fact that the Douglas is
+speaking to himself, and has no desire to communicate his thoughts to
+another; for the effort to communicate thought causes increased
+tension.
+
+Again, it requires greater effort to address a person who is at a
+distance than one close at hand, or to address a large audience than
+a small one. Observe the comparatively high pitch in which Antony (p.
+225) begins his oration:
+
+  Friends, Romans, countrymen, lend me your ears;
+  I come to bury Cæsar, not to praise him.
+
+If the reader wishes to give prominence to a thought, the effort put
+forth causes muscular tension, resulting in a higher pitch. On the
+other hand, a thought, which the reader regards as not of special
+importance to the listener, finds expression in lower pitch, more as
+if he were addressing himself:
+
+  Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+
+Observe the lower pitch of the subordinate clauses in the first four
+lines, and the higher pitch in the last two lines which project the
+leading thought.
+
+  "I think, boys," said the schoolmaster, when the
+  clock struck twelve, "that I shall give an extra half-holiday
+  this afternoon."
+
+Similarly, the narrative clause "said the schoolmaster" which
+interrupts the direct speech is read in lower pitch and is separated
+by a marked pause before and after.
+
+Parenthetical expressions, also for the same reason, are read in lower
+pitch.
+
+  She had not perceived--how could she until she
+  had lived longer?--the inmost truth of the old
+  monk's outpourings, that renunciation remains sorrow,
+  though a sorrow borne willingly.
+
+  He (Mr. Pickwick) would not deny that he was
+  influenced by human passions, and human feelings,
+  (cheers)--possibly by human weaknesses--(loud
+  cries of "No"); but this he would say, that if ever
+  the fire of self-importance broke out in his bosom,
+  the desire to benefit the human race in preference,
+  effectually quenched it.
+
+Passages which are collateral or co-ordinate in construction, and
+equally balanced, will find their natural vocal expression in the same
+pitch and, of course, the pitch varies as the attitude of the mind
+changes:
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon looked down and saw not one.
+
+The first two lines have the same pitch, because there is no
+difference in intensity of feeling or in the mental conception. There
+is, however, an entire change of thought beginning with "the sun."
+This is accompanied by a change of pitch.
+
+=Force.= Force is vocal energy; in other words, it is the power or
+volume of the voice, and is determined by the amount of physical and
+mental energy exerted by the speaker.
+
+The language of everyday conversation, when not marked by intensity of
+feeling or purpose, requires only a moderate amount of physical and
+mental energy and is expressed by _moderate force_. Intensity of
+feeling or purpose, on the other hand, is accompanied by a great
+expenditure of energy, and finds its natural outlet in _strong force_.
+In the following lines, (p. 132) the king's emphatic approval of De
+Lorge's action and his vehement condemnation of the lady's vanity find
+expression in strong force:
+
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+Compare the moderate amount of energy expended in uttering the
+narrative clauses "cried Francis," "and he rose from where he sat,"
+and "quoth he," which should be read with moderate force.
+
+More physical energy is expended in making one's self understood at a
+distance than near at hand, and in addressing a large audience than a
+small one; hence strong force is used in the following where it is
+accompanied by a loud tone of voice:
+
+  "Come back, come back Horatius!"
+  Loud cried the Fathers all.
+
+But strong force does not necessarily imply a loud tone of voice:
+
+  "Curse on him!" quoth false Sextus;
+    "Will not the villain drown?
+  But for this stay, ere close of day
+    We should have sacked the town!"
+
+Here Sextus gives vent to his concentrated hate for Horatius and
+speaks with strong force, but not in a loud tone of voice.
+
+The effort to influence the mind and action of others draws on a great
+fund of mental energy; hence commands, persuasion, and argument, all
+find their vocal expression in strong force. Hervé Riel, urging the
+captains to allow him to pilot the ships, speaks with strong force:
+
+  Sirs, they know I speak the truth! Sirs, believe me there's a way!
+  Only let me lead the line,
+
+  When the mental or physical energy is at a low ebb we
+  speak with _weak force_:
+
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+  Take me out, sink me deep in the green profound,
+  To sway with the long-weed, swing with the drowned,
+  Where the change of the soft tide makes no sound,
+  Far below the keels of the outward bound.
+
+For the same reason such poems as _The Day is Done_, (p. 63) and Part
+IV, of _The Lady of Shalott_, (p. 200) are read with gentle force.
+
+A change in force often accompanies a change in pitch. The lower pitch
+of parenthetical expressions, and narrative clauses which interrupt
+direct discourse, is accompanied by weaker force, and the higher pitch
+resulting from the efforts to make one's self heard at a distance is
+accompanied by stronger force.
+
+=Stress= is force applied to the vowel sound. When we are taken by
+surprise and give expression to it by means of the one word "Oh," we
+apply the force or volume of the voice to the beginning of the vowel
+sound. This is called _initial or radical stress_ (>). When we wish to
+give a very emphatic denial to a statement, or to insist on a refusal
+to some persistent request we say "No," gradually increasing the force
+of the voice to the last part of the vowel sound. This is called
+_final_ or _vanishing stress_ (<). Again, if our minds are uplifted
+with wonder and delight at something we have heard or seen, we exclaim
+"Oh" applying the force to the middle of the vowel sound. This swell
+of the vowel sound is called _median stress_ (<>).
+
+It has already been pointed out that force depends upon the _amount_
+of energy. The above examples show that stress or the location of
+force depends upon the _kind_ of mental energy, or the attitude of
+mind, whether it be that of abruptness, of insistence, or of uplift.
+
+All speech has a slight tendency toward initial stress, because the
+effort made by the vocal chords to articulate sound is characterized
+by abruptness. If, in addition, the mental energy of the speaker
+possesses abruptness through sudden impulse or emotion, or through
+unconscious imitation of sound or movement, the initial stress is
+very prominent:
+
+  _Where_ is thy leather apron, and thy rule?
+  _What_ dost thou with thy best apparel on?--
+  _You_, sir, _what trade_ are _you_?
+
+  _Quick_, as it fell, from the broken staff
+  Dame Barbara _snatched_ the silken scarf.
+
+  She leaned far out on the window-sill,
+  And _shook_ it forth with a royal will.
+
+  While I nodded, nearly napping, suddenly there came a tapping,
+  As of some one gently rapping, rapping at my chamber door.
+
+If the speaker desires to impress on others his own feelings or
+convictions, the final stress is the result. Such insistence is found
+in the expression of anger, scorn, indignation, and determination:
+
+  _Burn_ the fleet and _ruin_ France?
+  That were _worse_ than _fifty_ Hogues!
+  Sirs, they _know_ I speak the truth!
+  Sirs, _believe_ me, _there's a way_!
+
+In the first two lines Hervé Riel wishes to make others feel his own
+indignation at the thought of burning the fleet. In the last two, he
+tries to impress them with his conviction that there is a way out of
+the difficulty. Hence the final stress in each case.
+
+Sometimes the speaker tries to enforce his own opinion by peevishness,
+whining, or complaining, with the result that he uses the final
+stress:
+
+_Lady Teazle._ Then _why_ will you _endeavour_ to
+make yourself so _disagreeable_ to me, and _thwart_ me
+in _every little elegant expense_?
+
+_Sir Peter._ Madam, I say, had you any of these
+little elegant expenses when you married me?
+
+_Lady Teazle._ _Sir Peter!_ would you have me be
+_out of the fashion_?
+
+If the mental energy or mental attitude is one of uplift or
+exaltation, expressing itself in adoration of the Deity, or in
+admiration and love of the beautiful, or in sympathy and tenderness
+toward mankind, the median stress is used:
+
+  Bless the Lord, O my soul: and all that is within me, bless his
+    holy name.
+
+  _Roll on_, thou _deep_ and _dark_ blue ocean--_roll_!
+
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries.
+
+Determination and settled conviction in the speaker's
+mind, especially when accompanied by a marked degree of
+dignity, calmness, and self-control, cause equal stress on
+every part of the vowel sound. This is called _thorough stress_:
+
+  If every ducat in six thousand ducats
+  Were in six parts, and every part a ducat,
+  I would not draw them; I would have my bond.
+
+It is the stress of quiet strength and great reserve force:
+
+Though the water flashed around them,
+  _Not an eye was seen to quiver_;
+Though the shot flew sharp and deadly,
+  _Not a man relax'd his hold_.
+
+In a more marked degree, it is also the stress used in calling:
+
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them in
+    the Rhine!"
+
+If the speaker's attitude of mind is not straightforward and sincere,
+if he speaks with a double meaning, in irony or sarcasm, the stress is
+a combination of the radical and final, known as _compound stress_
+(><). This is analogous to the compound inflection. See page 21.
+
+  Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?
+    Here lies the road to Rome.
+
+Accordingly, the compound stress is used when the intention is to
+taunt or to ridicule:
+
+_Sir Peter._ Ay--there again--taste! Zounds!
+Madam, you had no taste when you married me!
+
+_Lady Teazle._ _That's very true_, indeed, Sir Peter!
+and after having married _you_, I should _never pretend
+to taste again_, I allow.
+
+=Emphasis=--The importance of an idea, whether this idea is expressed
+by a single word, or by a phrase or clause, is indicated by a
+variation of pitch, force, or time. This change in pitch, force, or
+time, by attracting attention to that idea, is a means of emphasis. It
+is the new idea, or the idea which is important through contrast
+either expressed or implied, which will attract the reader's attention
+and which he will make prominent in this way:
+
+  _Brutus._ You say you are a _better soldier_:
+  Let it _appear_ so; make your vaunting _true_,
+  And it shall _please me well_: for mine own part,
+  I shall be _glad_ to learn of noble men.
+
+  _Cassius._ You _wrong_ me every way; you _wrong_ me, Brutus;
+  I said, an _elder_ soldier, not a _better_:
+
+"better soldier," "appear," and "true" are central ideas; they express
+important ideas not mentioned before. When Cassius replies he at once
+throws the idea of "soldier" in the back-ground and emphasizes
+"better" by contrasting it with "elder." He also introduces the new
+idea "wrong" which he makes still more emphatic by repetition. Brutus
+also introduces the new idea "please me well" which he makes emphatic
+by repeating it in the word "glad." Other examples of words and
+phrases becoming more emphatic through repetition are:
+
+  Faster come, faster come;
+    Faster and faster,
+       *       *       *       *       *
+  Fast they come, fast they come;
+
+  "_Jump_--far--out boy into the wave,
+    JUMP, or I fire," he said,
+  "This chance alone your life can save:
+    JUMP, JUMP."
+
+In the case of a climax, the emphasis grows stronger on each member of
+the series:
+
+  "Take the helm, lead the line, save the squadron!" cried its chief.
+
+  It is enthronéd in the hearts of Kings,
+  It is an attribute to God himself.
+
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,
+  Till it smote on their hulls and their sails and their masts and
+    their flags.
+
+However, if a word is repeated, it is not necessarily emphatic each
+time:
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armèd foemen throng.
+
+In the phrase "The German heart" the chief emphasis is on "heart,"
+with a slighter emphasis on German. The emphasis is then transferred
+to "arm" and "foot" through contrast with "heart." To emphasize
+"German" again would weaken the effect.
+
+Compare the repetition, in the following, of the syllable "un," also
+of the phrase "this year":
+
+  Unwatched along Clitumnus
+    Grazes the milk-white steer;
+  Unharmed the water-fowl may dip
+    In the Volsinian mere.
+
+  The harvests of Arretium,
+    This year, old men shall reap,
+  This year young boys in Umbro
+    Shall plunge the struggling sheep;
+  And in the vats of Luna,
+    This year, the must shall foam
+  Round the white feet of laughing girls
+    Whose sires have marched to Rome.
+
+Words and phrases are emphatic quite as often through contrast implied
+as through contrast expressed. It is evident that such a sentence as:
+"Will you ride to town to-day?" may have a number of different meanings
+according to the words emphasized. This difference of meaning is due
+to an implied contrast. If "you" is emphatic, it is because there is a
+mental contrast between "you" and some other person. If "ride" is
+emphatic, it is because riding is being contrasted with walking or
+driving and so on. The following contain examples of emphasis through
+implied contrast:
+
+  _Great_ things were ne'er begotten in an hour.
+
+  But _now_ no sound of laughter was heard among the foes.
+
+As already shown on page 21, the emphasis, in the case of implied
+contrast, is brought out by the circumflex inflection.
+
+=Shading= and =Perspective=. These deal with the relative importance
+of words, phrases, or clauses. According as an idea suggested by a
+word or group of words is regarded as principal or subordinate, the
+voice either projects it or holds it in the back-ground as an artist
+shades his picture:
+
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep and
+    dangerous ford
+  The Passage of the Scot.
+
+The principal statement, "The peasant still calls that deep and
+dangerous ford the Passage of the Scot," is projected or emphasized by
+higher pitch and stronger force, the thought being sustained, and the
+connection made between "The peasant" and "still calls" by means of
+the rising inflection. The subordinate statements, "though the legend
+does not live" and "as he sees the stream in winter rolling by ...
+sword," are kept in the back-ground by slightly lower pitch and
+moderate force. The parenthetical clause, "for legends lightly die,"
+is subordinate to the subordinate statement and is thrown still more
+into the back-ground in the same way as the preceding.
+
+Strictly speaking, the term "shading" is used to indicate the value of
+individual phrases or clauses; "perspective," to indicate the values
+of several phrases or clauses viewed relatively.
+
+The =quality=, or timbre, of the voice reveals the speaker's emotions,
+their character, number, and intensity. The voice is affected by the
+muscular texture of the throat, just as the tone of an instrument is
+affected by the texture of the material of which it is made. This
+muscular texture is affected by nerve and muscular vibrations which
+are caused by emotion, the result of mental impressions. Whatever be
+the quality of voice peculiar to the individual, it is greatly
+modified by his emotions. The man of few emotions has few vocal
+vibrations; hence his monotonous voice. The man whose emotions are
+habitually cruel, has a harsh, hard muscular texture through
+contraction of the muscles; hence the hard voice. It is plain that the
+natural voice is an index to the character. If the imagination and
+soul are cultivated, the voice will gain in richness and fulness. If,
+in reading that which expresses the sublime, noble, and grand, the
+imagination is kindled, the voice will express by its vibrations the
+largeness of our conception. This full, rich voice is called the
+_orotund_:
+
+  These are the gardens of the Desert, these
+  The unshorn fields, boundless and beautiful,
+  For which the speech of England has no name--
+  The prairies.
+
+  For as the heaven is high above the earth, so great is his mercy
+    toward them that fear him.
+  As far as the east is from the west, so far hath he removed our
+    transgressions from us.
+
+In thinking of what is stern, severe, harsh, cruel, or base, the
+muscles of the throat contract and produce the rigid, throaty tone
+known as the _guttural_:
+
+  On what compulsion must I? Tell me that.
+
+  "Curse on him!" quoth false Sextus
+    "Will not the villain drown?
+  But for this stay, ere close of day,
+    We should have sacked the town!"
+
+Certain states of mind, such as awe, caution, secrecy, fear, etc.,
+produce in greater or less degree an aspirated or "breathy" quality,
+called the _whisper_ or _aspirate_:
+
+  When Jubal struck the chorded shell,
+    His listening brethren stood around,
+  And, wondering, on their faces fell
+    To worship that celestial sound.
+
+  The red rose cries, "She is near, she is near;"
+    And the white rose weeps, "She is late;"
+  The larkspur listens, "I hear, I hear;"
+    And the lily whispers, "I wait."
+
+The atmosphere of hush and repose expresses itself by a partial
+whisper:
+
+  Ne'er saw I, never felt, a calm so deep!
+    The river glideth at his own sweet will:
+  Dear God! the very houses seem asleep;
+    And all that mighty heart is lying still!
+
+It must not be supposed that the whisper is always associated with
+moderate or with weak force as in the preceding examples. Strong force
+is used with the whisper to express intensity of feeling or vehemence:
+
+  Whispering with white lips: the foe! they come! they come!
+
+  Hush, I say, hush!
+
+Other emotional states have their corresponding qualities of voice,
+such, for example, as the quality of oppressed feeling and the quality
+expressing agitation.
+
+To conclude: it must be carefully borne in mind that the reader should
+never strive to produce a certain quality apart from the emotion which
+should precede. By force alone, for example, he will succeed in
+producing mere sound without the quality. Nor are any of the examples
+given above, in dealing with the various elements of vocal expression,
+intended for practice in voice gymnastics apart from the preliminary
+state of which they are the vocal expression. They are intended merely
+as illustrations of the laws which govern correct speech.
+
+       *       *       *       *       *
+
+THE HIGH SCHOOL READER
+
+THE BANNER OF ST. GEORGE
+
+Words by Shapcott Wensley: music by Sir Edward Elgar
+
+
+  It comes from the misty ages,
+  The banner of England's might,
+  The blood-red cross of the brave St. George,
+  That burns on a field of white!
+  It speaks of the deathless heroes                                    5
+  On fame's bright page inscrolled,
+  And bids great England ne'er forget
+  The glorious deeds of old!
+
+  O'er many a cloud of battle
+  The banner has floated wide;                                        10
+  It shone like a star o'er the valiant hearts
+  That dashed the Armada's pride!
+  For ever amid the thunders
+  The sailor could do or die,
+  While tongues of flame leaped forth below,                          15
+  And the flag of St. George was high!
+
+  O ne'er may the flag beloved
+  Unfurl in a strife unblest,
+  But ever give strength to the righteous arm,
+  And hope to the hearts oppressed!                                   20
+  It says to the passing ages:
+  "Be brave if your cause be right,
+  Like the soldier saint whose cross of red
+  Still burns on your banner white!"
+
+  Great race, whose empire of splendour                               25
+  Has dazzled the wondering world!
+  May the flag that floats o'er thy wide domains
+  Be long to all winds unfurled!
+  Three crosses in concord blended,
+  The banner of Britain's might!                                      30
+  But the central gem of the ensign fair
+  Is the cross of the dauntless Knight!
+
+      --_By permission of the publishers, Novello & Co._
+
+
+  PREPARATORY--Divide the poem into two parts, giving to
+  each part a descriptive title.
+
+  What feelings are aroused by this poem?
+
+  What lines in stanzas i and iv call up a mental picture
+  of the flag?
+
+  What three phrases in stanza i suggest the important
+  ideas to be associated with the flag? How does the voice
+  indicate the importance of these ideas? (Introduction,
+  p. 8.)
+
+  Of what phrases in stanza i is stanza ii only an
+  elaboration?
+
+  What wish is contained in stanza iii? What sentences
+  express it?
+
+  What additional idea does stanza iv add to this wish?
+
+  STAR, VALIANT, ARMADA, CENTRAL. Make a distinction in
+  the sound of the letter _a_ in these words, and
+  elsewhere in the poem. (Appendix A, 1.)
+
+  GEORGE, CROSS, FORGET, FORTH, CONCORD. What sound has
+  the letter _o_ in each word? (Appendix A, 1.)
+
+  Articulate with energy the final consonantal
+  combinations of all such words as: ENGLAND'S, BURNS,
+  SPEAKS, INSCROLLED, FLOATED, HEARTS, DASHED, LEAPED,
+  UNBLEST, STRENGTH, DAZZLED, UNFURLED, BLENDED. (Appendix
+  A, 3.)
+
+       *       *       *       *       *
+
+
+JEAN VALJEAN AND THE BISHOP
+
+From "Les Misérables"
+
+
+At the bishop's house, his housekeeper, Mme. Magloire was saying:
+
+"We say that this house is not safe at all; and, if Monseigneur will
+permit me, I will go on and tell the locksmith to come and put the old
+bolts in the door again. I say, than a door which opens by a latch on
+the outside to the first comer, nothing could be more horrible; and
+then Monseigneur has the habit of always saying: 'Come in,' even at
+midnight. But, my goodness, there is no need to even ask leave----"
+
+At this moment there was a violent knock on the door.
+
+"Come in!" said the bishop.
+
+The door opened.
+
+It opened quickly, quite wide, as if pushed by some one boldly and
+with energy.
+
+A man entered.
+
+That man we know already; it was the traveller we have seen wandering
+about in search of a lodging.
+
+He came in, took one step, and paused, leaving the door open behind
+him. He had his knapsack on his back, his stick in his hand, and a
+rough, hard, and fierce look in his eyes. He was hideous.
+
+The bishop looked upon the man with a tranquil eye. As he was opening
+his mouth to speak, doubtless to ask the stranger what he wanted, the
+man, leaning with both hands on his club, glanced from one to another
+in turn, and, without waiting for the bishop to speak, said, in a
+loud voice:
+
+"See here! my name is Jean Valjean. I am a convict; I have been
+nineteen years in the galleys. Four days ago I was set free, and
+started for Pontarlier; during these four days I have walked from
+Toulon. To-day I have walked twelve leagues. When I reached this place
+this evening I went to an inn, and they sent me away on account of my
+yellow passport, which I had shown at the Mayor's office, as was
+necessary. I went to another inn; they said, 'Get out!' It was the
+same with one as with another; nobody would have me. I went to the
+prison and the turnkey would not let me in. I crept into a dog kennel,
+the dog bit me, and drove me away as if he had been a man; you would
+have said that he knew who I was. I went into the fields to sleep
+beneath the stars, there were no stars. I thought it would rain, and
+there was no good God to stop the drops, so I came back to the town to
+get the shelter of some doorway. There in the square I laid down upon
+a stone; a good woman showed me your house, and said: 'Knock there!' I
+have knocked. What is this place? Are you an inn? I have money; my
+savings, one hundred and nine francs and fifteen sous, which I have
+earned in the galleys by my work for nineteen years. I will pay. What
+do I care? I have money, I am very tired--twelve leagues on foot--and
+I am so hungry. Can I stay?"
+
+"Mme. Magloire," said the bishop, "put on another plate."
+
+The man took three steps and came near the lamp which stood on the
+table. "Stop," he exclaimed; as if he had not been understood; "not
+that, did you understand me? I am a galley slave--a convict--I am just
+from the galleys." He drew from his pocket a large sheet of yellow
+paper, which he unfolded. "There is my passport, yellow, as you see.
+That is enough to have me kicked out wherever I go. Will you read it?
+See, here is what they have put on my passport: Jean Valjean, a
+liberated convict; has been nineteen years in the galleys; five years
+for burglary; fourteen years for having attempted four times to
+escape. This man is very dangerous. There you have it! Everybody has
+thrust me out; will you receive me? Is this an inn? Can you give me
+something to eat and a place to sleep? Have you a stable?"
+
+"Mme. Magloire," said the bishop, "put some sheets on the bed in the
+alcove."
+
+The bishop turned to the man:
+
+"Monsieur, sit down and warm yourself; we are going to take supper
+presently, and your bed will be made ready while you sup."
+
+At last the man quite understood; his face, the expression of which
+till then had been gloomy, and hard, now expressed stupefaction, doubt
+and joy, and became absolutely wonderful. He began to stutter like a
+madman.
+
+"True? What? You will keep me? you won't drive me away--a convict? You
+call me monsieur and don't say, 'Get out, dog!' as everybody else
+does. I shall have a supper! a bed like other people, with mattress
+and sheets--a bed! It is nineteen years that I have not slept on a
+bed. You are good people! Besides, I have money; I will pay well. I
+beg your pardon, M. Innkeeper, what is your name? I will pay all you
+say. You are a fine man. You are an innkeeper, is it not so?"
+
+"I am a priest who lives here," said the bishop.
+
+"A priest," said the man. "Oh, noble priest! Then you do not ask any
+money?"
+
+"No," said the bishop, "keep your money. How much have you?"
+
+"One hundred and nine francs and fifteen sous," said the man.
+
+"One hundred and nine francs and fifteen sous. And how long did it
+take you to earn that?"
+
+"Nineteen years."
+
+"Nineteen years!"
+
+The bishop sighed deeply, and shut the door, which had been left wide
+open.
+
+Mme. Magloire brought in a plate and set it on the table.
+
+"Mme Magloire," said the bishop, "put this plate as near the fire as
+you can." Then turning toward his guest he added: "The night wind is
+raw in the Alps; you must be cold, monsieur."
+
+Every time he said the word _monsieur_ with his gentle, solemn and
+heartily hospitable voice, the man's countenance lighted up.
+_Monsieur_ to a convict is a glass of water to a man dying of thirst
+at sea.
+
+"The lamp," said the bishop, "gives a very poor light."
+
+Mme. Magloire understood him, and, going to his bedchamber, took from
+the mantel the two silver candlesticks, lighted the candles and placed
+them on the table.
+
+"M. le Curé," said the man, you are good; "you don't despise me. You
+take me into your house; you light your candles for me, and I haven't
+hid from you where I come from, and how miserable I am."
+
+The bishop touched his hand gently and said: "You need not tell me who
+you are. This is not my house; it is the house of Christ. It does not
+ask any comer whether he has a name, but whether he has an affliction.
+You are suffering; you are hungry and thirsty; be welcome. And do not
+thank me; do not tell me that I take you into my house. This is the
+home of no man except him who needs an asylum. I tell you, who are a
+traveller, that you are more at home here than I; whatever is here is
+yours. What need have I to know your name? Besides, before you told
+me, I knew it."
+
+The man opened his eyes in astonishment.
+
+"Really? You knew my name?"
+
+"Yes," answered the bishop, "your name is my brother."
+
+"Stop, stop, M. le Curé," exclaimed the man, "I was famished when I
+came in, but you are so kind that now I don't know what I am; that is
+all gone."
+
+The bishop looked at him again and said:
+
+"You have seen much suffering?"
+
+"Oh, the red blouse, the ball and chain, the plank you sleep on, the
+heat, the cold, the galley's screw, the lash, the double chain for
+nothing, the dungeon for a word--even when sick in bed, the chain. The
+dogs, the dogs are happier! nineteen years! and I am forty-six, and
+now a yellow passport. That is all."
+
+"Yes," answered the bishop, "you have left a place of suffering. But
+listen, there will be more joy in heaven over the tears of a repentant
+sinner than over the white robes of a hundred good men. If you are
+leaving that sorrowful place with hate and anger against men, you are
+worthy of compassion; if you leave it with good-will, gentleness, and
+peace, you are better than any of us."
+
+      --_Victor Hugo_
+
+
+  This lesson can be used as an exercise on Pause
+  springing from (1) Visualization and Grouping,
+  (Introduction, pp. 7 and 8); (2) Narrative which breaks
+  in upon the direct discourse. (Introduction, p. 24.)
+
+  THAT MAN WE KNOW ALREADY. (Introduction, p. 11.)
+
+  "SEE HERE ... CAN I STAY?" This paragraph is an exercise
+  on Emphasis. Make a list of the words which are emphatic
+  (1) because they express new and important ideas, (2)
+  because of contrast. Why is GALLEYS not emphatic? Where
+  is the emphasis placed in that sentence?
+
+       *       *       *       *       *
+
+
+THE WELL OF ST. KEYNE
+
+
+  A well there is in the west country,
+    And a clearer one never was seen;
+  There is not a wife in the west country
+    But has heard of the well of St. Keyne.
+
+  An oak and an elm-tree stand beside,                                 5
+    And behind doth an ash-tree grow,
+  And a willow from the bank above
+    Droops to the water below.
+
+  A traveller came to the well of St. Keyne;
+    Joyfully he drew nigh,                                            10
+  For from cock-crow he had been travelling,
+    And there was not a cloud in the sky.
+
+  He drank of the water so cool and clear,
+    For thirsty and hot was he;
+  And he sat down upon the bank,                                      15
+    Under the willow-tree.
+
+  There came a man from the house hard by,
+    At the well to fill his pail;
+  On the well-side he rested it,
+    And he bade the stranger hail.                                    20
+
+  "Now, art thou a bachelor, stranger?" quoth he;
+    "For, an if thou hast a wife,
+  The happiest draught thou hast drank this day
+    That ever thou didst in thy life.
+
+  "Or has thy good woman, if one thou hast,                           25
+    Ever here in Cornwall been?
+  For, an if she have, I'll venture my life
+    She has drank of the well of St. Keyne."
+
+  "I have left a good woman who never was here,"
+    The stranger he made reply;                                       30
+  "But that my draught should be the better for that,
+    I pray you answer me why."
+
+  "St. Keyne," quoth the Cornish-man, many a time
+    Drank of this crystal well;
+  And before the angel summoned her,                                  35
+    She laid on the water a spell,--
+
+  "If the husband of this gifted well
+    Shall drink before his wife,
+  A happy man thenceforth is he,
+    For he shall be master for life;                                  40
+
+  "But, if the wife should drink of it first,
+    God help the husband then!"--
+  The stranger stooped to the well of St. Keyne,
+    And drank of the water again.
+
+  "You drank of the well, I warrant, betimes?"                        45
+    He to the Cornish-man said;
+  But the Cornish-man smiled as the stranger spake,
+    And sheepishly shook his head:--
+
+  "I hastened, as soon as the wedding was done,
+    And left my wife in the porch;                                    50
+  But i' faith she had been wiser than me,
+    For she took a bottle to church."
+
+      --_Robert Southey_
+
+
+  PREPARATORY.--Select the lines that (_a_) describe the
+  scene, (_b_) indicate the action, (_c_) give the
+  dialogue.
+
+  Show by recasting this ballad into dramatic form that it
+  is a miniature drama.
+
+  Give examples of Pause springing from (_a_)
+  Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (_b_)
+  narrative which interrupts direct discourse, in ll. 21,
+  29, 33, 45.
+
+  Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14,
+  21, 29, 31, 38, 45, 46? Give your reasons and show how
+  they are made emphatic. (Introduction, p. 30.)
+
+  l. 3. What is the Inflection on 'country,' l. 3?
+  (Introduction, p. 17.)
+
+  ll. 37-38. Note the Grouping and Pause. (Introduction,
+  p. 12.)
+
+       *       *       *       *       *
+
+
+FAITH, HOPE AND CHARITY
+
+1 Corinthians xiii
+
+
+Though I speak with the tongues of men and of angels, and have not
+charity, I am become as sounding brass, or a tinkling cymbal. And
+though I have the gift of prophecy, and understand all mysteries, and
+all knowledge; and though I have all faith, so that I could remove
+mountains, and have not charity, I am nothing. And though I bestow all
+my goods to feed the poor, and though I give my body to be burned, and
+have not charity, it profiteth me nothing.
+
+Charity suffereth long, and is kind; charity envieth not; charity
+vaunteth not itself, is not puffed up, doth not behave itself
+unseemly, seeketh not her own, is not easily provoked, thinketh no
+evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth
+all things, believeth all things, hopeth all things, endureth all
+things.
+
+Charity never faileth: but whether there be prophecies, they shall
+fail; whether there be tongues, they shall cease; whether there be
+knowledge, it shall vanish away. For we know in part, and we prophesy
+in part. But when that which is perfect is come, then that which is in
+part shall be done away. When I was a child, I spake as a child, I
+understood as a child, I thought as a child: but when I became a man I
+put away childish things. For now we see through a glass, darkly; but
+then face to face: now I know in part; but then shall I know even as
+also I am known.
+
+And now abideth faith, hope and charity, these three;
+but the greatest of these is charity.
+
+
+  CHARITY, SUFFERETH, PROFITETH. (Appendix A, 8 and 3.)
+
+  Show by examples from this selection how completeness
+  and incompleteness of thought affect the Inflection.
+  (Introduction, pp. 15 and 16.)
+
+  What Inflection does a negative statement usually
+  require? Give examples from the second paragraph.
+  (Introduction, p. 17.)
+
+  Give examples, from the second paragraph, of momentary
+  completeness. (Introduction, pp. 15 and 16.)
+
+  Select the words which are emphatic because they express
+  (_a_) new and important ideas. (_b_) contrast.
+
+  BEARETH ALL THINGS, ETC. How may the repetition of a
+  word or phrase affect the Emphasis? (Introduction, pp.
+  31 and 32.)
+
+  How are the principal clauses in the first three
+  sentences made prominent? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+THE LEGEND BEAUTIFUL
+
+From "Tales of a Wayside Inn"
+
+
+  "Hadst thou stayed, I must have fled!"
+  That is what the Vision said.
+
+  In his chamber all alone,
+  Kneeling on the floor of stone,
+  Prayed the Monk in deep contrition                                   5
+  For his sins of indecision,
+  Prayed for greater self-denial
+  In temptation and in trial;
+  It was noonday by the dial,
+  And the Monk was all alone.                                         10
+
+  Suddenly, as if it lightened,
+  An unwonted splendour brightened
+  All within him and without him
+  In that narrow cell of stone;
+  And he saw the Blessed Vision                                       15
+  Of our Lord, with light Elysian
+  Like a vesture wrapped about Him,
+  Like a garment round Him thrown.
+  Not as crucified and slain,
+  Not in agonies of pain,                                             20
+  Not with bleeding hands and feet,
+  Did the Monk his Master see;
+  But as in the village street,
+  In the house or harvest-field,
+  Halt and lame and blind He healed,                                  25
+  When He walked in Galilee.
+
+  In an attitude imploring,
+  Hands upon his bosom crossed,
+  Wondering, worshipping, adoring,
+  Knelt the Monk in rapture lost.                                     30
+  Lord, he thought, in heaven that reignest,
+  Who am I, that thus Thou deignest
+  To reveal Thyself to me?
+  Who am I, that from the centre
+  Of Thy glory Thou shouldst enter                                    35
+  This poor cell, my guest to be?
+
+  Then amid his exaltation,
+  Loud the convent bell appalling,
+  From its belfry calling, calling,
+  Rang through court and corridor                                     40
+  With persistent iteration
+  He had never heard before.
+  It was now the appointed hour
+  When alike in shine or shower,
+  Winter's cold or summer's heat,                                     45
+  To the convent portals came
+  All the blind and halt and lame,
+  All the beggars of the street,
+  For their daily dole of food
+  Dealt them by the brotherhood;                                      50
+  And their almoner was he
+  Who upon his bended knee,
+  Rapt in silent ecstasy
+  Of divinest self-surrender,
+  Saw the Vision and the Splendour.                                   55
+
+  Deep distress and hesitation
+  Mingled with his adoration;
+  Should he go or should he stay?
+  Should he leave the poor to wait
+  Hungry at the convent gate,                                         60
+  Till the Vision passed away?
+  Should he slight his radiant guest,
+  Slight this visitant celestial,
+  For a crowd of ragged, bestial
+  Beggars at the convent gate?                                        65
+  Would the Vision there remain?
+  Would the Vision come again?
+  Then a voice within his breast
+  Whispered, audible and clear
+  As if to the outward ear:                                           70
+  "Do thy duty; that is best;
+  Leave unto thy Lord the rest!"
+
+  Straightway to his feet he started,
+  And with longing look intent
+  On the Blessed Vision bent,                                         75
+  Slowly from his cell departed,
+  Slowly on his errand went.
+
+  At the gate the poor were waiting,
+  Looking through the iron grating,
+  With that terror in the eye                                         80
+  That is only seen in those
+  Who amid their wants and woes
+  Hear the sound of doors that close,
+  And of feet that pass them by;
+  Grown familiar with disfavour,                                      85
+  Grown familiar with the savour
+  Of the bread by which men die!
+  But to-day, they knew not why,
+  Like the gate of Paradise
+  Seemed the convent gate to rise,                                    90
+  Like a sacrament divine
+  Seemed to them the bread and wine.
+  In his heart the Monk was praying,
+  Thinking of the homeless poor,
+  What they suffer and endure;                                        95
+  What we see not, what we see;
+  And the inward voice was saying:
+  "Whatsoever thing thou doest
+  To the least of Mine and lowest,
+  That thou doest unto Me!"                                          100
+
+  Unto Me! but had the Vision
+  Come to him in beggar's clothing,
+  Come a mendicant imploring,
+  Would he then have knelt adoring,
+  Or have listened with derision,                                    105
+  And have turned away with loathing?
+  Thus his conscience put the question,
+  Full of troublesome suggestion,
+  As at length, with hurried pace,
+  Toward his cell he turned his face,                                110
+  And beheld the convent bright
+  With a supernatural light,
+  Like a luminous cloud expanding
+  Over floor and wall and ceiling.
+  But he paused with awestruck feeling                               115
+  At the threshold of his door,
+  For the Vision still was standing
+  As he left it there before,
+  When the convent bell appalling,
+  From its belfry calling, calling,                                  120
+  Summoned him to feed the poor.
+  Through the long hour intervening
+  It had waited his return,
+  And he felt his bosom burn,
+  Comprehending all the meaning,                                     125
+  When the Blessed Vision said,
+  "Hadst thou stayed, I must have fled!"
+
+      --_Henry Wadsworth Longfellow_
+
+
+  HADST, LIGHTENED, BRIGHTENED, REIGNEST, DEIGNEST,
+  DIVINEST (Appendix, A, 3.)
+
+  ll. 29, 38-39, 78-79. (Appendix, A, 4.)
+
+  How can the reader show that the first two lines are
+  merely introductory?
+
+  Divide the poem proper into five parts, giving to each
+  part a suggestive title. How can the reader make each
+  part stand out by itself? (Introduction, p. 10.)
+
+  Select the principal statement in each stanza and show
+  how the voice may make it prominent. (Introduction, p.
+  33.)
+
+  What Inflection is placed on the principal statement?
+  What Inflection on the subordinate phrases and clauses?
+  (Introduction, p. 15.)
+
+  Select examples of momentary completeness from the poem.
+
+  ll. 19-22. What is the Inflection on these negative
+  phrases? (Introduction, pp. 17 and 18.)
+
+  What is the Inflection on the various questions
+  throughout the poem? (Introduction, p. 18.)
+
+       *       *       *       *       *
+
+
+THE VICAR'S FAMILY USE ART
+
+From "The Vicar of Wakefield"
+
+
+1. Whatever might have been Sophia's sensations, the rest of the
+family was easily consoled for Mr. Burchell's absence by the company
+of our landlord, whose visits now became more frequent, and longer.
+Though he had been disappointed in procuring my daughters the
+amusements of the town, as he designed, he took every opportunity of
+supplying them with those little recreations which our retirement
+would admit of. He usually came in the morning; and while my son and I
+followed our occupations abroad, he sat with the family at home, and
+amused them by describing the town, with every part of which he was
+particularly acquainted. He could repeat all the observations that
+were retailed in the atmosphere of the play-houses, and had all the
+good things of the high wits by rote, long before they made their way
+into the jest-books. The intervals between conversation were employed
+in teaching my daughters piquet, or sometimes in setting my two little
+ones to box, to make them _sharp_, as he called it; but the hopes of
+having him for a son-in-law, in some measure blinded us to all his
+imperfections. It must be owned, that my wife laid a thousand schemes
+to entrap him; or, to speak it more tenderly, used every art to
+magnify the merit of her daughter. If the cakes at tea ate short and
+crisp, they were made by Olivia; if the gooseberry wine was well knit,
+the gooseberries were of her gathering; it was her fingers that gave
+the pickles their peculiar green; and in the composition of a pudding,
+it was her judgment that mixed the ingredients. Then the poor woman
+would sometimes tell the Squire that she thought him and Olivia
+extremely of a size, and would bid both stand up to see which was
+tallest. These instances of cunning, which she thought impenetrable,
+yet which everybody saw through, were very pleasing to our benefactor,
+who gave every day some new proofs of his passion, which, though they
+had not risen to proposals of marriage, yet we thought fell but little
+short of it; and his slowness was attributed sometimes to native
+bashfulness, and sometimes to his fear of offending his uncle. An
+occurrence, however, which happened soon after, put it beyond a doubt
+that he designed to become one of our family; my wife even regarded it
+as an absolute promise.
+
+2. My wife and daughters happening to return a visit at neighbour
+Flamborough's, found that family had lately got their pictures drawn
+by a limner, who travelled the country, and took likenesses for
+fifteen shillings a head. As this family and ours had long a sort of
+rivalry in point of taste, our spirit took the alarm at this stolen
+march upon us; and notwithstanding all I could say, and I said much,
+it was resolved that we should have our pictures done too. Having,
+therefore, engaged the limner--for what could I do?--our next
+deliberation was to shew the superiority of our taste in the
+attitudes. As for our neighbour's family, there were seven of them,
+and they were drawn with seven oranges--a thing quite out of taste, no
+variety in life, no composition in the world. We desired to have
+something in a brighter style; and after many debates, at length came
+to an unanimous resolution of being drawn together, in one large
+historical family piece. This would be cheaper, since one frame would
+serve for all, and it would be infinitely more genteel; for all
+families of any taste were now drawn in the same manner. As we did not
+immediately recollect an historical subject to hit us, we were
+contented each with being drawn as independent historical figures. My
+wife desired to be represented as Venus, and the painter was desired
+not to be too frugal of his diamonds in her stomacher and hair. Her
+two little ones were to be as Cupids by her side; while I, in my gown
+and band, was to present her with my books on the Whistonian
+controversy. Olivia would be drawn as an Amazon, sitting upon a bank
+of flowers, dressed in a green joseph richly laced with gold, and a
+whip in her hand. Sophia was to be a shepherdess, with as many sheep
+as the painter could put in for nothing; and Moses was to be dressed
+out with an hat and white feather. Our taste so much pleased the
+Squire that he insisted on being put in as one of the family, in the
+character of Alexander the Great, at Olivia's feet. This was
+considered by us all as an indication of his desire to be introduced
+into the family, nor could we refuse his request. The painter was
+therefore set to work, and as he wrought with assiduity and
+expedition, in less than four days the whole was completed. The piece
+was large, and it must be owned he did not spare his colours; for
+which my wife gave him great encomiums. We were all perfectly
+satisfied with his performance; but an unfortunate circumstance which
+had not occurred till the picture was finished, now struck us with
+dismay. It was so very large that we had no place in the house to fix
+it. How we all came to disregard so material a point is inconceivable;
+but certain it is, we had been all greatly remiss. The picture,
+therefore, instead of gratifying our vanity, as we hoped, leaned, in a
+most mortifying manner, against the kitchen wall, where the canvas was
+stretched and painted, much too large to be got through any of the
+doors, and the jest of all our neighbours. One compared it to Robinson
+Crusoe's long-boat, too large to be removed; another thought it more
+resembled a reel in a bottle; some wondered how it could be got out.
+but still more were amazed how it ever got in.
+
+3. But though it excited the ridicule of some, it effectually raised
+more malicious suggestions in many. The Squire's portrait being found
+united with ours, was an honour too great to escape envy. Scandalous
+whispers began to circulate at our expense, and our tranquillity was
+continually disturbed by persons, who came as friends, to tell us what
+was said of us by enemies. These reports we always resented with
+becoming spirit; but scandal ever improves by opposition.
+
+4. We once again, therefore, entered into a consultation upon
+obviating the malice of our enemies, and at last came to a resolution
+which had too much cunning to give me entire satisfaction. It was
+this: as our principal object was to discover the honour of Mr.
+Thornhill's addresses, my wife undertook to sound him, by pretending
+to ask his advice in the choice of an husband for her eldest daughter.
+If this was not found sufficient to induce him to a declaration, it
+was then resolved to terrify him with a rival. To this last step,
+however, I would by no means give my consent, till Olivia gave me the
+most solemn assurances that she would marry the person provided to
+rival him upon this occasion, if he did not prevent it by taking her
+himself. Such was the scheme laid, which, though I did not strenuously
+oppose, I did not entirely approve.
+
+5. The next time, therefore, that Mr. Thornhill came to see us, my
+girls took care to be out of the way, in order to give their mamma an
+opportunity of putting her scheme in execution; but they only retired
+to the next room, whence they could overhear the whole conversation.
+My wife artfully introduced it, by observing, that one of the Miss
+Flamboroughs was like to have a very good match of it in Mr. Spanker.
+To this the Squire assenting, she proceeded to remark, that they who
+had warm fortunes were always sure of getting good husbands: "But
+heaven help," continued she, "the girls that have none! What signifies
+beauty, Mr. Thornhill? or what signifies all the virtue, and all the
+qualifications in the world, in this age of self-interest? It is not,
+What is she? but, What has she? is all the cry."
+
+6. "Madam," returned he, "I highly approve the justice, as well as the
+novelty, of your remarks, and if I were a king, it should be
+otherwise. It should then, indeed, be fine times for the girls without
+fortunes: our two young ladies should be the first for whom I would
+provide."
+
+7. "Ah, sir," returned my wife, "you are pleased to be facetious: but
+I wish I were a queen, and then I know where my eldest daughter
+should look for an husband. But now that you have put it into my head,
+seriously, Mr. Thornhill, can't you recommend me a proper husband for
+her? She is now nineteen years old, well grown and well educated, and,
+in my humble opinion, does not want for parts."
+
+8. "Madam," replied he, "if I were to choose, I would find out a
+person possessed of every accomplishment that can make an angel happy.
+One with prudence, fortune, taste, and sincerity; such, madam, would
+be, in my opinion, the proper husband."--"Ay, sir," said she, "but do
+you know of any such person?"--"No, Madam," returned he, "it is
+impossible to know any person that deserves to be her husband: she's
+too great a treasure for one man's possession: she's a goddess! Upon
+my soul, I speak what I think, she's an angel!"--"Ah, Mr. Thornhill,
+you only flatter my poor girl: but we have been thinking of marrying
+her to one of your tenants, whose mother is lately dead, and who wants
+a manager; you know whom I mean, Farmer Williams; a warm man, Mr.
+Thornhill, able to give her good bread; and who has several times made
+her proposals" (which was actually the case); "but, sir," concluded
+she, "I should be glad to have your approbation of our choice."--"How,
+Madam," replied he, "my approbation!--my approbation of such a choice!
+Never. What! Sacrifice so much beauty, and sense, and goodness, to a
+creature insensible of the blessing! Excuse me, I can never approve of
+such a piece of injustice. And I have my reasons."--"Indeed, sir,"
+cried Deborah, "If you have your reasons, that's another affair; but I
+should be glad to know those reasons."--"Excuse me, Madam," returned
+he, "they lie too deep for discovery" (laying his hand upon his
+bosom); "they remain buried, rivetted here."
+
+9. After he was gone, upon a general consultation, we could not tell
+what to make of these fine sentiments. Olivia considered them as
+instances of the most exalted passion; but I was not quite so
+sanguine; yet, whatever they might portend, it was resolved to
+prosecute the scheme of Farmer Williams, who, from my daughter's first
+appearance in the country, had paid her his addresses.
+
+      --_Oliver Goldsmith_
+
+
+  ABSOLUTE, RESOLUTION, INTRODUCED, (Appendix, A, 2.)
+  VISITS, NATIVE, INFINITELY, CUPIDS, VANITY, GRATIFYING,
+  MORTIFYING, SANGUINE. (Appendix, A, 8.) UNFORTUNATE,
+  FORTUNE, VIRTUE. (Appendix, A, 9.)
+
+  Show by numerous examples from this selection that the
+  dependent clause of a sentence takes the rising
+  Inflection--whilst the principal clause takes the
+  falling. Which of the two has the heavier shading?
+  (Introduction, p. 33.)
+
+  How are such parenthetical clauses as AS HE DESIGNED, in
+  the second sentence, kept in the background?
+  (Introduction, pp. 24 and 27.) Give similar examples
+  from this selection.
+
+  What Inflection is placed on the rhetorical questions in
+  par. v? (Introduction, p. 19.)
+
+  How is the effect of the climax in par. viii brought
+  out? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SOLDIER'S DREAM
+
+
+  Our bugles sang truce--for the night-cloud had lowered
+    And the sentinel stars set their watch in the sky;
+  And thousands had sunk on the ground overpowered,
+    The weary to sleep, and the wounded to die.
+
+  When reposing that night on my pallet of straw,                      5
+    By the wolf-scaring faggot that guarded the slain,
+  At the dead of the night a sweet vision I saw,
+    And thrice ere the morning I dreamt it again.
+
+  Methought from the battlefield's dreadful array,
+    Far, far I had roamed on a desolate track;                        10
+  'Twas autumn--and sunshine arose on the way
+    To the home of my fathers, that welcomed me back.
+
+  I flew to the pleasant fields traversed so oft
+    In life's morning march, when my bosom was young;
+  I heard my own mountain-goats bleating aloft,                       15
+    And knew the sweet strain that the corn-reapers sung.
+
+  Then pledged we the wine-cup, and fondly I swore
+    From my home and my weeping friends never to part;
+  My little ones kissed me a thousand times o'er,
+    And my wife sobbed aloud in her fulness of heart.                 20
+
+  "Stay, stay with us--rest, thou art weary and worn;"
+    And fain was their war-broken soldier to stay;
+  But sorrow returned with the dawning of morn,
+    And the voice in my dreaming ear melted away.
+
+      --_Thomas Campbell_
+
+
+  PREPARATORY.--Describe the picture suggested by this
+  poem.
+
+  Compare the soldier's dream with the vision of _The
+  Private of the Buffs_ in the hour of danger, or with
+  _The Slave's Dream_ in Longfellow's poem.
+
+  Divide the poem into three distinct parts, giving to
+  each a descriptive title.
+
+  Expand the thoughts contained in the last two lines of
+  the poem, using, if possible, illustrations from
+  literature or real life. What feelings do these lines
+  arouse?
+
+  Observe the difficulties of Articulation in ll. 1, 2, 13
+  and 16. (Appendix A, 6 and 3.)
+
+  How can each part of the poem be made to stand out by
+  itself? (Introduction, p. 10.)
+
+  2. SENTINEL STARS. Select other phrases which call up
+  mental images.
+
+  How does the process of mental imagery affect the Time?
+  (Introduction, p. 12.)
+
+  3. How can it be shown that OVERPOWERED and GROUND are
+  disconnected? (Introduction, p. 7.)
+
+  4. Why do we pause after WEARY AND WOUNDED?
+  (Introduction, p. 10.)
+
+  6. Why is there no pause after FAGGOT? (Introduction, p.
+  11.)
+
+  What lines of stanza ii contain the leading thought? How
+  does the voice indicate this? (Introduction, p. 33.)
+
+  9. How is the mind prepared for the description of the
+  dream?
+
+  21. What feeling does the voice express? Does Imitation
+  play any part here? (Introduction, pp. 5 and 6.)
+
+  22. Expand the thought of this line, and show how your
+  thinking affects the Time. (Introduction, p. 14.)
+  Compare with the Time of l. 21, and explain the
+  difference.
+
+       *       *       *       *       *
+
+
+VAN ELSEN
+
+
+  God spake three times and saved Van Elsen's soul;
+  He spake by sickness first, and made him whole;
+          Van Elsen heard him not,
+          Or soon forgot.
+
+  God spake to him by wealth; the world outpoured                      5
+  Its treasures at his feet, and called him lord;
+          Van Elsen's heart grew fat
+          And proud thereat.
+
+  God spake the third time when the great world smiled,
+  And in the sunshine slew his little child;                          10
+          Van Elsen like a tree
+          Fell hopelessly.
+
+  Then in the darkness came a voice which said,
+  "As thy heart bleedeth, so My heart hath bled;
+          As I have need of thee                                      15
+          Thou needest Me."
+
+  That night Van Elsen kissed the baby feet,
+  And kneeling by the narrow winding-sheet
+          Praised him with fervent breath
+          Who conquered death.                                        20
+
+      _-Frederick George Scott_ (_By permission_)
+
+
+  By what means is the introductory line kept distinct
+  from the rest of the poem? (Introduction, p. 10.)
+
+  How does the reader indicate the comparatively long
+  space of time which elapses between the events of the
+  first, second, and third stanzas respectively?
+  (Introduction, p. 9.)
+
+  Show that each of the first three stanzas falls
+  according to meaning, into two parts. How does the
+  reader indicate this division?
+
+  Why should the last two stanzas, in this respect, be
+  together treated as one of the preceding? Illustrate by
+  means of Pause.
+
+       *       *       *       *       *
+
+
+PIBROCH OF DONUIL DHU
+
+
+  Pibroch of Donuil Dhu,
+    Pibroch of Donuil,
+  Wake thy wild voice anew,
+    Summon Clan Conuil.
+  Come away, come away,                                                5
+    Hark to the summons!
+  Come in your war array,
+    Gentles and commons.
+
+  Come from deep glen, and
+    From mountains so rocky,                                          10
+  The war-pipe and pennon
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one,
+  Come every steel blade, and                                         15
+    Strong hand that bears one.
+
+  Leave untended the herd,
+    The flock without shelter;
+  Leave the corpse uninterr'd
+    The bride at the altar;                                           20
+  Leave the deer, leave the steer,
+    Leave nets and barges:
+  Come with your fighting gear,
+    Broadswords and targes.
+
+  Come as the winds come, when                                        25
+    Forests are rended,
+  Come as the waves come, when
+    Navies are stranded;
+  Faster come, faster come,
+    Faster and faster,                                                30
+  Chief, vassal, page and groom,
+    Tenant and master.
+
+  Fast they come, fast they come;
+    See how they gather!
+  Wide waves the eagle plume,                                         35
+    Blended with heather.
+  Cast your plaids, draw your blades,
+    Forward each man set!
+  Pibroch of Donuil Dhu
+    Knell for the onset!                                              40
+
+      --_Sir Walter Scott_
+
+
+  HERD, UNINTERR'D. What sound has the vowel _e_?
+  (Appendix A, 1.)
+
+  GENTLES AND COMMONS; NETS AND BARGES; FIGHTING GEAR;
+  BROADSWORDS AND TARGES; FORESTS ARE RENDED; NAVIES ARE
+  STRANDED. (Appendix A, 3 and 6.)
+
+  For Pause read (Introduction, pp. 7 and 8.)
+
+  How is the gradually increasing excitement and energy
+  indicated in Time, Pitch, and Force? (Introduction, pp.
+  13, 23, and 27.)
+
+       *       *       *       *       *
+
+
+THE DAY IS DONE
+
+
+  The day is done, and the darkness
+    Falls from the wings of Night,
+  As a feather is wafted downwards
+    From an eagle in its flight.
+
+  I see the lights of the village                                      5
+    Gleam through the rain and the mist,
+  And a feeling of sadness comes o'er me,
+    That my soul cannot resist:
+
+  A feeling of sadness and longing,
+    That is not akin to pain,                                         10
+  And resembles sorrow only
+    As the mist resembles the rain.
+
+  Come, read to me some poem,
+    Some simple and heartfelt lay,
+  That shall soothe this restless feeling,                            15
+    And banish the thoughts of day.
+
+  Not from the grand old masters,
+    Not from the bards sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.                                    20
+
+  For, like strains of martial music,
+    Their mighty thoughts suggest
+  Life's endless toil and endeavour;
+    And to-night I long for rest.
+
+  Read from some humbler poet,                                        25
+    Whose songs gushed from his heart,
+  As showers from the clouds of summer,
+    Or tears from the eyelids start;
+
+  Who, through long days of labour,
+    And nights devoid of ease,                                        30
+  Still heard in his soul the music
+    Of wonderful melodies.
+
+  Such songs have power to quiet
+    The restless pulse of care,
+  And come like the benediction                                       35
+    That follows after prayer.
+
+  Then read from the treasured volume
+    The poem of thy choice,
+  And lend to the rhyme of the poet
+    The beauty of thy voice.                                          40
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+      --_Henry Wadsworth Longfellow_
+
+
+  What is the atmosphere of this poem? Compare it in this
+  respect with _Pibroch of Donuil Dhu_.
+
+  How does it differ from the latter in expression, so far
+  as Time, Pitch, and Force are concerned? (Introduction,
+  pp. 13, 22 and 26.)
+
+  WAFTED, AFTER, MASTERS, POEM, CORRIDORS, SORROW.
+  (Appendix A, 1.)
+
+  Observe the difficulties of Articulation in ll. 3, 11,
+  15, 18, 22, 26, 28 and 31. (Appendix A, 3 and 6.)
+
+       *       *       *       *       *
+
+
+THE SCHOOLMASTER AND THE BOYS
+
+From "The Old Curiosity Shop"
+
+
+1. The schoolmaster had scarcely arranged the room in due order, and
+taken his seat behind his desk, when a white-headed boy with a
+sunburnt face appeared at the door, and stopping there to make a
+rustic bow, came in and took his seat upon one of the forms. The
+white-headed boy then put an open book, astonishingly dog-eared, upon
+his knees, and thrusting his hands into his pockets, began counting
+the marbles with which they were filled. Soon afterwards another
+white-headed little boy came straggling in, and after him a red-headed
+lad, and after him two more with white heads, and then one with a
+flaxen poll, and so on until there were about a dozen boys in all,
+with heads of every colour but gray, and ranging in their ages from
+four years old to fourteen years or more; for the legs of the youngest
+were a long way from the floor when he sat upon the form, and the
+eldest was a heavy, good-tempered, foolish fellow, about half a head
+taller than the schoolmaster.
+
+2. At the top of the first form--the post of honour in the school--was
+the vacant place of the little sick scholar, and at the head of the
+row of pegs on which the hats and caps were hung, one peg was left
+empty. No boy attempted to violate the sanctity of seat or peg, but
+many a one looked from the empty spaces to the schoolmaster, and
+whispered to his idle neighbour behind his hand.
+
+3. Then began the hum of conning over lessons and getting them by
+heart, the whispered jest and stealthy game, and all the noise and
+drawl of school; and in the midst of the din sat the poor
+schoolmaster, the very image of meekness and simplicity, vainly
+attempting to fix his mind upon the duties of the day, and to forget
+his little sick friend. But the tedium of his office reminded him more
+strongly of the willing scholar, and his thoughts were rambling from
+his pupils--it was plain. None knew this better than the idlest boys,
+who, growing bolder with impunity, waxed louder and more
+daring--eating apples under the master's eye, pinching each other in
+sport or malice, and cutting their autographs in the very legs of his
+desk. The puzzled dunce, who stood beside it to say his lesson out of
+book, looked no longer at the ceiling for forgotten words, but drew
+closer to the master's elbow and boldly cast his eyes upon the page.
+If the master did chance to rouse himself and seem alive to what was
+going on, the noise subsided for a moment, and no eyes met his but
+wore a studious and deeply humble look; but, the instant he relapsed
+again, it broke out afresh, and ten times louder than before.
+
+4. Oh, how some of those idle fellows longed to be outside, and how
+they looked at the open door and window, as if they half meditated
+rushing violently out, plunging into the woods, and being wild boys
+and savages from that time forth. What rebellious thoughts of the cool
+river, and some shady bathing-place beneath willow-trees with branches
+dipping in the water, kept tempting and urging that sturdy boy, who
+sat fanning his flushed face with a spelling-book wishing himself a
+whale, or a fly, or anything but a boy at school on that hot, broiling
+day!
+
+5. Heat! Ask that other boy, whose seat being nearest the door gave
+him opportunities of gliding out into the garden and driving his
+companions to madness by dipping his face into the bucket of the well
+and then rolling on the grass--ask him if there were ever such a day
+as that, when even the bees were diving deep down into the cups of
+flowers and stopping there, as if they had made up their minds to
+retire from business and be manufacturers of honey no more. The day
+was made for laziness, and lying on one's back in green places, and
+staring at the sky till its brightness forced one to shut one's eyes
+and go to sleep; and was this a time to be poring over musty books in
+a dark room, slighted by the very sun itself? Monstrous!
+
+6. The lessons over, writing-time began; and there being but one desk
+and that the master's, each boy sat at it in turn and laboured at his
+crooked copy, while the master walked about. This was a quieter time;
+for he would come and look over the writer's shoulder, and tell him
+mildly to observe how such a letter was turned in such a copy on the
+wall, and bid him take it for his model. Then he would stop and tell
+them what the sick child had said last night, and how he had longed to
+be among them once again; and such was the schoolmaster's gentle and
+affectionate manner that the boys seemed quite remorseful that they
+had worried him so much, and were absolutely quiet; eating no apples,
+cutting no names, inflicting no pinches, for full two minutes
+afterwards.
+
+7. "I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this afternoon."
+
+8. At this intelligence the boys, led on and headed by the tall boy,
+raised a great shout, in the midst of which the master was seen to
+speak, but could not be heard. As he held up his hand, however, in
+token of his wish that they should be silent, they were considerate
+enough to leave off, as soon as the longest-winded among them were
+quite out of breath.
+
+9. "You must promise me first," said the schoolmaster, "that you 'll
+not be noisy, or, at least, if you are, that you'll go away and be
+so--away out of the village, I mean. I'm sure you wouldn't disturb
+your old playmate and companion."
+
+10. There was a general murmur in the negative.
+
+11. "Then, pray, don't forget--there's my dear scholars," said the
+schoolmaster--"what I have asked you, and do it as a favour to me. Be
+as happy as you can, and likewise be mindful that you are blessed with
+health. Good-bye, all!"
+
+12. "Thank you, sir," and "Good-bye, sir," were said a great many
+times in a variety of voices, and the boys went out very slowly and
+softly.
+
+13. But there was the sun shining and there were the birds singing, as
+the sun only shines and the birds only sing on holidays and
+half-holidays; there were the trees waving to all free boys to climb
+and nestle among their leafy branches; the hay, entreating them to
+come and scatter it in the pure air; the green corn, gently beckoning
+toward wood and stream; the smooth ground rendered smoother still by
+blending lights and shadows, inviting to runs and leaps, and long
+walks no one knows whither. It was more than boy could bear, and with
+a joyous whoop the whole company took to their heels and spread
+themselves about, shouting and laughing as they went.
+
+14. "It's natural, thank heaven!" said the poor schoolmaster, looking
+after them. "I'm very glad they didn't mind me!"
+
+      --_Charles Dickens_
+
+
+  Par. 1. DUE. (Appendix A 2.)
+
+  Indicate the pauses required to allow time for the
+  Imaging process. Discriminate between the short and the
+  long pauses. (Introduction, pp. 8 and 11.)
+
+  ORDER, DESK, DOOR. Account for the Inflection on each of
+  these words. (Introduction, pp. 15 and 16.)
+
+  What clause in the first sentence should be made most
+  prominent? Indicate the relative value of each part of
+  this sentence by the Shading. (Introduction, p. 33.)
+
+  Par. 2. What two phrases suggest the central idea of
+  this paragraph?
+
+  How does the voice indicate that the parenthetical
+  clause is subordinate in thought? (Introduction, pp. 24
+  and 33.)
+
+  Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8
+  and 2.)
+
+  DID CHANCE. What is the emphatic word? Why?
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+  NO EYES MET HIS ... How does the Inflection on HIS
+  indicate the exact meaning? (Introduction, p. 16.)
+
+  Par. 4. Give examples of Grouping in the last sentence
+  and show how Grouping affects the Pause. (Introduction,
+  p. 11.)
+
+  Par. 5. WHOSE SEAT--GRASS. What is the Shading? Indicate
+  the pauses in this group of words giving your reason in
+  each case.
+
+  What Inflection is placed on the question in the last
+  sentence? Account for it. (Introduction, p. 19.)
+
+  Par. 6. WRITER'S SHOULDER, BOYS SEEMED, ABSOLUTELY.
+  (Appendix A, 6, 2.)
+
+  Give examples of Grouping in the second sentence.
+
+  BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic
+  word? Why?
+
+  Par. 7. How is I THINK, BOYS connected with the rest of
+  the speech? Apply this principle to other examples of
+  direct speech interrupted by narrative. (Introduction,
+  p. 24.)
+
+  Par. 9. IF YOU ARE ... BE SO. Select the two emphatic
+  Words and give your reason for emphasizing them,
+  (Introduction, p. 30.)
+
+       *       *       *       *       *
+
+
+THE KNIGHTS' CHORUS
+
+From "Idylls of the King"
+
+
+    Blow trumpet, for the world is white with May;
+  Blow trumpet, the long night hath roll'd away!
+  Blow thro' the living world--Let the King reign.
+
+    Shall Rome or Heathen rule in Arthur's realm?
+  Flash brand and lance, fall battleaxe upon helm,                     5
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Strike for the King and live! his knights have heard
+  That God hath told the King a secret word.
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Blow trumpet! he will lift us from the dust!                      10
+  Blow trumpet! live the strength, and die the lust!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    Strike for the King and die! and if thou diest,
+  The King is King, and ever wills the highest.
+  Clang battleaxe, and clash brand! Let the king reign.               15
+
+    Blow, for our Sun is mighty in his May!
+  Blow, for our Sun is mightier day by day!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    The King will follow Christ, and we the King
+  In whom high God hath breathed a secret thing.                      20
+  Fall battleaxe, and flash brand! Let the King reign.
+
+      --_Alfred Tennyson_
+
+
+  How do you describe this poem from the standpoint of;
+  (1) the amount of energy, (2) excitement or nervous
+  tension? With what Force and in what Pitch should it be
+  read? (Introduction, pp. 22 and 25.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 13.)
+
+  What is the purpose of the question in stanza ii? How is
+  this purpose indicated by the Inflection? (Introduction,
+  p. 19.)
+
+       *       *       *       *       *
+
+
+THE NORTHERN STAR
+
+A Tynemouth Ship
+
+
+      The Northern Star
+      Sail'd over the bar
+  Bound to the Baltic Sea;
+      In the morning gray
+      She stretched away:--                                            5
+  'Twas a weary day to me!
+
+      For many an hour
+      In sleet and shower
+  By the lighthouse rock I stray;
+      And watch till dark                                             10
+      For the wingéd bark
+  Of him that is far away.
+
+      The castle's bound
+      I wander round
+  Amidst the grassy graves:                                           15
+      But all I hear
+      Is the north-wind drear,
+  And all I see are the waves.
+
+      The Northern Star
+      Is set afar!                                                    20
+  Set in the Baltic Sea:
+      And the waves have spread
+      The sandy bed
+  That holds my Love from me.
+
+      --_Unknown_
+
+
+  PREPARATORY.--Tell the story of the poem, making as
+  vivid as possible the scenes depicted. Compare
+  Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah
+  binding Shoes_.
+
+  Compare this poem with _The Knights' Chorus_ from the
+  standpoint of the amount of energy. How is the
+  difference between the two indicated vocally by the
+  Force? (Introduction, p. 26.)
+
+  What is the difference in nervous tension between the
+  last stanza and the preceding ones? What difference in
+  Pitch? (Introduction, p. 23.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 14.)
+
+  11. WINGÉD, with sails
+
+  15. TYNEMOUTH CASTLE used as a graveyard.
+
+       *       *       *       *       *
+
+
+THE INDIGO BIRD
+
+
+                    When I see,
+  High on the tip-top twig of a tree,
+  Something blue by the breezes stirred,
+  But so far up that the blue is blurred,
+  So far up no green leaf flies.                                       5
+  Twixt its blue and the blue of the skies,
+  Then I know, ere a note be heard,
+  That is naught but the Indigo bird.
+
+      Blue on the branch and blue in the sky,
+      And naught between but the breezes high,                        10
+      And naught so blue by the breezes stirred
+      As the deep, deep blue of the Indigo bird.
+
+                    When I hear
+  A song like a bird laugh, blithe and clear,
+  As though of some airy jest he had heard                            15
+  The last and the most delightful word,
+  A laugh as fresh in the August haze
+  As it was in the full-voiced April days,
+  Then I know that my heart is stirred
+  By the laugh-like song of the Indigo bird.                          20
+
+      Joy in the branch and joy in the sky,
+      And naught between but the breezes high;
+      And naught so glad on the breezes heard
+      As the gay, gay note of the Indigo bird.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Suggest a picture which would serve as an
+  illustration for this poem.
+
+  How does the Imaging affect the Pitch in the first two
+  stanzas?
+
+  What feelings does the poem arouse? Where do these
+  feelings reach a Climax? What is the effect on the
+  Pitch?
+
+  What other Climax is found in the poem besides the
+  Climax of feeling?
+
+  FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.)
+
+  BREEZES STIRRED. (Appendix A, 6.)
+
+  What is the Inflection on ll. 1-6 of stanza i and iii?
+  (Introduction, p. 17.) How does the Pitch of these lines
+  differ from that of ll. 7 and 8 of these stanzas?
+  Account for the change. (Introduction, p. 23.)
+
+  What are the contrasting words in l. 6, stanza i?
+
+  Note the Grouping and Pause in ll. 3 and 4, stanza iii.
+
+       *       *       *       *       *
+
+
+THE PASTURE FIELD
+
+
+  When spring has burned
+    The ragged robe of winter, stitch by stitch,
+  And deftly turned
+    To moving melody the wayside ditch,
+  The pale-green pasture field behind the bars                         5
+  Is goldened o'er with dandelion stars.
+
+  When summer keeps
+    Quick pace with sinewy white-shirted arms,
+  And daily steeps
+    In sunny splendour all her spreading farms,                       10
+  The pasture field is flooded foamy white
+  With daisy faces looking at the light.
+
+  When autumn lays
+    Her golden wealth upon the forest floor,
+  And all the days                                                    15
+    Look backward at the days that went before,
+  A pensive company, the asters, stand,
+  Their blue eyes brightening the pasture land.
+
+  When winter lifts
+    A sounding trumpet to his strenuous lips,                         20
+  And shapes the drifts
+    To curves of transient loveliness, he slips
+  Upon the pasture's ineffectual brown
+  A swan-soft vestment delicate as down.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Select the phrases which call into play
+  the Imaging process.
+
+  Describe four typical Canadian scenes suggested by this
+  poem.
+
+  Distinguish the sound of _a_ in PASTURE, RAGGED, BARS,
+  etc. (Appendix A, 1.)
+
+  What words express the central ideas in each stanza, and
+  at the same time form a contrast with one another?
+
+  What Inflection is used in the first four lines of each
+  stanza? (Introduction, p. 16.)
+
+  How does the Shading of these lines compare with that of
+  the last two of each stanza? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+SHIPWRECKED
+
+From "Kidnapped"
+
+
+1. The time I spent upon the island is still so horrible a thought to
+me that I must pass it lightly over. In all the books I have read of
+people cast away, either they had their pockets full of tools, or a
+chest of things would be thrown upon the beach along with them, as if
+on purpose. My case was very much different. I had nothing in my
+pockets but money and Alan's silver button; and being inland bred, I
+was as much short of knowledge as of means.
+
+2. I knew indeed that shellfish were counted good to eat; and among
+the rocks of the isle I found a great plenty of limpets, which at
+first I could scarcely strike from their places, not knowing quickness
+to be needful. There were, besides, some of the little shells that we
+call buckies; I think periwinkle is the English name. Of these two I
+made my whole diet, devouring them cold and raw as I found them; and
+so hungry was I that at first they seemed to me delicious.
+
+3. Perhaps they were out of season, or perhaps there was something
+wrong in the sea about my island. But at least I had no sooner eaten
+my first meal than I was seized with giddiness and retching, and lay
+for a long time no better than dead. A second trial of the same food
+(indeed, I had no other) did better with me and revived my strength.
+
+4. But as long as I was on the island, I never knew what to expect
+when I had eaten; sometimes all was well, and sometimes I was thrown
+into a miserable sickness; nor could I ever distinguish what
+particular fish it was that hurt me. All day it streamed rain; there
+was no dry spot to be found; and when I lay down that night, between
+two boulders that made a kind of roof, my feet were in a bog.
+
+5. From a little up the hillside over the bay I could catch a sight of
+the great ancient church and the roofs of the people's houses in Iona.
+And on the other hand, over the low country of the Ross, I saw smoke
+go up, morning and evening, as if from a homestead in a hollow of the
+land.
+
+6. I used to watch this smoke, when I was wet and cold and had my head
+half-turned with loneliness, and think of the fireside and of the
+company till my heart burned. Altogether, this sight I had of men's
+homes and comfortable lives, although it put a point on my own
+sufferings, yet it kept hope alive, and helped me to eat my raw
+shellfish (which had soon grown to be a disgust), and saved me from
+the sense of horror I had whenever I was quite alone with dead rocks,
+and fowls, and the rain, and the cold sea.
+
+7. Charles the Second declared a man could stay outdoors more days in
+the year in the climate of England than in any other. That was very
+like a king with a palace at his back and changes of dry clothes. But
+he must have had better luck on his flight from Worcester than I had
+on that miserable isle. It was the height of summer; yet it rained for
+more than twenty-four hours, and did not clear until the afternoon of
+the third day.
+
+8. There is a pretty high rock on the north-west of Earraid, which
+(because it had a flat top and overlooked the Sound) I was much in the
+habit of frequenting; not that I ever stayed in one place, save when
+asleep, my misery giving me no rest. Indeed, I wore myself down with
+continual and aimless goings and comings in the rain.
+
+9. As soon, however, as the sun came out, I lay down on the top of
+that rock to dry myself. The comfort of the sunshine is a thing I
+cannot tell. It set me thinking hopefully of my deliverance, of which
+I had begun to despair; and I scanned the sea and the Ross with a
+fresh interest. On the south of my rock a part of the island jutted
+out and hid the open ocean so that a boat could thus come quite near
+me upon that side and I be none the wiser.
+
+10. Well, all of a sudden, a coble, with a brown sail and a pair of
+fishers aboard of it, came flying round that corner of the isle, bound
+for Iona. I shouted out, and then fell on my knees on the rock and
+prayed to them. They were near enough to hear--I could even see the
+colour of their hair--and there was no doubt but they observed me, for
+they cried out in the Gaelic tongue, and laughed. But the boat never
+turned aside, and flew right on, before my eyes, for Iona.
+
+11. I could not believe such wickedness, and ran along the shore from
+rock to rock, crying on them piteously; even after they were out of
+reach of my voice I still cried and waved to them; and when they were
+quite gone I thought my heart would burst.
+
+12. The next day (which was the fourth of this horrible life of mine)
+I found my bodily strength run very low. But the sun shone, the air
+was sweet, and what I managed to eat of the shellfish agreed well with
+me and revived my courage.
+
+13. I was scarce back on my rock (where I went always the first thing
+after I had eaten) before I observed a boat coming down the Sound, and
+with her head, as I thought, in my direction.
+
+14. I began at once to hope and fear exceedingly; for I thought these
+men might have thought better of their cruelty and be coming back to
+my assistance. But another disappointment, such as yesterday's, was
+more than I could bear. I turned my back accordingly upon the sea, and
+did not look again till I had counted many hundreds.
+
+15. The boat was still heading for the island. The next time I counted
+the full thousand, as slowly as I could, my heart beating so as to
+hurt me. And then it was out of all question. She was coming straight
+to Earraid. I could no longer hold myself back, but ran to the seaside
+and out, from one rock to another, as far as I could go. It is a
+marvel I was not drowned; for when I was brought to a stand at last my
+legs shook under me, and my mouth was so dry I must wet it with the
+sea water before I was able to shout.
+
+16. All this time the boat was coming on; and now I was able to
+perceive it was the same boat and the same two men as yesterday. This
+I knew by their hair, which the one had of bright yellow and the other
+black. But now there was a third man along with them, who looked to be
+of a better class.
+
+17. As soon as they were come within easy speech, they let down their
+sail and lay quiet. In spite of my supplications, they drew no nearer
+in, and what frightened me most of all, the new man tee-heed with
+laughter as he talked and looked at me.
+
+18. Then he stood up in the boat and addressed me a long while,
+speaking fast and with many wavings of his hand. I told him I had no
+Gaelic; and at this he became very angry, and I began to suspect he
+thought he was talking English. Listening very close, I caught the
+word "whateffer" several times; but all the rest was Gaelic, and might
+have been Greek and Hebrew for me.
+
+19. "Whatever," said I, to show him I had caught a word. "Yes,
+yes--yes, yes," said he; and then he looked at the other men as much
+as to say, "I told you I spoke English," and began again as hard as
+ever in the Gaelic.
+
+20. This time I picked out another word, "tide." Then I had a flash of
+hope. I remembered he was always waving his hand toward the mainland
+of the Ross.
+
+21. "Do you mean when the tide is out?"--I cried, and could not
+finish.
+
+22. "Yes, yes," said he. "Tide."
+
+23. At that I turned tail upon their boat (where my adviser had once
+more begun to tee-hee with laughter), leaped back the way I had come,
+from one stone to another, and set off running across the isle as I
+had never run before. In about half an hour I came upon the shores of
+the creek, and, sure enough, it was shrunk into a little trickle of
+water, through which I dashed, not above my knees, and landed with a
+shout on the main island.
+
+24. A sea-bred boy would not have stayed a day on Earraid, which is
+only what they call a tidal islet, and, except, in the bottom of the
+neaps, can be entered and left twice in every twenty-four hours,
+either dry-shod, or, at the most, by wading. Even I, who had seen the
+tide going out and in before me in the bay, and even watched for the
+ebbs, the better to get my shellfish--even I (I say), if I had sat
+down to think, instead of raging at my fate, must have soon guessed
+the secret and got free.
+
+25. It was no wonder the fishers had not understood me. The wonder was
+rather that they had ever guessed my pitiful illusion, and taken the
+trouble to come back. I had starved with cold and hunger on that
+island for close upon one hundred hours. But for the fishers, I might
+have left my bones there, in pure folly. And even as it was, I had
+paid for it pretty dear, not only in past sufferings but in my present
+case, being clothed like a beggar man, scarce able to walk, and in
+great pain of my sore throat.
+
+26. I have seen wicked men and fools--a great many of both--and I
+believe they both get paid in the end; but the fools first.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  How are the parenthetical clauses in this selection kept
+  in the back-ground? (Introduction, p. 24.)
+
+  11. I could not believe such wickedness ... heart would
+  burst. Observe the Climax. (Introduction, p. 31.)
+
+  19. Whatever, said I, ... How is the direct speech made
+  to stand out from the narration which interrupts it?
+  (Introduction, p. 24.)
+
+       *       *       *       *       *
+
+
+ON HIS BLINDNESS
+
+
+  When I consider how my light is spent
+    Ere half my days, in this dark world and wide,
+    And that one talent which is death to hide,
+  Lodged with me useless, though my soul more bent
+  To serve therewith my Maker, and present
+    My true account, lest He, returning, chide;
+    "Doth God exact day labour, light denied?"
+
+  I fondly ask. But Patience, to prevent
+  That murmur, soon replies, "God doth not need
+    Either man's work, or His own gifts. Who best
+    Bear His mild yoke, they serve Him best: His state
+  Is kingly; thousands at His bidding speed,
+    And post o'er land and ocean without rest:
+    They also serve who only stand and wait."
+
+      --_Milton_
+
+
+  PREPARATORY.--Divide the sonnet into two parts, giving
+  each part a title.
+
+  Read the first part in prose order, supplying the
+  ellipses.
+
+  How many distinct statements are there in the second
+  part?
+
+  Select the clauses of the first part that are equal in
+  rank and have the same Shading. Show which should be
+  made prominent, and which held in the background.
+
+  Read the first part of this sonnet, with a view to
+  Perspective. (Introduction, p. 33.)
+
+  1-4. With what do you connect WHEN ... SPENT, and
+  LODGED? How?
+
+  How do you make the statements of the second part stand
+  out singly? (Introduction, pp. 8 and 10.)
+
+       *       *       *       *       *
+
+
+BRIGGS IN LUCK
+
+From "Doctor Birch and his Young Friends"
+
+
+_Enter the Knife-boy._ Hamper for Briggses!
+_Master Brown._ Hurray, Tom Briggs! I'll lend you my knife.
+
+If this story does not carry its own moral, what fable does, I wonder?
+Before the arrival of that hamper, Master Briggs was in no better
+repute than any other young gentleman of the lower school; and in fact
+I had occasion myself, only lately, to correct Master Brown for
+kicking his friend's shins during the writing-lesson. But how this
+basket, directed by his mother's house-keeper, and marked "GLASS WITH
+CARE," whence I concluded that it contained some jam and some bottles
+of wine probably, as well as the usual cake and game-pie, and half a
+sovereign for the elder Master B., and five new shillings for Master
+Decimus Briggs--how, I say, the arrival of this basket alters all
+Master Briggs's circumstances in life, and the estimation in which
+many persons regard him!
+
+If he is a good-hearted boy, as I have reason to think, the very first
+thing he will do, before inspecting the contents of the hamper, or
+cutting into them with the knife which Master Brown has so
+considerately lent him, will be to read over the letter from home
+which lies on top of the parcel. He does so, as I remarked to Miss
+Raby (for whom I happened to be mending pens when the little
+circumstance arose), with a flushed face and winking eyes. Look how
+the other boys are peering into the basket as he reads--I say to her,
+"Isn't it a pretty picture?" Part of the letter is in a very large
+hand. That is from his little sister. And I would wager that she
+netted the little purse which he has just taken out of it, and which
+Master Lynx is eyeing.
+
+"You are a droll man, and remark all sorts of queer things," Miss Raby
+says, smiling, and plying her swift needle and fingers as quick as
+possible.
+
+"I am glad we were both on the spot, and that the little fellow lies
+under our guns as it were, and so is protected from some such brutal
+school-pirate as young Duval for instance, who would rob him,
+probably, of some of those good things; good in themselves, and better
+because fresh from home. See, there is a pie as I said, and which I
+daresay is better than those which are served at our table (but you
+never take any notice of these kind of things, Miss Raby), a cake, of
+course, a bottle of currant wine, jam-pots, and no end of pears in
+the straw. With this money little Briggs will be able to pay the tick
+which that impudent child has run up with Mrs. Ruggles; and I shall
+let Briggs Major pay for the pencil-case which Bullock sold to
+him.--It will be a lesson to the young prodigal for the future.
+
+"But, I say, what a change there will be in his life for some time to
+come, and at least until his present wealth is spent! The boys who
+bully him will mollify toward him and accept his pie and sweetmeats.
+They will have feasts in the bedroom; and that wine will taste more
+deliciously to them than the best out of the Doctor's cellar. The
+cronies will be invited. Young Master Wagg will tell his most dreadful
+story and sing his best song for a slice of that pie. What a jolly
+night they will have! When we go the rounds at night, Mr. Prince and I
+will take care to make a noise before we come to Briggs's room, so
+that the boys may have time to put the light out, to push the things
+away, and to scud into bed. Doctor Spry may be put in requisition the
+next morning."
+
+"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I
+lay down the twelfth pen very nicely mended.
+
+"Yes; after luxury comes the doctor, I say; after extravagance, a hole
+in the breeches pocket. To judge from his disposition, Briggs Major
+will not be much better off a couple of days hence than he is now,
+and, if I am not mistaken, will end life a poor man. Brown will be
+kicking his shins before a week is over, depend upon it. There are
+boys and men of all sorts, Miss R.--there are selfish sneaks who hoard
+until the store they daren't use grows mouldy--there are spendthrifts
+who fling away, parasites who flatter and lick its shoes, and
+snarling curs who hate and envy good fortune."
+
+I put down the last of the pens, brushing away with it the quill chips
+from her desk first, and she looked at me with a kind, wondering face.
+I brushed them away, clicked the pen-knife into my pocket, made her a
+bow, and walked off--for the bell was ringing for school.
+
+      --_William Makepeace Thackeray_
+
+
+  MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.)
+
+  FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix
+  A, 3 and 6.)
+
+  Make an analysis from the standpoint of Perspective of
+  the following sentences: BUT HOW THIS BASKET ... REGARD
+  HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO
+  ... WINKING EYES; SEE THERE IS A PIE ... STRAW.
+
+       *       *       *       *       *
+
+
+THE LAUGHING SALLY
+
+
+  A wind blew up from Pernambuco,
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  A wind blew out of the east-sou'-east
+    And boomed at the break of day.                                    5
+
+  The _Laughing Sally_ sped for her life,
+    And a speedy craft was she.
+  The black flag flew at her top to tell
+    How she took toll of the sea.
+
+  The wind blew up from Pernambuco;                                   10
+    And in the breast of the blast
+  Came the King's black ship like a hound let slip
+    On the trail of the _Sally_ at last.
+
+  For a day and a night, a night and a day;
+    Over the blue, blue round,                                        15
+  Went on the chase of the pirate quarry,
+    The hunt of the tireless hound.
+
+  "Land on the port bow!" came the cry;
+    And the _Sally_ raced for shore,
+  Till she reached the bar at the river-mouth                         20
+    Where the shallow breakers roar.
+
+  She passed the bar by a secret channel
+    With clear tide under her keel,--
+  For he knew the shoals like an open book,
+    The captain at the wheel.                                         25
+
+  She passed the bar, she sped like a ghost,
+    Till her sails were hid from view
+  By the tall, liana'd, unsunned boughs
+    O'erbrooding the dark bayou.
+
+  At moonrise up to the river-mouth                                   30
+    Came the King's black ship of war,
+  The red cross flapped in wrath at her peak,
+    But she could not cross the bar.
+
+  And while she lay in the run of the seas,
+    By the grimmest whim of chance,                                   35
+  Out of the bay to the north came forth
+    Two battle-ships of France.
+
+  On the English ship the twain bore down
+    Like wolves that range by night;
+  And the breakers' roar was heard no more                            40
+    In the thunder of the fight.
+
+  The crash of the broadsides rolled and stormed
+    To the _Sally_ hid from view
+  Under the tall liana'd boughs
+    Of the moonless dark bayou.                                       45
+
+  A boat ran out for news of the fight,
+    And this was the word she brought--
+  "The King's ship fights the ships of France
+    As the King's ships all have fought!"
+
+  Then muttered the mate, "I'm a man of Devon!"                       50
+    And the captain thundered then--
+  "There's English rope that bides for our necks,
+    But we all be Englishmen!"
+
+  The _Sally_ glided out of the gloom
+    And down the moon-white river.                                    55
+  She stole like a gray shark over the bar
+    Where the long surf seethes for ever.
+
+  She hove to under a high French hull,
+    And the red cross rose to her peak.
+  The French were looking for fight that night,                       60
+    And they hadn't far to seek.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!                                      65
+
+  And when the stars paled out of heaven
+    And the red dawn-rays uprushed,
+  The oaths of battle, the crash of timbers,
+    The roar of the guns was hushed.
+
+  With one foe beaten under his bow,                                  70
+    The other far in flight,
+  The English captain turned to look
+    For his fellow in the fight.
+
+  The English captain turned and stared;--
+    For where the _Sally_ had been                                    75
+  Was a single spar upthrust from the sea
+    With the red cross flag serene!
+
+  A wind blew up from Pernambuco
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  And boomed for the doom of the _Laughing Sally_!
+    Gone down at the break of day.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+
+  PREPARATORY.--Divide the poem into sections giving to
+  each part a descriptive title. (Introduction, p. 10.)
+  How is each section made to stand out?
+
+  In what Time is the section which describes the flight
+  of the _Laughing Sally_ read? Give your reason.
+  (Introduction, pp. 5 and 13.)
+
+  Contrast the first and last stanzas from the standpoint
+  of feeling. How does the voice express the difference?
+
+  BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
+  A, 2, 3, 5, and 6.)
+
+  Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
+  LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
+  (Appendix A, 1.)
+
+  8-9. Note the Grouping and Pause. (Introduction, p. 11.)
+
+  11-13. Observe the Grouping. Which phrases have the
+  heaviest Shading? (Introduction, p. 33.)
+
+  16. Where is the Pause? Why?
+
+  18. LAND ON THE PORT BOW. What change is made in Pitch
+  and Force? Account for it. (Introduction, pp. 22 and
+  25.)
+
+  24. What is the Inflection on this line?
+
+  30-37. Observe the Grouping and Shading throughout these
+  stanzas.
+
+  38-45. What sense is appealed to in these stanzas? How
+  is the Time affected?
+
+  46-53. How are the transitions to direct discourse
+  indicated? (Introduction, p. 24.)
+
+  What is the difference in Pitch between the mate's and
+  the captain's speech? (Introduction, p. 23.)
+
+  66-67. Note the contrast with the preceding stanza and
+  with the two following lines.
+
+       *       *       *       *       *
+
+
+THE PRODIGAL SON
+
+Luke xv 11-32
+
+
+A certain man had two sons: And the younger of them said to his
+father, Father, give me the portion of goods that falleth to me. And
+he divided unto them his living.
+
+And not many days after the younger son gathered all together, and
+took his journey into a far country, and there wasted his substance
+with riotous living. And when he had spent all, there arose a mighty
+famine in that land; and he began to be in want. And he went and
+joined himself to a citizen of that country; and he sent him into his
+fields to feed swine. And he would fain have filled his belly with the
+husks that the swine did eat: and no man gave unto him. And when he
+came to himself, he said, How many hired servants of my father's have
+bread enough and to spare, and I perish with hunger! I will arise and
+go to my father, and will say unto him, Father, I have sinned against
+heaven, and before thee, and am no more worthy to be called thy son:
+make me as one of thy hired servants.
+
+And he arose, and came to his father. But when he was yet a great way
+off, his father saw him, and had compassion, and ran, and fell on his
+neck, and kissed him. And the son said unto him, Father, I have sinned
+against heaven, and in thy sight, and am no more worthy to be called
+thy son. But the father said to his servants, Bring forth the best
+robe, and put it on him; and put a ring on his hand, and shoes on his
+feet: And bring hither the fatted calf, and kill it; and let us eat,
+and be merry; For this my son was dead, and is alive again; he was
+lost, and is found. And they began to be merry.
+
+Now his elder son was in the field: and as he came and drew nigh to
+the house, he heard musick and dancing. And he called one of the
+servants, and asked what these things meant. And he said unto him, Thy
+brother is come; and thy father hath killed the fatted calf, because
+he hath received him safe and sound. And he was angry, and would not
+go in: therefore came his father out, and intreated him. And he
+answering said to his father, Lo, these many years do I serve thee,
+neither transgressed I at any time thy commandment; and yet thou never
+gavest me a kid, that I might make merry with my friends: But as soon
+as this thy son was come, which hath devoured thy living with harlots,
+thou hast killed for him the fatted calf. And he said unto him, Son,
+thou art ever with me, and all that I have is thine. It was meet that
+we should make merry, and be glad, for this thy brother was dead, and
+is alive again; and was lost, and is found.
+
+
+  PREPARATORY.--Divide this parable into four parts,
+  giving each part a descriptive title.
+
+  Describe pictures to illustrate each part.
+
+  Connect the parable with any similar story drawn from
+  modern life. Fill in details to account for (_a_) the
+  prodigal's desire to leave home, (_b_) the father's
+  great joy at his return, (_c_) the elder brother's
+  jealousy.
+
+  HOW MANY HIRED SERVANTS, ETC. What are the prodigal's
+  feelings? What new feeling is introduced with (_a_) I
+  WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.?
+
+  In what Time and Pitch do you read the passages which
+  describe the father's joy? (Introduction, pp. 12 and
+  22.)
+
+  What feeling pervades the speech of the elder son? What
+  is the motive of the father's reply?
+
+  Explain the Emphasis in the following; (_a_) AND HE SENT
+  HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_)
+  THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST
+  ME A KID. (Introduction, pp. 30 and 31.)
+
+  Explain the Inflection on DEAD, ALIVE, LOST, FOUND.
+
+       *       *       *       *       *
+
+
+CHRISTMAS AT SEA
+
+
+  The sheets were frozen hard, and they cut the naked hand;
+  The decks were like a slide, where a seaman scarce could stand;
+  The wind was a nor'-wester, blowing squally off the sea;
+  And cliffs and spouting breakers were the only things a-lee.
+
+  They heard the surf a-roaring before the break of day;               5
+  But 'twas only with the peep of light we saw how ill we lay.
+  We tumbled every hand on deck instanter, with a shout,
+  And we gave her the maintops'l, and stood by to go about.
+
+  All day we tacked and tacked between the South Head and the North;
+  All day we hauled the frozen sheets, and got no further forth;      10
+  All day as cold as charity, in bitter pain and dread,
+  For very life and nature we tacked from Head to Head.
+
+  We gave the South a wider berth, for there the tide-race roared,
+  But every tack we made we brought the North Head close aboard;
+  So's we saw cliffs and houses, and the breakers running high,       15
+  And the coast-guard in his garden, with his glass against his eye.
+
+  The frost was on the village roofs as white as ocean foam;
+  The good red fires were burning bright in every 'longshore home;
+  The windows sparkled clear, and the chimneys volleyed out;
+  And I vow we sniffed the victuals, as the vessel went about.        20
+
+  The bells upon the church were rung with a mighty jovial cheer;
+  For it's just that I should tell you how (of all days in the year)
+  This day of our adversity was blessèd Christmas morn,
+  And the house above the coast-guard's was the house where I was born.
+
+  O well I saw the pleasant room, the pleasant faces there,           25
+  My mother's silver spectacles, my father's silver hair;
+  And well I saw the firelight, like a flight of homely elves,
+  Go dancing round the china plates that stand upon the shelves.
+
+  And well I knew the talk they had, the talk that was of me,
+  Of the shadow on the household and the son that went to sea;        30
+  And O the wicked fool I seemed, in every kind of way,
+  To be here and hauling frozen ropes on blessèd Christmas day.
+
+  They lit the high sea-light, and the dark began to fall.
+  "All hands to loose topgallant sails," I heard the captain call.
+  "Captain, she'll never stand it," our first mate, Jackson, cried. 35
+  "It's the one way or the other, Mr. Jackson," he replied.
+
+  She staggered to her bearings, but the sails were new and good,
+  And the ship smelt up to windward just as though she understood.
+  As the winter's day was ending, in the entry of the night,
+  We cleared the weary headland, and passed below the light.          40
+
+  And they heaved a mighty breath, every soul on board but me,
+  As they saw her nose again pointing handsome out to sea;
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  PREPARATORY.--Supply an introduction and a conclusion
+  for the story suggested by this poem.
+
+  Indicate the pauses which should be made in this poem
+  after words and phrases: (_a_) because of the Imaging
+  process, (_b_) in order to conceive the thought more
+  fully, (_c_) in passing from the narration of one action
+  to that of another, (_d_) because of direct speech
+  interrupted by narrative. (Introduction, pp. 7, 24, and
+  27.)
+
+  20 and 22. Indicate the Pause before phrases to prepare
+  the mind for what is coming. (Introduction, p. 8.) What
+  Inflection is used as a connecting link? (Introduction,
+  p. 16.)
+
+  27. FIRELIGHT. With what should it be connected? How?
+  (Introduction, p. 24.)
+
+  34. ALL HANDS ... SAILS. What change in Pitch and Force?
+  (Introduction, pp. 22 and 26.)
+
+  40. What is the Shading? (Introduction, p. 33.)
+
+  Compare the mental state of the captain with that of the
+  first mate. How is the difference indicated in the Pitch
+  of their respective speeches? (Introduction, p. 22.)
+
+  Connect stanzas vii and viii with the last two lines of
+  the poem. What background of thought is suggested? How
+  is the rate of reading affected by the thoughts
+  suggested? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+THE EVENING WIND
+
+
+  Spirit that breathest through my lattice, thou
+    That cool'st the twilight of the sultry day,
+  Gratefully flows thy freshness round my brow:
+    Thou hast been out upon the deep at play,
+  Riding all day the wild blue waves till now,                         5
+    Roughening their crests, and scattering high their spray,
+  And swelling the white sail. I welcome thee
+  To the scorched land, thou wanderer of the sea!
+
+  Nor I alone;--a thousand bosoms round
+    Inhale thee in the fulness of delight;                            10
+  And languid forms rise up, and pulses bound
+    Livelier at coming of the wind of night;
+  And, languishing to hear thy grateful sound,
+    Lies the vast inland stretched beyond the sight.
+  Go forth into the gathering shade; go forth,                        15
+  God's blessing breathed upon the fainting earth!
+
+  Go, rock the little wood-bird in his nest,
+    Curl the still waters, bright with stars, and rouse
+  The wide old wood from his majestic rest,
+    Summoning from the innumerable boughs                             20
+  The strange deep harmonies that haunt his breast:
+    Pleasant shall be thy way, where meekly bows
+  The shutting flower and darkling waters pass,
+  And where the o'ershadowing branches sweep the grass.
+
+  The faint old man shall lean his silver head                        25
+    To feel thee; thou shalt kiss the child asleep,
+  And dry the moistened curls that overspread
+    His temples, while his breathing grows more deep;
+  And they who stand about the sick man's bed
+    Shall joy to listen to thy distant sweep,                         30
+  And softly part his curtains to allow
+  Thy visit, grateful to his burning brow.
+
+  Go,--but the circle of eternal change,
+    Which is the life of nature, shall restore,
+  With sounds and scents from all thy mighty range,                   35
+    Thee to thy birthplace of the deep once more;
+  Sweet odours in the sea-air, sweet and strange,
+    Shall tell the home-sick manner of the shore;
+  And, listening to thy murmur, he shall dream
+  He hears the rustling leaf and running stream.                      40
+
+      --_William Cullen Bryant_
+
+
+  PREPARATORY.--Describe fully the picture suggested by
+  (_a_) the first three lines of stanza i, (_b_) the last
+  four lines of stanza i, (_c_) stanza ii. Give to each a
+  suitable title.
+
+  1, 2, and 6. (Appendix A, 3, 4, and 8.)
+
+  1. THOU. What is the Inflection?
+
+  6. How does the sound accord with the sense?
+
+  15. GO FORTH ... GO FORTH. Where is the Emphasis?
+  (Introduction, p. 31.)
+
+  19-21. What feeling is aroused? How is the Quality of
+  voice affected? (Introduction, p. 34.)
+
+  25-32. What change in Time? Account for it.
+  (Introduction, p. 13.)
+
+  31. What atmosphere is created in this line? What
+  Quality of voice is the result? What lines in the last
+  stanza have the same atmosphere? (Introduction, p. 34.)
+
+  36. With what should THEE be connected? In what way?
+
+  33-36. What portions are read in lighter Shading?
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+PARADISE AND THE PERI
+
+From "Lalla Rookh"
+
+
+    One morn a Peri at the gate
+    Of Eden stood, disconsolate;
+  And as she listened to the Springs
+    Of Life within, like music flowing,
+  And caught the light upon her wings                                  5
+    Through the half-open portal glowing,
+  She wept to think her recreant race
+  Should e'er have lost that glorious place!
+  "How happy," exclaimed this child of air,
+  "Are the holy spirits who wander there,                             10
+    'Mid flowers that never shall fade or fall;
+  Though mine are the gardens of earth and sea,
+  And the stars themselves have flowers for me,
+    One blossom of Heaven out-blooms them all!"
+
+  The glorious Angel, who was keeping                                 15
+  The Gates of Light, beheld her weeping;
+  And, as he nearer drew and listened
+  To her sad song, a tear-drop glistened
+  Within his eyelids, like the spray
+    From Eden's fountain, when it lies                                20
+  On the blue flower, which--Brahmins say--
+    Blooms nowhere but in Paradise.
+  "Nymph of a fair, but erring line!"
+  Gently he said,--"One hope is thine.
+    'Tis written in the Book of Fate,                                 25
+    _The Peri yet may be forgiven
+  Who brings to this Eternal Gate
+    The Gift that is most dear to Heaven!_
+  Go, seek it, and redeem thy sin:
+  'Tis sweet to let the Pardoned in!"                                 30
+
+  Downward the Peri turns her gaze,
+  And, through the war-field's bloody haze,
+  Beholds a youthful warrior stand
+    Alone, beside his native river,--
+  The red blade broken in his hand,                                   35
+    And the last arrow in his quiver.
+  "Live," said the conqueror, "live to share
+  The trophies and the crowns I bear!"
+  Silent that youthful warrior stood--
+  Silent he pointed to the flood                                      40
+  All crimson with his country's blood,
+  Then sent his last remaining dart,
+  For answer, to th' invader's heart.
+
+  False flew the shaft, though pointed well;
+  The tyrant lived, the hero fell!                                    45
+  Yet marked the Peri where he lay,
+    And when the rush of war was past,
+  Swiftly descending on a ray
+    Of morning light, she caught the last,
+  Last glorious drop his heart had shed,                              50
+  Before its free-born spirit fled!
+
+  "Be this," she cried, as she winged her flight,
+  "My welcome gift at the Gates of Light."
+  "Sweet," said the Angel, as she gave
+    The gift into his radiant hand,                                   55
+  "Sweet is our welcome of the brave
+    Who die thus for their native land.--
+  But see--alas!--the crystal bar
+  Of Eden moves not--holier far
+  Than e'en this drop the boon must be,                               60
+  That opes the Gates of Heaven for thee!"
+
+  But nought can charm the luckless Peri;
+  Her soul is sad, her wings are weary.
+    When, o'er the vale of Balbec winging
+  Slowly, she sees a child at play,                                   65
+  Among the rosy wild-flowers singing,
+    As rosy and as wild as they;
+  Chasing, with eager hands and eyes,
+  The beautiful blue damsel-flies
+  That fluttered round the jasmine stems,                             70
+  Like-wingèd flowers or flying gems:
+  And, near the boy, who, tired with play,
+  Now nestling 'mid the roses lay,
+  She saw a wearied man dismount
+    From his hot steed, and on the brink                              75
+  Of a small imaret's rustic fount
+    Impatient fling him down to drink.
+  Then swift his haggard brow he turned
+    To the fair child, who fearless sat,
+  Though never yet hath daybeam burned                                80
+    Upon a brow more fierce than that.
+
+  But hark! the vesper call to prayer,
+    As slow the orb of daylight sets,
+  Is rising sweetly on the air,
+    From Syria's thousand minarets!                                   85
+  The boy has started from the bed
+  Of flowers, where he had laid his head,
+  And down upon the fragrant sod
+    Kneels, with his forehead to the south,
+  Lisping th' eternal name of God                                     90
+    From purity's own cherub mouth.
+
+  And how felt he, the wretched man,
+  Reclining there--while memory ran
+  O'er many a year of guilt and strife,
+  Flew o'er the dark flood of his life,                               95
+  Nor found one sunny resting-place,
+  Nor brought him back one branch of grace?
+  "There was a time," he said, in mild,
+  Heart-humbled tones, "thou blessed child!
+    When, young and haply pure as thou,                              100
+    I looked and prayed like thee--but now--"
+  He hung his head--each nobler aim,
+    And hope, and feeling, which had slept
+  From boyhood's hour, that instant came
+    Fresh o'er him, and he wept--he wept!                            105
+
+  And now, behold him kneeling there
+  By the child's side, in humble prayer,
+  While the same sunbeam shines upon
+  The guilty and the guiltless one,
+  And hymns of joy proclaim through Heaven                           110
+  The triumph of a soul forgiven!
+
+  'Twas when the golden orb had set,
+  While on their knees they lingered yet,
+  There fell a light, more lovely far
+  Than ever came from sun or star,                                   115
+  Upon the tear that, warm and meek,
+  Dewed that repentant sinner's cheek:
+  To mortal eye that light might seem
+  A northern flash or meteor beam--
+  But well th' enraptured Peri knew                                  120
+  'Twas a bright smile the Angel threw
+  From Heaven's gate, to hail that tear--
+  Her harbinger of glory near!
+  "Joy, joy for ever! my task is done:
+  The Gates are passed, and Heaven is won!"                          125
+
+      --_Thomas Moore_
+
+
+  PREPARATORY.--Divide this selection into four scenes,
+  describing minutely each scene, and pointing out what
+  part of the poem it covers. (Introduction, p. 10.)
+
+  What feelings are aroused by each scene?
+
+  SPIRIT, NATIVE, PURITY. (Appendix A, 8.)
+
+  1-4. Give two examples of Grouping from these lines.
+  Give numerous other examples throughout the selection,
+  and show how Grouping affects the Inflection and Pause.
+  (Introduction, pp. 10-12.)
+
+  3-7. Read with a view to Perspective. Select other
+  examples, noting especially ll. 17-22, 47-51, 72-77, and
+  112-117. (Introduction, p. 33.)
+
+  9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24
+  and 27.) Give other examples of direct discourse broken
+  by narration.
+
+  54 and 56. SWEET ... SWEET. Which word is more emphatic?
+  (Introduction, p. 31.) Compare l. 105.
+
+  84. With what should IS RISING be connected? How?
+  Compare UPON THE TEAR, l. 116.
+
+       *       *       *       *       *
+
+
+THE LADY OF SHALOTT
+
+PART 1
+
+
+  On either side the river lie
+  Long fields of barley and of rye,
+  That clothe the wold and meet the sky;
+  And thro' the field the road runs by
+      To many-tower'd Camelot;
+  And up and down the people go,
+  Gazing where the lilies blow
+  Round an island there below,
+      The island of Shalott.
+
+  Willows whiten, aspens quiver,
+  Little breezes dusk and shiver
+  Thro' the wave that runs for ever
+  By the island in the river
+      Flowing down to Camelot.
+  Four gray walls, and four gray towers,
+  Overlook a space of flowers,
+  And the silent isle embowers
+      The Lady of Shalott.
+
+  By the margin, willow-veil'd,
+  Slide the heavy barges trail'd
+  By slow horses; and unhail'd
+  The shallop flitteth silken-sail'd
+      Skimming down to Camelot:
+  But who has seen her wave her hand?
+  Or at the casement seen her stand?
+  Or is she known in all the land,
+      The Lady of Shalott?
+
+  Only reapers, reaping early
+  In among the bearded barley,
+  Hear a song that echoes cheerly
+  From the river winding clearly,
+      Down to tower'd Camelot:
+  And by the moon the reaper weary,
+  Piling sheaves in uplands airy,
+  Listening, whispers "'Tis the fairy
+      Lady of Shalott."
+
+
+PART II
+
+  There she weaves by night and day
+  A magic web with colours gay.
+  She has heard a whisper say,
+  A curse is on her if she stay
+      To look down to Camelot.
+  She knows not what the curse may be,
+  And so she weaveth steadily,
+  And little other care hath she,
+      The Lady of Shalott.
+
+  And moving thro' a mirror clear
+  That hangs before her all the year,
+  Shadows of the world appear.
+  There she sees the highway near
+      Winding down to Camelot:
+  There the river eddy whirls,
+  And there the surly village-churls,
+  And the red cloaks of market girls,
+      Pass onward from Shalott.
+
+  Sometimes a troop of damsels glad,
+  An abbot on an ambling pad,
+  Sometimes a curly shepherd-lad,
+  Or long-hair'd page in crimson clad,
+      Goes by to tower'd Camelot;
+  And sometimes thro' the mirror blue
+  The knights come riding two and two:
+  She hath no loyal knight and true,
+      The Lady of Shalott.
+
+  But in her web she still delights
+  To weave the mirror's magic sights,
+  For often thro' the silent nights
+  A funeral, with plumes and lights
+      And music, went to Camelot:
+  Or when the moon was overhead,
+  Came two young lovers lately wed;
+  "I am half sick of shadows," said
+      The Lady of Shalott.
+
+
+PART III
+
+  A bow-shot from her bower-eaves,
+  He rode between the barley-sheaves,
+  The sun came dazzling thro' the leaves,
+  And flamed upon the brazen greaves
+      Of bold Sir Lancelot.
+  A red-cross knight for ever kneel'd
+  To a lady in his shield,
+  That sparkled on the yellow field,
+      Beside remote Shalott.
+
+  The gemmy bridle glitter'd free,
+  Like to some branch of stars we see
+  Hung in the golden Galaxy.
+  The bridle bells rang merrily
+      As he rode down to Camelot:
+  And from his blazon'd baldric slung
+  A mighty silver bugle hung,
+  And as he rode his armour rung,
+      Beside remote Shalott.
+
+  All in the blue unclouded weather
+  Thick-jewell'd shone the saddle-leather,
+  The helmet and the helmet-feather
+  Burn'd like one burning flame together,
+      As he rode down to Camelot.
+  As often thro' the purple night,
+  Below the starry clusters bright,
+  Some bearded meteor, trailing light,
+      Moves over still Shalott.
+
+  His broad clear brow in sunlight glow'd;
+  On burnished hooves his war-horse trode;
+  From underneath his helmet flow'd
+  His coal-black curls as on he rode,
+      As he rode down to Camelot.
+  From the bank and from the river
+  He flash'd into the crystal mirror,
+  "Tirra lirra," by the river
+      Sang Sir Lancelot.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+      She look'd down to Camelot.
+  Out flew the web and floated wide;
+  The mirror crack'd from side to side;
+  "The curse is come upon me," cried
+      The Lady of Shalott.
+
+
+PART IV
+
+  In the stormy east-wind straining,
+  The pale yellow woods were waning,
+  The broad stream in his banks complaining,
+  Heavily the low sky raining
+      Over tower'd Camelot;
+  Down she came and found a boat
+      Beneath a willow left afloat,
+  And round about the prow she wrote
+      _The Lady of Shalott_.
+
+  And down the river's dim expanse
+  Like some bold seër in a trance,
+  Seeing all his own mischance--
+  With a glassy countenance
+      Did she look to Camelot.
+  And at the closing of the day
+  She loosed the chain and down she lay;
+  The broad stream bore her far away,
+      The Lady of Shalott.
+
+  Lying, robed in snowy white
+  That loosely flew to left and right--
+  The leaves upon her falling light--
+  Thro' the noises of the night
+      She floated down to Camelot:
+  And as the boat-head wound along
+  The willowy hills and fields among,
+  They heard her singing her last song,
+      The Lady of Shalott.
+
+  Heard a carol, mournful, holy,
+  Chanted loudly, chanted lowly,
+  Till her blood was frozen slowly,
+  And her eyes were darken'd wholly,
+      Turn'd to tower'd Camelot.
+  For ere she reach'd upon the tide
+  The first house by the water-side,
+  Singing in her song she died,
+      The Lady of Shalott.
+
+  Under tower and balcony,
+  By garden-wall and gallery,
+  A gleaming shape she floated by,
+  Dead-pale between the houses high,
+      Silent into Camelot.
+  Out upon the wharfs they came,
+  Knight and burgher, lord and dame,
+  And round the prow they read her name,
+      _The Lady of Shalott_.
+
+  Who is this? and what is here?
+  And in the lighted palace near
+  Died the sound of royal cheer;
+  And they cross'd themselves for fear,
+      All the knights at Camelot:
+  But Lancelot mused a little space;
+  He said, "She has a lovely face;
+  God in his mercy lend her grace,
+      The Lady of Shalott."
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Compare the poet's treatment of the story
+  of _The Lady of Shalott_ with that given in _Lancelot
+  and Elaine_.
+
+  Combine the smaller pictures in this poem into a number
+  of larger ones.
+
+  Give to the larger pictures titles which suggest the
+  different stages in the development of the story.
+
+  Exercises in Articulation. (Appendix A. See Examples)
+
+
+  PART I
+
+  Stanza i, ll. 1 and 4. Where is the Pause in each line?
+  Why? (Introduction, p. 11.)
+
+  Stanza iii, ll. 1 and 2. Account for the change in Time.
+  (Introduction, p. 13.)
+
+  2. Where is the Pause?
+
+  6-9. What is the Inflection in these questions?
+  (Introduction, p. 19.)
+
+  Stanza iv, l. 3. HEAR. With what word should this be
+  connected? How? (Introduction, p. 16.) Note the Shading.
+
+  6. Where are the Pauses in this line? Account for them.
+
+  8-9. In what Quality of voice are these lines read?
+  (Introduction, p. 6.) Compare from this standpoint the
+  last lines of Parts II, III, and IV.
+
+
+  Part II
+
+  Stanza i, ll. 3-5. Note the spontaneous imitation.
+  (Introduction, pp. 5 and 6.)
+
+  AND THERE THE SURLY ... TWO AND TWO. Note the three
+  separate groups of passers-by. Which group has the most
+  significance in its bearing on the rest of the poem? How
+  does the voice indicate this relative significance?
+  (Introduction, pp. 24 and 30.)
+
+  Stanza iii, l. 8. How is the transition made effective?
+  (Introduction, pp. 8, 9, and 25.)
+
+  Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading.
+  (Introduction, p. 33.)
+
+
+  PART III
+
+  HIS SHIELD, RODE DOWN, ARMOUR RUNG, SADDLE-LEATHER,
+  COAL-BLACK CURLS. (Appendix A, 6.)
+
+  Stanza i, l. 4. Observe the Grouping.
+
+  Stanza ii, l. 2. Where is the Pause? Explain. What is
+  the Inflection on STARS?
+
+  Compare the Shading in ll. 6 and 7.
+
+  Stanza iii. What are the central ideas of ll. 2 and 3?
+  How does the reader make them stand out?
+
+  6-8. Note the continuous Inflection. (Introduction, p.
+  17.)
+
+  Stanza iv, ll. 3 and 4. How does the Grouping here
+  affect the Pause and the Inflection?
+
+  Stanza v, ll. 1-4. What change in the voice indicates
+  the abrupt transition? What atmosphere does the voice
+  create as a preparation for the climax of the last four
+  lines?
+
+  1. What is the central idea of this line?
+
+  6-7. What change in Force, Pitch, and Stress expresses
+  the sudden disaster?
+
+
+  PART IV
+
+  Compare the atmosphere of the first four and a half
+  stanzas of this Part with the first four of Part III,
+  and also with the remainder of Part IV. What is the
+  difference in Pitch, Force, and Time? (Introduction, pp.
+  22, 26, and 13.)
+
+       *       *       *       *       *
+
+
+HOME THEY BROUGHT HER WARRIOR DEAD
+
+From "The Princess"
+
+
+  Home they brought her warrior dead:
+  She nor swoon'd, nor utter'd cry:
+  All her maidens, watching, said,
+  "She must weep or she will die."
+
+  Then they praised him, soft and low,
+  Call'd him worthy to be loved,
+  Truest friend and noblest foe;
+  Yet she neither spoke nor moved.
+
+  Stole a maiden from her place,
+  Lightly to the warrior stept,
+  Took the face-cloth from the face;
+  Yet she neither moved nor wept.
+
+  Rose a nurse of ninety years,
+  Set his child upon her knee--
+  Like summer tempest came her tears--
+  "Sweet my child, I live for thee."
+
+      --_Alfred Tennyson_
+
+
+  See Introduction, p. 6.
+
+       *       *       *       *       *
+
+
+THE SKY
+
+From "Modern Painters"
+
+
+1. It is a strange thing how little in general people know about the
+sky. It is the part of creation in which nature has done more for the
+sake of pleasing man, more for the sole and evident purpose of talking
+to him and teaching him, than in any other of her works, and it is
+just the part in which we least attend to her.
+
+2. There are not many of her other works in which some more material
+or essential purpose than the mere pleasing of man is not answered by
+every part of their organization; but every essential purpose of the
+sky might, so far as we know, be answered, if once in three days, or
+thereabouts, a great ugly black rain-cloud were brought up over the
+blue, and everything well watered, and so all left blue again till
+next time, with perhaps a film of morning and evening mist for dew.
+
+3. And instead of this, there is not a moment of any day of our lives,
+when nature is not producing scene after scene, picture after picture,
+glory after glory, and working still upon such exquisite and constant
+principles of the most perfect beauty, that it is quite certain it is
+all done for us, and intended for our perpetual pleasure. And every
+man, wherever placed, however far from other sources of interest or of
+beauty, has this doing for him constantly.
+
+4. The noblest scenes of the earth can be seen and known but by few;
+it is not intended that man should live always in the midst of them,
+he injures them by his presence, he ceases to feel them if he be
+always with them; but the sky is for all; bright as it is, it is not
+"too bright, nor good, for human nature's daily food"; it is fitted in
+all its functions for the perpetual comfort and exalting of the heart,
+for the soothing it and purifying it from its dross and dust.
+Sometimes gentle, sometimes capricious, sometimes awful, never the
+same for two moments together; almost human in its passions, almost
+spiritual in its tenderness, almost divine in its infinity, its appeal
+to what is immortal in us, is as distinct, as its ministry of
+chastisement or of blessing to what is mortal, is essential.
+
+5. And yet we never attend to it, we never make it a subject of
+thought, but as it has to do with our animal sensations; we look upon
+all by which it speaks to us more clearly than to brutes, upon all
+which bears witness to the intention of the Supreme, that we are to
+receive more from the covering vault than the light and the dew which
+we share with the weed and the worm, only as a succession of
+meaningless and monotonous accidents too common and too vain to be
+worthy of a moment of watchfulness, or a glance of admiration. If in
+our moments of utter idleness and insipidity, we turn to the sky as a
+last resource, which of its phenomena do we speak of?
+
+6. One says it has been wet, and another it has been windy, and
+another it has been warm. Who, among the whole chattering crowd, can
+tell me of the forms and the precipices of the chain of tall white
+mountains that girded the horizon at noon yesterday? Who saw the
+narrow sunbeam that came out of the south, and smote upon their
+summits until they melted and mouldered away in a dust of blue rain?
+Who saw the dance of the dead clouds when the sunlight left them last
+night, and the west wind blew them before it like withered leaves?
+
+7. All has passed, unregretted as unseen; or if the apathy be ever
+shaken off, even for an instant, it is only by what is gross, or what
+is extraordinary; and yet it is not in the broad and fierce
+manifestations of the elemental energies, not in the clash of the
+hail, nor the drift of the whirlwind, that the highest characters of
+the sublime are developed. God is not in the earthquake, nor in the
+fire, but in the still, small voice.
+
+8. They are but the blunt and the low faculties of our nature, which
+can only be addressed through lamp-black and lightning. It is in
+quiet and subdued passages of unobtrusive majesty, the deep, and the
+calm, and the perpetual,--that which must be sought ere it is seen,
+and loved ere it is understood,--things which the angels work out for
+us daily, and yet vary eternally, which are never wanting, and never
+repeated, which are to be found always yet each found but once; it is
+through these that the lesson of devotion is chiefly taught, and the
+blessing of beauty given.
+
+      --_John Ruskin_
+
+     (_By arrangement with George Allen, Publisher_)
+
+
+  SPIRITUAL, PRECIPICES, SUMMITS, UNOBTRUSIVE. (Appendix
+  A, 8.)
+
+  Par. 1. With what is LEAST ATTEND contrasted?
+
+  Par. 2. Why is SKY an emphatic word? Give examples of
+  momentary completeness. (Introduction, p. 16.)
+
+  Par. 3. What Inflection is placed on PERFECT BEAUTY?
+
+  Par. 4. Point out the contrasts in the first sentence.
+  What word is contrasted with DISTINCT?
+
+  Par. 5. With what is ONLY AS A SUCCESSION, ETC.,
+  connected in sense? How does the voice make the
+  connection? (Introduction, p. 33.)
+
+  Par. 7. UNREGRETTED, UNSEEN. Note the transferred
+  emphasis. (Introduction, p. 32.)
+
+  Par. 7. AND YET IT IS NOT ... NOR IN THE FIRE. Account
+  for the Inflection. (Introduction, p. 17.)
+
+       *       *       *       *       *
+
+
+THE RETURN OF THE SWALLOWS
+
+
+  "Out in the meadows the young grass springs,
+    Shivering with sap," said the larks, "and we
+  Shoot into air with our strong young wings,
+    Spirally up over level and lea;
+  Come, O Swallows, and fly with us
+  Now that horizons are luminous!
+    Evening and morning the world of light,
+    Spreading and kindling, is infinite!"
+
+  Far away, by the sea in the south,
+    The hills of olive and slopes of fern
+  Whiten and glow in the sun's long drouth,
+    Under the heavens that beam and burn;
+  And all the swallows were gather'd there
+  Flitting about in the fragrant air,
+    And heard no sound from the larks, but flew
+    Flashing under the blinding blue.
+
+  Out of the depths of their soft rich throats
+    Languidly fluted the thrushes, and said:
+  "Musical thought in the mild air floats,
+    Spring is coming and winter is dead!
+  Come, O Swallows, and stir the air,
+  For the buds are all bursting unaware,
+    And the drooping eaves and the elm-trees long
+    To hear the sound of your low sweet song."
+
+  Over the roofs of the white Algiers,
+    Flashingly shadowing the bright bazaar,
+  Flitted the swallows, and not one hears
+    The call of the thrushes from far, from far;
+  Sigh'd the thrushes; then, all at once,
+  Broke out singing the old sweet tones,
+    Singing the bridal of sap and shoot,
+    The tree's slow life between root and fruit.
+
+  But just when the dingles of April flowers
+    Shine with the earliest daffodils,
+  When, before sunrise, the cold clear hours
+    Gleam with a promise that noon fulfils,--
+  Deep in the leafage the cuckoo cried,
+  Perch'd on a spray by a rivulet-side,
+    "Swallows, O Swallows, come back again
+    To swoop and herald the April rain."
+
+  And something awoke in the slumbering heart
+    Of the alien birds in their African air,
+  And they paused, and alighted, and twitter'd apart,
+    And met in the broad white dreamy square;
+  And the sad slave-woman, who lifted up
+  From the fountain her broad-lipp'd earthen cup,
+  Said to herself, with a weary sigh,
+  "To-morrow the swallows will northward fly!"
+
+     --_Edmund William Gosse_
+
+
+  How does the vocal expression of the descriptive parts
+  of the poem differ from that of the call of the birds?
+  Account for the difference. (Introduction, p. 22.)
+
+  Point out the contrasts of thought and feeling in the
+  third and fourth stanzas respectively. Show a
+  corresponding contrast in vocal expression.
+
+  What line expresses the central idea of the fifth
+  stanza? How is this shown? (Introduction, p. 33.)
+
+  Account for the Pitch and the Force used in the
+  slave-woman's speech.
+
+  Supply a background of thought for the last four lines.
+  How does this affect the Time? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+BARBARA FRIETCHIE
+
+
+  Up from the meadows rich with corn,
+  Clear in the cool September morn,
+
+  The clustered spires of Frederick stand
+  Green walled by the hills of Maryland.
+
+  Round about them orchards sweep,                                     5
+  Apple-and peach-tree fruited deep,--
+
+  Fair as a garden of the Lord
+  To the eye of the famished rebel horde,
+
+  On that pleasant morn of the early fall
+  When Lee march'd over the mountain-wall,--                          10
+
+  Over the mountains winding down,
+  Horse and foot, into Frederick town.
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+
+  Flapped in the morning wind: the sun                                15
+  Of noon looked down, and saw not one.
+
+  Up rose old Barbara Frietchie then,
+  Bowed with her fourscore years and ten;
+
+  Bravest of all in Frederick town,
+  She took up the flag the men hauled down;                           20
+
+  In her attic window the staff she set,
+  To show that one heart was loyal yet.
+
+  Up the street came the rebel tread,
+  Stonewall Jackson riding ahead.
+
+  Under his slouched hat left and right                               25
+  He glanced; the old flag met his sight.
+
+  "Halt!"--the dust-brown ranks stood fast.
+  "Fire!"--out blazed the rifle-blast.
+
+  It shivered the window, pane and sash;
+  It rent the banner with seam and gash.                              30
+
+  Quick, as it fell, from the broken staff
+  Dame Barbara snatched the silken scarf;
+
+  She leaned far out on the window-sill,
+  And shook it forth with a royal will.
+
+  "Shoot, if you must, this old gray head,                            35
+  But spare your country's flag!" she said.
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came;
+
+  The nobler nature within him stirred
+  To life at that woman's deed and word:                              40
+
+  "Who touches a hair of yon gray head,
+  Dies like a dog! March on!" he said.
+
+  All day long through Frederick street
+  Sounded the tread of marching feet:
+
+  All day long that free flag tossed                                  45
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And, through the hill-gaps, sunset light
+  Shone over it with a warm good-night.                               50
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+  Honour to her! and let a tear
+  Fall, for her sake, on Stonewall's bier.
+
+  Over Barbara Frietchie's grave,                                     55
+  Flag of Freedom and Union wave!
+
+  Peace and order and beauty draw
+  Round thy symbol of light and law;
+
+  And ever the stars above look down
+  On thy stars below in Frederick town!                               60
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--Divide the poem into sections, giving each
+  a descriptive title. (Introduction, p. 10.)
+
+  Describe the scene portrayed in the first fifteen lines,
+  supplementing your description by a black-board diagram.
+
+  ll. 1-2. What is the Inflection? Why?
+
+  l. 3. Note the Grouping and Pause.
+
+  l. 3. STAND; l. 7, LORD; l. 8, HORDE. What is the
+  Inflection? Why?
+
+  l. 15. (Introduction, p. 9.)
+
+  l. 20. What are the emphatic words? Are both words of a
+  contrast necessarily emphatic?
+
+  ll. 17-22. Note the change in nervous tension. What
+  effect has this on the key of the voice? (Introduction,
+  p. 25.)
+
+  ll. 25-26. How do these lines illustrate the truth that
+  the Visualization of a scene is a necessary forerunner
+  of correct vocal expression?
+
+  ll. 27-28. HALT! FIRE! What change in vocal expression
+  accompanies the transition to abrupt command?
+
+  l. 31. With what do you connect FROM THE BROKEN STAFF?
+  How? (Introduction, p. 16.)
+
+  ll. 31-36. What part should Imitation play here?
+  (Introduction, pp. 5 and 6.)
+
+  ll. 37-38. (Introduction, p. 14.)
+
+  l. 39. Note Grouping and Pause.
+
+  ll. 41-42. (Introduction, p. 5.)
+
+  l. 43. With what do you connect THROUGH FREDERICK
+  STREET? How? Where do you pause in this line?
+
+  l. 51. (Introduction, p. 9.)
+
+       *       *       *       *       *
+
+
+BLESS THE LORD, O MY SOUL
+
+Psalm ciii
+
+
+  Bless the Lord, O my soul:
+    And all that is within me, bless his holy name
+  Bless the Lord, O my soul,
+    And forget not all his benefits:
+  Who forgiveth all thine iniquities;
+    Who healeth all thy diseases;
+  Who redeemeth thy life from destruction;
+    Who crowneth thee with lovingkindness and tender mercies:
+  Who satisfieth thy mouth with good things;
+    So that thy youth is renewed like the eagle's.
+
+  The Lord executeth righteousness
+    And judgment for all that are oppressed.
+  He made known his ways unto Moses,
+    His acts unto the children of Israel.
+  The Lord is merciful and gracious,
+    Slow to anger, and plenteous in mercy.
+  He will not always chide:
+    Neither will he keep his anger for ever.
+  He hath not dealt with us after our sins;
+    Nor rewarded us according to our iniquities.
+
+  For as the heaven is high above the earth,
+    So great is his mercy toward them that fear him.
+  As far as the east is from the west,
+    So far hath he removed our transgressions from us
+  Like as a father pitieth his children,
+    So the Lord pitieth them that fear him.
+  For he knoweth our frame;
+    He remembereth that we are dust.
+
+  As for man, his days are as grass:
+    As a flower of the field, so he flourisheth.
+  For the wind passeth over it, and it is gone;
+    And the place thereof shall know it no more.
+  But the mercy of the Lord is from everlasting to everlasting
+       upon them that fear him,
+    And his righteousness unto children's children;
+  To such as keep his covenant,
+    And to those that remember his commandments to do them.
+
+  The Lord hath prepared his throne in the heavens;
+    And his kingdom ruleth over all.
+  Bless the Lord, ye his angels,
+    That excel in strength,
+  That do his commandments,
+    Hearkening unto the voice of his word.
+  Bless ye the Lord, all ye his hosts;
+    Ye ministers of his, that do his pleasure.
+  Bless the Lord, all his works,
+    In all places of his dominion:
+  Bless the Lord, O my soul.
+
+      --_As arranged by Richard G. Moulton_
+
+
+  PREPARATORY.--What attitude of mind does the language of
+  this Psalm indicate? What Stress of voice is its natural
+  expression? (Introduction, p. 29.)
+
+  Articulation. (Appendix A, 3.)
+
+       *       *       *       *       *
+
+
+THE ETERNAL GOODNESS
+
+
+  I know not what the future hath
+  Of marvel or surprise,
+  Assured alone that life and death
+  His mercy underlies.
+
+  And if my heart and flesh are weak                                   5
+  To bear an untried pain,
+  The bruised reed He will not break,
+  But strengthen and sustain.
+
+  No offering of my own I have,
+  Nor works my faith to prove;                                        10
+  I can but give the gifts He gave,
+  And plead His love for love.
+
+  And so beside the Silent Sea
+  I wait the muffled oar;
+  No harm from Him can come to me                                     15
+  On ocean or on shore.
+
+  I know not where His islands lift
+  Their fronded palms in air;
+  I only know I cannot drift
+  Beyond His love and care.                                           20
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--What attitude of mind is suggested by this
+  poem?
+
+  How does it differ from that suggested by the preceding
+  selection? What is the difference in vocal expression?
+
+  Account for the Inflection placed on the negative
+  statements in this poem. (Introduction, pp. 17 and 18.)
+
+       *       *       *       *       *
+
+
+THE KING OF GLORY
+
+Psalm xxiv
+
+(Anthems for the Inauguration of Jerusalem)
+
+
+_I.--At the Foot of the Hill_
+
+FIRST CHOIR
+
+  The earth is the LORD'S, and the fulness thereof;
+    The world, and they that dwell therein.
+  For He hath founded it upon the seas,
+    And established it upon the floods.
+  Who shall ascend into the hill of the LORD?
+    And who shall stand in His holy place?
+
+
+SECOND CHOIR
+
+  He that hath clean hands, and a pure heart;
+    Who hath not lifted up his soul unto vanity,
+    And hath not sworn deceitfully.
+  He shall receive a blessing from the LORD,
+    And righteousness from the God of his salvation.
+  This is the generation of them that seek after Him,
+    That seek Thy face, O God of Jacob.
+
+
+_II.--Before the Gates_
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+    And be ye lift up, ye everlasting doors:
+    And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is the King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD strong and mighty,
+  The LORD mighty in battle.
+
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+  Yea, lift them up, ye everlasting doors:
+  And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is this King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD of Hosts,
+  He is the King of Glory.
+
+      --_As arranged by Richard G. Moulton_
+
+       *       *       *       *       *
+
+
+THE FOUR-HORSE RACE
+
+From "Black Rock"
+
+
+1. The great event of the day, however, was to be the four-horse race,
+for which three teams were entered--one from the mines driven by
+Nixon, Craig's friend, a citizens' team, and Sandy's. The race was
+really between the miners' team and that from the woods, for the
+citizens' team, though made up of speedy horses, had not been driven
+much together, and knew neither their driver nor each other. In the
+miners' team were four bays, very powerful, a trifle heavy perhaps,
+but well matched, perfectly trained, and perfectly handled by their
+driver. Sandy had his long rangy roans, and for leaders, a pair of
+half-broken pinto bronchos. The pintos, caught the summer before upon
+the Alberta prairies, were fleet as deer, but wicked and uncertain.
+They were Baptiste's special care and pride. If they would only run
+straight, there was little doubt that they would carry the roans and
+themselves to glory; but one could not tell the moment they might
+bolt or kick things to pieces.
+
+2. Being the only non-partisan in the crowd, I was asked to referee.
+The race was about half a mile and return, the first and last quarters
+being upon the ice. The course, after leaving the ice, led up from the
+river by a long, easy slope to the level above; and at the further
+end, curved somewhat sharply around the Old Fort. The only condition
+attaching to the race was, that the teams should start from the
+scratch, make the turn of the Fort, and finish at the scratch. There
+were no vexing regulations as to fouls. The man making the foul would
+find it necessary to reckon with the crowd, which was considered
+sufficient guarantee for a fair and square race. Owing to the hazards
+of the course, the result would depend upon the skill of the drivers
+quite as much as the speed of the teams. The points of hazard were at
+the turn round the Old Fort, and at a little ravine which led down to
+the river, over which the road passed by means of a long, log bridge
+or causeway.
+
+3. From a point upon the high bank of the river, the whole course lay
+in open view. It was a scene full of life and vividly picturesque.
+There were miners in dark clothes and peak caps; citizens in ordinary
+garb; ranch-men in wide cowboy hats and buckskin shirts and leggings,
+some with cartridge-belts and pistols; a few half-breeds and Indians
+in half-native, half-civilized dress; and scattering through the
+crowd, the lumbermen with gay scarlet and blue blanket coats, and some
+with knitted tuques of the same colour. A very good-natured but
+extremely uncertain crowd it was. At the head of each horse stood a
+man, but at the pintos' heads Baptiste stood alone, trying to hold
+down the off-leader, thrown into a frenzy of fear by the yelling of
+the crowd.
+
+4. Gradually all became quiet, till, in the midst of absolute
+stillness, came the words: "Are you ready?" then the pistol-shot, and
+the great race had begun. Above the roar of the crowd came the shrill
+cry of Baptiste, as he struck his broncho with the palm of his hand,
+and swung himself into the sleigh beside Sandy, as it shot past.
+
+5. Like a flash the bronchos sprang to the front, two lengths before
+the other teams; but, terrified by the yelling of the crowd, instead
+of bending to the left bank up which the road wound, they wheeled to
+the right and were almost across the river before Sandy could swing
+them back into the course.
+
+6. Baptiste's cries, a curious mixture of French and English,
+continued to strike through all other sounds, till they gained the top
+of the slope to find the others almost a hundred yards in front, the
+citizens' team leading, with the miners' following close. The moment
+the pintos caught sight of the teams before them, they set off at a
+terrific pace and steadily devoured the intervening space. Nearer and
+nearer the turn came, the eight horses in front, running straight and
+well within their speed. After them flew the pintos, running savagely
+with ears set back, leading well the big roans, thundering along and
+gaining at every bound. And now the citizens' team had almost reached
+the Fort, running hard and drawing away from the bays. But Nixon knew
+what he was about, and was simply steadying his team for the turn. The
+event proved his wisdom, for in the turn the leading team left the
+track, lost a moment or two in the deep snow, and before they could
+regain the road, the bays had swept superbly past, leaving their
+rivals to follow in the rear. On came the pintos, swiftly nearing the
+Fort. Surely at that pace they cannot make the turn. But Sandy knows
+his leaders. They have their eyes upon the teams in front, and need no
+touch of rein. Without the slightest change in speed the nimble-footed
+bronchos round the turn, hauling the big roans after them, and fall in
+behind the citizens' team, which is regaining steadily the ground lost
+in the turn.
+
+7. And now the struggle is for the bridge over the ravine. The bays in
+front, running with mouths wide open, are evidently doing their best;
+behind them, and every moment nearing them, but at the limit of their
+speed too, come the lighter and fleeter citizens' team; while opposite
+their driver are the pintos, pulling hard, eager and fresh. Their
+temper is too uncertain to send them to the front; they run well
+following, but when leading cannot be trusted, and besides, a broncho
+hates a bridge; so Sandy holds them where they are, waiting and hoping
+for his chance after the bridge is crossed. Foot by foot the citizens'
+team creep up upon the flank of the bays, with the pintos in turn
+hugging them closely, till it seems as if the three, if none slackens,
+must strike the bridge together; and this will mean destruction to one
+at least. This danger Sandy perceives, but he dare not check his
+leaders. Suddenly, within a few yards of the bridge, Baptiste throws
+himself upon the lines, wrenches them out of Sandy's hands, and, with
+a quick swing, forces the pintos down the steep side of the ravine,
+which is almost sheer ice with a thin coat of snow. It is a daring
+course to take, for the ravine, though not deep, is full of
+undergrowth, and is partially closed up by a brush heap at the further
+end. But with a yell, Baptiste hurls his four horses down the slope,
+and into the undergrowth. "Allons, mes enfants! Courage! vite, vite!"
+cries their driver, and nobly do the pintos respond. Regardless of
+bushes and brush heaps, they tear their way through; but as they
+emerge, the hind bob-sleigh catches a root, and, with a crash, the
+sleigh is hurled high into the air. Baptiste's cries ring out high and
+shrill as ever, encouraging his team, and never cease till, with a
+plunge and a scramble, they clear the brush heap lying at the mouth of
+the ravine, and are out on the ice on the river, with Baptiste
+standing on the front bob, the box trailing behind, and Sandy nowhere
+to be seen.
+
+8. Three hundred yards of the course remain. The bays, perfectly
+handled, have gained at the bridge, and in the descent to the ice, and
+are leading the citizens' team by half a dozen sleigh lengths. Behind
+both comes Baptiste. It is now or never for the pintos. The rattle of
+the trailing box, together with the wild yelling of the crowd rushing
+down the bank, excites the bronchos to madness, and, taking the bits
+in their teeth, they do their first free running that day. Past the
+citizens' team like a whirlwind they dash, clear the intervening
+space, and gain the flanks of the bays. Can the bays hold them? Over
+them leans their driver, plying for the first time the hissing lash.
+Only fifty yards more. The miners begin to yell. But Baptiste, waving
+his lines high in one hand, seizes his tuque with the other, whirls it
+above his head and flings it with a fiercer yell than ever at the
+bronchos. Like the bursting of a hurricane the pintos leap forward,
+and with a splendid rush cross the scratch, winners by their own
+length.
+
+      --_By arrangement with the Westminster Co., Limited,
+           and Rev. C. W. Gordon (Ralph Connor)_
+
+
+  PREPARATORY.--Make a black-board sketch of the
+  race-course, fixing the position of "the scratch," "the
+  Old Fort," "the high bank with the spectators," "the
+  bridge," etc.
+
+  In what passages does the excitement reach its greatest
+  height? How are the Pitch and Time affected?
+  (Introduction, pp. 13 and 22.)
+
+  What is the Stress employed throughout? Where is the
+  Stress most marked? Give reasons. (Introduction, pp. 27
+  and 28.)
+
+       *       *       *       *       *
+
+
+MRS. MALAPROP'S VIEWS
+
+From "The Rivals"
+
+
+The scene is Mrs. Malaprop's lodgings at Bath. Present, Lydia Languish.
+Enter Mrs. Malaprop and Sir Anthony Absolute.
+
+
+_Mrs. Malaprop._--There, Sir Anthony, there sits the deliberate
+simpleton who wants to disgrace her family, and lavish herself on a
+fellow not worth a shilling.
+
+_Lydia._--Madam, I thought you once--
+
+_Mrs. Malaprop._--You thought, miss! I don't know any business you
+have to think at all: thought does not become a young woman. But the
+point we would request of you is, that you will promise to forget this
+fellow; to illiterate him, I say, quite from your memory.
+
+_Lydia._--Ah, madam! our memories are independent of our wills. It is
+not so easy to forget.
+
+_Mrs. Malaprop._--But I say it is, miss! there is nothing on earth so
+easy as to forget, if a person chooses to set about it. I'm sure I
+have as much forgot your poor dear uncle as if he had never
+existed--and I thought it my duty so to do; and let me tell you,
+Lydia, these violent memories don't become a young woman.
+
+_Sir Anthony._--Why, sure she won't pretend to remember what she's
+ordered not! Ay, this comes of her reading!
+
+_Lydia._--What crime, madam, have I committed to be treated thus?
+
+_Mrs. Malaprop._--Now don't attempt to extirpate yourself from the
+matter; you know I have proof controvertible of it. But tell me, will
+you promise to do as you're bid? Will you take a husband of your
+friends' choosing?
+
+_Lydia._--Madam, I must tell you plainly that had I no preference for
+any one else, the choice you have made would be my aversion.
+
+_Mrs. Malaprop._--What business have you, miss, with preference and
+aversion. They don't become a young woman; and you ought to know that
+as both always wear off, 'tis safest in matrimony to begin with a
+little aversion. I am sure I hated your poor dear uncle before
+marriage as if he'd been a blackamoor; and yet, miss, you are sensible
+what a wife I made? and when it pleased Heaven to release me from him,
+'tis unknown what tears I shed! But suppose we were going to give you
+another choice, will you promise us to give up this Beverley?
+
+_Lydia._--Could I belie my thoughts so far as to give that promise, my
+actions would certainly as far belie my words.
+
+_Mrs. Malaprop._--Take yourself to your room. You are fit company for
+nothing but your own ill-humours.
+
+_Lydia._--Willingly, ma'am--I cannot change for the worse.
+  (_Exit_)
+
+_Mrs. Malaprop._--There's a little intricate hussy for you!
+
+_Sir Anthony._--It is not to be wondered at, ma'am: all this is the
+natural consequence of teaching girls to read. Had I a thousand
+daughters, by heaven I'd as soon have them taught the black art as
+their alphabet!
+
+_Mrs. Malaprop._--Nay, nay, Sir Anthony: you are an absolute
+misanthropy.
+
+_Sir Anthony._--In my way hither, Mrs. Malaprop, I observed your
+niece's maid coming forth from a circulating library! She had a book
+in each hand; they were half-bound volumes with marble covers! From
+that moment I guessed how full of duty I should see her mistress!
+
+_Mrs. Malaprop._--Those are vile places indeed!
+
+_Sir Anthony._--Madam, a circulating library in a town is an evergreen
+tree of diabolical knowledge,--it blossoms through the year! And
+depend on it, Mrs. Malaprop, that they who are so fond of handling the
+leaves will long for the fruit at last.
+
+_Mrs. Malaprop._--Fy, fy, Sir Anthony! you surely speak laconically.
+
+_Sir Anthony._--Why, Mrs. Malaprop, in moderation now, what would you
+have a woman know?
+
+_Mrs. Malaprop._--Observe me, Sir Anthony. I would by no means wish a
+daughter of mine to be a progeny of learning; I don't think so much
+learning becomes a young woman: for instance, I would never let her
+meddle with Greek, or Hebrew, or algebra, or simony, or fluxions, or
+paradoxes, or such inflammatory branches of learning; neither would it
+be necessary for her to handle any of your mathematical, astronomical,
+diabolical instruments. But, Sir Anthony, I would send her at nine
+years old to a boarding-school, in order to learn a little ingenuity
+and artifice. Then, sir, she should have a supercilious knowledge in
+accounts; and as she grew up I would have her instructed in geometry,
+that she might know something of the contagious countries: but above
+all, Sir Anthony, she should be mistress of orthodoxy, that she might
+not misspell and mispronounce words so shamefully as girls usually do;
+and likewise that she might reprehend the true meaning of what she is
+saying. This, Sir Anthony, is what I would have a woman know; and I
+don't think there is a superstitious article in it.
+
+_Sir Anthony._--Well, well, Mrs. Malaprop, I will dispute the point no
+further with you; though I must confess that you are a truly moderate
+and polite arguer, for almost every third word you say is on my side
+of the question. But, Mrs. Malaprop, to the more important point in
+debate: you say you have no objection to my proposal?
+
+_Mrs. Malaprop._--None, I assure you. I am under no positive
+engagement with Mr. Acres; and as Lydia is so obstinate against him,
+perhaps your son may have better success.
+
+_Sir Anthony._--Well, madam, I will write for the boy directly. He
+knows not a syllable of this yet, though I have for some time had the
+proposal in my head. He is at present with his regiment.
+
+_Mrs. Malaprop._--We have never seen your son, Sir Anthony; but I hope
+no objection on his side.
+
+_Sir Anthony._--Objection! let him object if he dare! No, no, Mrs.
+Malaprop, Jack knows that the least demur puts me in a frenzy
+directly. My process was always very simple: in their younger days,
+'twas "Jack, do this"; if he demurred I knocked him down, and if he
+grumbled at that I always sent him out of the room.
+
+_Mrs. Malaprop._--Ay, and the properest way, o'my conscience! Nothing
+is so conciliating to young people as severity. Well, Sir Anthony, I
+shall give Mr. Acres his discharge, and prepare Lydia to receive your
+son's invocations; and I hope you will represent her to the captain as
+an object not altogether illegible.
+
+_Sir Anthony._--Madam, I will handle the subject prudently. Well I
+must leave you; and let me beg you, Mrs. Malaprop, to enforce this
+matter roundly to the girl. Take my advice--keep a tight hand: if she
+rejects this proposal, clap her under lock and key; and if you were
+just to let the servants forget to bring her dinner for three or four
+days, you can't conceive how she'd come about. (Exit)
+
+_Mrs. Malaprop._--Well, at any rate I shall be glad to get her from
+under my intuition. She has somehow discovered my partiality for Sir
+Lucius O'Trigger: sure Lucy can't have betrayed me! No, the girl is
+such a simpleton, I should have made her confess it. (Calls) Lucy!
+Lucy!--Had she been one of your artificial ones, I should never have
+trusted her.
+
+    --_Richard Brinsley Sheridan_
+
+
+  What is the difference between Mrs. Malaprop's mental
+  attitude toward Lydia and toward Sir Anthony? How is
+  this difference indicated in the Stress of voice?
+  (Introduction, pp. 27 and 28.)
+
+       *       *       *       *       *
+
+
+THE GLOVE AND THE LIONS
+
+
+  King Francis was a hearty king, and lov'd a royal sport,
+  And one day, as his lions strove, sat looking on the court;
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride;
+  And truly 'twas a gallant thing to see that crowning show,           5
+  Valour and love, and a king above, and the royal beasts below.
+
+  Ramp'd and roar'd the lions, with horrid laughing jaws;
+  They bit, they glared, gave blows like beams, a wind went with
+    their paws;
+  With wallowing might and stifled roar, they roll'd one on another,
+  Till all the pit, with sand and mane, was in a thund'rous smother;  10
+  The bloody foam above the bars came whizzing through the air;
+  Said Francis then, "Good gentlemen, we're better here than there!"
+
+  De Lorge's love o'erheard the King, a beauteous, lively dame,
+  With smiling lips, and sharp bright eyes, which always seem'd
+    the same:
+  She thought, "The Count, my lover, is as brave as brave can be;     15
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wond'rous fine;
+  I'll drop my glove to prove his love; great glory will be mine!"
+
+  She dropp'd her glove to prove his love: then looked on him
+    and smiled;
+  He bow'd, and in a moment leap'd among the lions wild:              20
+  The leap was quick; return was quick; he soon regain'd his place;
+  Then threw the glove, but not with love, right in the lady's face!
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+      --_Leigh Hunt_
+
+
+  PREPARATORY.--Divide the poem into four scenes, and
+  describe each scene.
+
+  What are the difficulties of Articulation in ll. 2, 9,
+  10, and 14.
+
+  What attitude of mind is indicated by the King's first
+  speech? By his second speech? What difference in Stress?
+  (Introduction, pp. 27-29.) What is the Force in each
+  case? (Introduction, p. 25.)
+
+  15, 16, and 17. Use these lines as an illustration to
+  show that Visualization is necessary in order to secure
+  good vocal expression.
+
+  In what Time do you read the lady's thoughts!
+  (Introduction, p. 13.)
+
+  Give examples from stanzas ii, and iv, where the
+  sympathy with the picture may be sufficiently strong to
+  lead to imitation of movements or sounds. (Introduction,
+  pp. 5 and 6.)
+
+       *       *       *       *       *
+
+
+THE FICKLENESS OF A ROMAN MOB
+
+From "Julius Cæsar" Act I. Scene i.
+
+_Enter_ FLAVIUS, MARULLUS, _and certain Commoners over the Stage._
+
+
+_Flav._ Hence! home, you idle creatures, get you home.
+Is this a holiday? What! know you not,
+Being mechanical, you ought not walk
+Upon a labouring day without the sign
+Of your profession?--Speak, what trade art thou?                       5
+
+_1 Cit._ Why, sir, a carpenter.
+
+_Mar._ Where is thy leather apron, and thy rule?
+What dost thou with thy best apparel on?--
+You, sir, what trade are you?
+
+_2 Cit._ Truly, sir, in respect of a fine workman, I am               10
+but, as you would say, a cobbler.
+
+_Mar._ But what trade are thou? Answer me directly.
+
+_2 Cit._ A trade, sir, that I hope I may use with a safe
+conscience; which is, indeed, sir, a mender of bad soles.
+
+_Mar._ What trade, thou knave? thou naughty knave,                    15
+what trade?
+
+_2 Cit._ Nay, I beseech you, sir, be not out with me;
+yet, if you be out, sir, I can mend you.
+
+_Mar._ What mean'st thou by that? Mend me, thou saucy fellow?
+
+_2 Cit._ Why, sir, cobble you.                                        20
+
+_Flav._ Thou art a cobbler, art thou?
+
+_2 Cit._ Truly, sir, all that I live by is with the awl.
+I meddle with no tradesman's matters, nor women's
+matters, but with all. I am, indeed, sir, a surgeon to
+old shoes; when they are in great danger, I re-cover                  25
+them. As proper men as ever trod upon neat's leather
+have gone upon my handiwork.
+
+_Flav._ But wherefore art not in thy shop to-day?
+Why dost thou lead these men about the streets?
+
+_2 Cit._ Truly, sir, to wear out their shoes, to get                  30
+myself into more work.  But, indeed, sir, we make
+holiday to see Cæsar, and to rejoice in his triumph.
+
+_Mar._ Wherefore rejoice? What conquest brings he home?
+What tributaries follow him to Rome,
+To grace in captive bonds his chariot wheels?                         35
+You blocks, you stones, you worse than senseless things!
+O, you hard hearts, you cruel men of Rome,
+Knew you not Pompey? Many a time and oft
+Have you climbed up to walls and battlements,
+To towers and windows, yea, to chimney-tops,                          40
+Your infants in your arms, and there have sat
+The livelong day, with patient expectation,
+To see great Pompey pass the streets of Rome;
+And when you saw his chariot but appear,
+Have you not made an universal shout,                                 45
+That Tiber trembled underneath her banks,
+To hear the replication of your sounds
+Made in her concave shores?
+And do you now put on your best attire?
+And do you now cull out a holiday?                                    50
+And do you now strew flowers in his way
+That comes in triumph over Pompey's blood?
+Be gone!
+Run to your houses, fall upon your knees,
+Pray to the gods to intermit the plague                               55
+That needs must light on this ingratitude.
+
+_Flav._ Go, go, good countrymen, and for this fault
+Assemble all the poor men of your sort;
+Draw them to Tiber banks, and weep your tears
+Into the channel, till the lowest stream                              60
+Do kiss the most exalted shores of all.
+
+[_Exeunt all the Commoners_]
+
+See, whe'r their basest metal be not moved!
+They vanish tongue-tied in their guiltiness.
+Go you down that way towards the Capitol;
+This way will I. Disrobe the images,                                  65
+If you do find them deck'd with ceremonies.
+
+_Mar._ May we do so?
+You know it is the feast of Lupercal.
+
+_Flav._ It is no matter; let no images
+Be hung with Cæsar's trophies. I'll about,                            70
+And drive away the vulgar from the streets;
+So do you too, where you perceive them thick.
+These growing feathers pluck'd from Cæsar's wing
+Will make him fly an ordinary pitch,
+Who else would soar above the view of men,                            75
+And keep us all in servile fearfulness.
+
+[_Exeunt]_
+
+      --_Shakespeare_
+
+
+  In what Stress do Flavius and Marullus speak when
+  questioning the citizens? Why?
+
+  What Stress does the first citizen use?
+
+  How does the mental attitude of the second citizen
+  influence his Stress and Inflection? (Introduction, pp.
+  21, 22, and 30.) Where does he change his Stress? For
+  what reason?
+
+  WHEREFORE REJOICE? Point out the various examples of
+  Climax in this speech, and show how the voice indicates
+  them. (Introduction, p. 31.)
+
+  Account for the Inflection on the various questions.
+  (Introduction, pp. 18 and 19.)
+
+  SEE WHE'R THEIR BASEST METAL, ETC. Note the change in
+  tension and energy. What change in Pitch and Force is
+  the natural result? (Introduction, pp. 25 and 26.)
+
+       *       *       *       *       *
+
+
+SIR PETER AND LADY TEAZLE
+
+From "The School for Scandal"
+
+
+_Sir Peter._--Lady Teazle, Lady Teazle, I'll not bear it!
+
+_Lady Teazle._--Sir Peter, Sir Peter, you may bear it or not, as you
+please; but I ought to have my own way in everything, and, what's
+more, I will, too. What though I was educated in the country, I know
+very well that women of fashion in London are accountable to nobody
+after they are married.
+
+_Sir Peter._--Very well, ma'am, very well; so a husband is to have no
+influence, no authority?
+
+_Lady Teazle._--Authority! No, to be sure: if you wanted authority
+over me, you should have adopted me and not married me: I am sure you
+were old enough.
+
+_Sir Peter._--Old enough!--ay, there it is. Well, well, Lady Teazle,
+though my life may be made unhappy by your temper, I'll not be ruined
+by your extravagance!
+
+_Lady Teazle._--My extravagance! I'm sure I'm not more extravagant
+than a woman of fashion ought to be.
+
+_Sir Peter._--No, no, madam, you shall throw away no more sums on such
+unmeaning luxury. To spend as much to furnish your dressing room with
+flowers in winter as would suffice to turn the Pantheon into a
+greenhouse, and give a fête champêtre at Christmas!
+
+_Lady Teazle._--And am I to blame, Sir Peter, because flowers are dear
+in cold weather? You should find fault with the climate, and not with
+me. For my part, I'm sure I wish it was spring all the year round,
+and that roses grew under our feet!
+
+_Sir Peter._--Oons! madam--if you had been born to this, I shouldn't
+wonder at your talking thus; but you forget what your situation was
+when I married you.
+
+_Lady Teazle._--No, no, I don't; 'twas a very disagreeable one, or I
+should never have married you.
+
+_Sir Peter._--Yes, yes, madam, you were then in somewhat a humbler
+style--the daughter of a plain country squire. Recollect, Lady Teazle,
+when I saw you first sitting at your tambour, in a pretty figured
+linen gown, with a bunch of keys at your side, your hair combed smooth
+over a roll, and your apartment hung round with fruits in worsted, of
+your own working.
+
+_Lady Teazle._--Oh, yes! I remember it very well, and a curious life I
+led. My daily occupation to inspect the dairy, superintend the
+poultry, make extracts from the family receipt book, and comb my aunt
+Deborah's lap-dog.
+
+_Sir Peter._--Yes, yes, ma'am, 'twas so indeed.
+
+_Lady Teazle._--And then, you know, my evening amusements! To draw
+patterns for ruffles, which I had not materials to make up; to play
+Pope Joan with the curate; to read a sermon to my aunt; or to be stuck
+down to an old spinet to strum my father to sleep after a fox chase.
+
+_Sir Peter._--I am glad you have so good a memory. Yes, madam, these
+were the recreations I took you from; but now you must have your
+coach--_vis-à-vis_--and three powdered footmen before your chair; and,
+in the summer, a pair of white cats to draw you to Kensington Gardens.
+No recollection, I suppose, when you were content to ride double,
+behind the butler, on a docked coach horse.
+
+_Lady Teazle._--No--I swear I never did that: I deny the butler and
+the coach horse.
+
+_Sir Peter._--This, madam, was your situation; and what have I done
+for you? I have made you a woman of fashion, of fortune, of rank,--in
+short, I have made you my wife.
+
+_Lady Teazle._--Well, then, and there is but one thing more you can
+make me to add to the obligation, that is--
+
+_Sir Peter._--My widow, I suppose?
+
+_Lady Teazle._--Hem! hem!
+
+_Sir Peter._--I thank you, madam--but don't flatter yourself, for,
+though your ill conduct may disturb my peace of mind, it shall never
+break my heart, I promise you: however, I am equally obliged to you
+for the hint.
+
+_Lady Teazle._--Then why will you endeavour to make yourself so
+disagreeable to me, and thwart me in every little elegant expense.
+
+_Sir Peter._--Oons! madam, I say, had you any of these little elegant
+expenses when you married me?
+
+_Lady Teazle._--Lud, Sir Peter! would you have me be out of the
+fashion?
+
+_Sir Peter._--The fashion, indeed! what had you to do with the fashion
+before you married me?
+
+_Lady Teazle._--For my part, I should think you would like to have
+your wife thought a woman of taste.
+
+_Sir Peter._--Ay--there again--taste! Zounds! madam, you had no taste
+when you married me!
+
+_Lady Teazle._--That's very true, indeed, Sir Peter! and, after
+having married you, I should never pretend to taste again, I allow.
+But now, Sir Peter, since we have finished our daily jangle, I presume
+I may go to my engagement at Lady Sneerwell's.
+
+_Sir Peter._--Ay, there's another precious circumstance--a charming
+set of acquaintance you have made there.
+
+_Lady Teazle._--Nay, Sir Peter, they are all people of rank and
+fortune, and remarkably tenacious of reputation.
+
+_Sir Peter._--Yes, they are tenacious of reputation with a vengeance;
+for they don't choose anybody should have a character but themselves!
+Such a crew! Ah! many a wretch has rid on a hurdle who has done less
+mischief than these utterers of forged tales, coiners of scandal, and
+clippers of reputation.
+
+_Lady Teazle._--What! would you restrain the freedom of speech?
+
+_Sir Peter._--Ah! they have made you just as bad as any one of the
+society.
+
+_Lady Teazle._--Why, I believe I do bear a part with a tolerable
+grace.
+
+_Sir Peter._--Grace indeed!
+
+_Lady Teazle._--But I vow I bear no malice against the people I abuse:
+when I say an ill-natured thing, 'tis out of pure good humour: and I
+take it for granted they deal exactly the same with me. But, Sir
+Peter, you know you promised to come to Lady Sneerwell's too.
+
+_Sir Peter._--Well, well, I'll call in, just to look after my own
+character.
+
+_Lady Teazle._--Then, indeed, you must make haste after me, or you'll
+be too late. So good-bye to ye. (_Exit_)
+
+_Sir Peter._--So--I have gained much by my intended expostulation!
+Yet with what a charming air she contradicts everything I say, and how
+pleasantly she shows her contempt for my authority! Well, though I
+can't make her love me, there is great satisfaction in quarrelling
+with her; and I think she never appears to such advantage as when she
+is doing everything in her power to plague me. _(Exit_)
+
+      --_Richard Brinsley Sheridan_
+
+
+  Select the passages where Lady Teazle tries to enforce
+  her opinion by (a) strong assertion, (b) peevishness and
+  whining.
+
+  In what passages does her desire to taunt and ridicule
+  Sir Peter predominate?
+
+  In what passages does she address Sir Peter in the tone
+  of ordinary conversation?
+
+  What Stress is used in each case? (Introduction, pp.
+  28-30.)
+
+  HAD YOU ANY OF THESE LITTLE ELEGANT EXPENSES? What
+  Stress is placed on the last four words?
+
+       *       *       *       *       *
+
+
+THE PARTING OF MARMION AND DOUGLAS
+
+From "Marmion"
+
+
+  Not far advanced was morning day,
+  When Marmion did his troop array
+      To Surrey's camp to ride;
+  He had safe-conduct for his band,
+  Beneath the royal seal and hand,                                     5
+      And Douglas gave a guide.
+
+  The ancient Earl, with stately grace,
+  Would Clara on her palfrey place,
+  And whispered in an undertone,
+  "Let the hawk stoop, his prey is flown."                            10
+  The train from out the castle drew,
+  But Marmion stopped to bid adieu:
+  "Though something I might plain," he said,
+  "Of cold respect to stranger guest,
+  Sent hither by your King's behest,                                  15
+      While in Tantallon's towers I stayed;
+  Part we in friendship from your land,
+  And, noble earl, receive my hand."
+
+  But Douglas round him drew his cloak,
+  Folded his arms, and thus he spoke:                                 20
+  "My manors, halls, and bowers, shall still
+  Be open, at my Sovereign's will,
+  To each one whom he lists, howe'er
+  Unmeet to be the owner's peer.
+  My castles are my King's alone,                                     25
+  From turret to foundation-stone:
+  The hand of Douglas is his own;
+  And never shall, in friendly grasp,
+  The hand of such as Marmion clasp."
+
+  Burned Marmion's swarthy cheek like fire,                           30
+  And shook his very frame for ire;
+      And--"This to me," he said,
+  "An't were not for thy hoary beard,
+  Such hand as Marmion's had not spared
+      To cleave the Douglas' head!                                    35
+  And, first, I tell thee, haughty peer,
+  He who does England's message here,
+  Although the meanest in her state,
+  May well, proud Angus, be thy mate:
+  And, Douglas, more I tell thee here,                                40
+      Even in thy pitch of pride
+  Here in thy hold, thy vassals near
+  (Nay, never look upon your lord,
+  And lay your hands upon your sword,)
+      I tell thee, thou'rt defied!                                    45
+  And if thou saidst, I am not peer
+  To any lord in Scotland here,
+  Lowland or Highland, far or near,
+      Lord Angus, thou hast lied!"
+
+  On the Earl's cheek the flush of rage                               50
+  O'ercame the ashen hue of age:
+  Fierce he broke forth: "And darest thou, then,
+  To beard the lion in his den,
+      The Douglas in his hall?
+  And hopest thou hence unscathed to go?--                            55
+  No, by Saint Bride of Bothwell, no!--
+  Up drawbridge, grooms!--what, Warder, ho!
+      Let the portcullis fall."
+
+  Lord Marmion turned,--well was his need,--
+  And dashed the rowels in his steed,                                 60
+  Like arrow through the archway sprung,
+  The ponderous grate behind him rung:
+  To pass there was such scanty room,
+  The bars, descending, grazed his plume.
+
+  The steed along the drawbridge flies,                               65
+  Just as it trembles on the rise;
+  Nor lighter does the swallow skim
+  Along the smooth lake's level brim:
+  And when Lord Marmion reached his band,
+  He halts, and turns with clenched hand,                             70
+  And shout of loud defiance pours,
+  And shook his gauntlet at the towers.
+
+  "Horse! horse!" the Douglas cried, "and chase!"
+  But soon he reined his fury's pace:
+  "A royal messenger he came,                                         75
+  Though most unworthy of the name.
+  A letter forged! Saint Jude to speed!
+  Did ever knight so foul a deed!
+  At first, in heart, it liked me ill,
+  When the King praised his clerkly skill.                            80
+  Thanks to Saint Bothan, son of mine,
+  Save Gawain, ne'er could pen a line.
+  Saint Mary mend my fiery mood!
+  Old age ne'er cools the Douglas blood;
+  I thought to slay him where he stood.                               85
+  'Tis pity of him, too," he cried:
+  "Bold can he speak, and fairly ride:
+  I warrant him a warrior tried."--
+  With this his mandate he recalls,
+  And slowly seeks his castle halls.                                  90
+
+      --_Sir Walter Scott_
+
+
+  In what Quality of voice should the following passages
+  of this poem be read: (_a_) the descriptive parts; (_b_)
+  l. 10; (_c_) the first speeches of Marmion and Douglas,
+  ll. 14-18, and ll. 21-29; (_d_) the second speeches of
+  Marmion and Douglas, ll. 32-49, and ll. 52-56; (_e_) ll.
+  57-58, and ll. 75-88?
+
+       *       *       *       *       *
+
+
+COLUMBUS
+
+
+  Behind him lay the gray Azores.
+    Behind him the gates of Hercules;
+  Before him not the ghost of shores,
+    Before him only shoreless seas.
+  The good mate said: "Now we must pray,                               5
+    For, lo! the very stars are gone.
+  Brave Adm'r'l, speak; what shall I say?"
+    "Why, say: 'Sail on! sail on! and on!'"
+
+  "My men grow mutinous day by day;
+    My men grow ghastly wan and weak."                                10
+  The stout mate thought of home; a spray
+    Of salt wave washed his swarthy cheek.
+  "What shall I say, brave Adm'r'l, say,
+    If we sight naught but seas at dawn?"
+  "Why, you shall say, at break of day:                               15
+    'Sail on! sail on! sail on! and on!'"
+
+  They sailed and sailed as winds might blow,
+    Until at last the blanched mate said:
+  "Why, now not even God would know
+    Should I and all my men fall dead.                                20
+  These very winds forget the way,
+    For God from these dread seas is gone.
+  Now speak, brave Adm'r'l, speak and say--"
+    He said: "Sail on! sail on! and on!"
+
+  They sailed. They sailed. Then spake the mate:                      25
+    "This mad sea shows his teeth to-night;
+  He curls his lip, he lies in wait,
+    With lifted teeth as if to bite:
+  Brave Adm'r'l, say but one good word;
+    What shall we do when hope is gone?"                              30
+  The words leapt as a leaping sword:
+    "Sail on! sail on! sail on! and on!"
+
+  Then, pale and worn, he kept his deck
+  And peered through darkness. Ah, that night
+  Of all dark nights! And then, a speck--                             35
+  A light! a light! a light! a light!
+  It grew, a starlit flag unfurled!
+  It grew to be Time's burst of dawn.
+  He gained a world; he gave that world
+  Its greatest lesson; "On! sail on!"                                 40
+
+    --_Joaquin Miller_
+
+    --_By permission of the publishers, Whitaker & Ray-Wiggin Co._
+
+
+  WHAT, SHALL, WHY. (Appendix A, 7 and 8.)
+
+  Give examples of words or phrases which when repeated
+  become (1) unemphatic, (2) more emphatic, (3) equivalent
+  to a climax. (Introduction, pp. 31 and 32.)
+
+  Compare the mate's attitude of mind with that of the
+  Admiral. How is the difference indicated by the Stress?
+
+       *       *       *       *       *
+
+
+FROM THE "APOLOGY" OF SOCRATES
+
+From "The Dialogues of Plato"
+
+
+1. Not much time will be gained, O Athenians, in return for the evil
+name which you will get from the detractors of the city, who will say
+that you killed Socrates, a wise man; for they will call me wise, even
+although I am not wise, when they want to reproach you. If you had
+waited a little while, your desire would have been fulfilled in the
+course of nature. For I am far advanced in years, as you may perceive,
+and not far from death. I am speaking now only to those of you who
+have condemned me to death. And I have another thing to say to them:
+You think that I was convicted through deficiency of words--I mean,
+that if I had thought fit to leave nothing undone, nothing unsaid, I
+might have gained an acquittal. Not so; the deficiency which led to
+my conviction was not of words--certainly not. But I had not the
+boldness or impudence or inclination to address you as you would have
+liked me to address you, weeping and wailing and lamenting, and saying
+and doing many things which you have been accustomed to hear from
+others, and which, as I say, are unworthy of me. But I thought that I
+ought not to do anything common or mean in the hour of danger; nor do
+I now repent of the manner of my defence, and I would rather die
+having spoken after my manner, than speak in your manner and live. For
+neither in war nor yet at law ought any man to use every way of
+escaping death. For often in battle there is no doubt that if a man
+will throw away his arms, and fall on his knees before his pursuers,
+he may escape death; and in other dangers there are other ways of
+escaping death, if a man is willing to say and do anything. The
+difficulty, my friends, is not in avoiding death, but in avoiding
+unrighteousness; for that runs faster than death. I am old and move
+slowly, and the slower runner has overtaken me, and my accusers are
+keen and quick, and the faster runner, who is unrighteousness, has
+overtaken them. And now I depart hence, condemned by you to suffer the
+penalty of death, and they too go their ways, condemned by the truth
+to suffer the penalty of villainy and wrong; and I must abide by my
+reward--let them abide by theirs. I suppose that these things may be
+regarded as fated,--and I think that they are well.
+
+2. And now, O men who have condemned me, I would fain prophesy to you;
+for I am about to die, and that is the hour in which men are gifted
+with prophetic power. And I prophesy to you who are my murderers,
+that immediately after my death punishment far heavier than you have
+inflicted on me will surely await you. Me you have killed because you
+wanted to escape the accuser, and not to give an account of your
+lives. But that will not be as you suppose: far otherwise. For I say
+that there will be more accusers of you than there are now; accusers
+whom hitherto I have restrained: and as they are younger they will be
+more severe with you, and you will be more offended at them. For if
+you think that by killing men you can avoid the accuser censuring your
+lives, you are mistaken; that is not a way of escape which is either
+possible or honourable; the easiest and the noblest way is not to be
+crushing others, but to be improving yourselves. This is the prophecy
+which I utter before my departure to the judges who have condemned me.
+
+3. Friends, who would have acquitted me, I would like also to talk
+with you about this thing which has happened, while the magistrates
+are busy, and before I go to the place at which I must die. Stay then
+a while, for we may as well talk with one another while there is time.
+You are my friends, and I should like to show you the meaning of this
+event which has happened to me. O my judges--for you I may truly call
+judges--I should like to tell you of a wonderful circumstance.
+Hitherto the familiar oracle within me has constantly been in the
+habit of opposing me even about trifles, if I was going to make a slip
+or error about anything; and now, as you see, there has come upon me
+that which may be thought, and is generally believed to be, the last
+and worst evil. But the oracle made no sign of opposition, either as I
+was leaving my house and going out in the morning, or when I was going
+up into this court, or while I was speaking, at anything which I was
+going to say; and yet I have often been stopped in the middle of a
+speech, but now in nothing I either said or did touching this matter
+has the oracle opposed me. What do I take to be the explanation of
+this? I will tell you. I regard this as a proof that what has happened
+to me is a good, and that those of us who think that death is an evil
+are in error. This is a great proof to me of what I am saying, for the
+customary sign would surely have opposed me had I been going to evil
+and not to good.
+
+4. Let us reflect in another way, and we shall see that there is a
+great reason to hope that death is a good, for one of two things:
+either death is a state of nothingness and utter unconsciousness, or,
+as men say, there is a change and migration of the soul from this
+world to another. Now if you suppose that there is no consciousness,
+but a sleep like the sleep of him who is undisturbed even by the sight
+of dreams, death will be an unspeakable gain. For if a person were to
+select the night in which his sleep was undisturbed even by dreams,
+and were to compare with this the other days and nights of his life,
+and then were to tell us how many days and nights he had passed in the
+course of his life better and more pleasantly than this one, I think
+that any man, I will not say a private man, but even the great king
+will not find many such days or nights, when compared with the others.
+Now if death is like this, I say that to die is gain; for eternity is
+then only a single night. But if death is the journey to another
+place, and there, as men say, all the dead are, what good, O my
+friends and judges, can be greater than this? If indeed when the
+pilgrim arrives in the world below, he is delivered from the
+professors of justice in this world, and finds the true judges who
+are said to give judgment there, Minos and Rhadamanthus, and Aeacus,
+and Triptolemus, and other sons of God who were righteous in their own
+life, that pilgrimage will be worth making. What would not a man give
+if he might converse with Orpheus and Musaeus and Hesiod and Homer?
+Nay, if this be true, let me die again and again. I, too, shall have a
+wonderful interest in a place where I can converse with Palamedes, and
+Ajax the son of Telamon, and other heroes of old, who have suffered
+death through an unjust judgment; and there will be no small pleasure,
+as I think, in comparing my own sufferings with theirs. Above all, I
+shall be able to continue my search into true and false knowledge; as
+in this world, so also in that; I shall find out who is wise, and who
+pretends to be wise and is not. What would not a man give, O judges,
+to be able to examine the leader of the great Trojan expedition; or
+Odysseus, or Sisyphus, or numberless others, men and women too! What
+infinite delight would there be in conversing with them and asking
+them questions! For in that world they do not put a man to death for
+this; certainly not. For besides being happier in that world than in
+this, they will be immortal, if what is said is true.
+
+5. Wherefore, O judges, be of good cheer about death, and know this of
+a truth--that no evil can happen to a good man, either in life or
+after death. He and his are not neglected by the gods; nor has my own
+approaching end happened by mere chance. But I see clearly that to die
+and be released was better for me; and therefore the oracle gave no
+sign. For which reason, also, I am not angry with my accusers or my
+condemners; they have done me no harm, although neither of them meant
+to do me any good; and for this I may gently blame them.
+
+6. Still I have a favour to ask of them. When my sons are grown up, I
+would ask you, O my friends, to punish them and I would have you
+trouble them, as I have troubled you, if they seem to care about
+riches, or anything, more than about virtue; or if they pretend to be
+something when they are really nothing,--then reprove them, as I have
+reproved you, for not caring about that for which they ought to care,
+and thinking that they are something when they are really nothing. And
+if you do this, I and my sons will have received justice at your
+hands.
+
+7. The hour of departure has arrived, and we go our ways--I to die,
+and you to live. Which is better God only knows.
+
+      --_Benjamin Jowett_
+
+
+  Illustrate from this extract the general principle that
+  incompleteness is expressed by means of the Rising, and
+  completeness by means of the Falling Inflection.
+
+  Par. 1. FOR NEITHER IN WAR NOR YET AT LAW ... DEATH.
+  Explain the Inflection placed on this negative
+  statement. Give a similar example from Par. 2.
+
+  I MUST ABIDE BY MY AWARD ... LET THEM ABIDE BY THEIRS.
+  Explain the opposite Inflections on antithetical words
+  and phrases. If one part of the antithesis is a
+  negation, what is the Inflection? (Introduction, pp. 19
+  and 20.) Give examples from Par. 2.
+
+  I AM OLD AND MOVE SLOWLY ... WRONG. Explain the Emphasis
+  in these sentences. Which one of a pair of contrasted
+  words is necessarily emphatic? Give examples from this
+  and the following paragraph, in which both are emphatic,
+  and explain why. (Introduction, pp. 30-32.)
+
+  Par. 4. Explain the Inflection on the questions.
+  (Introduction, pp. 18 and 19.)
+
+  What clauses in this paragraph are really parenthetical
+  in force? How does the voice subordinate them? Give
+  similar examples from other paragraphs. (Introduction,
+  pp. 24 and 25.)
+
+       *       *       *       *       *
+
+
+HIGHLAND HOSPITALITY
+
+From "The Lady of the Lake"
+
+
+  The shades of eve come slowly down,
+  The woods are wrapt in deeper brown,
+  The owl awakens from her dell,
+  The fox is heard upon the fell;
+  Enough remains of glimmering light                                   5
+  To guide the wanderer's steps aright,
+  Yet not enough from far to show
+  His figure to the watchful foe.
+  With cautious step, and ear awake,
+  He climbs the crag and threads the brake;                           10
+  And not the summer solstice there,
+  Tempered the midnight mountain air,
+  But every breeze that swept the wold,
+  Benumbed his drenched limbs with cold.
+  In dread, in danger, and alone,                                     15
+  Famished and chilled, through ways unknown,
+  Tangled and steep, he journeyed on;
+  Till, as a rock's huge point he turned,
+  A watch-fire close before him burned.
+
+  Beside its embers red and clear,                                    20
+  Basked, in his plaid, a mountaineer;
+  And up he sprung with sword in hand,--
+  "Thy name and purpose! Saxon, stand!"--
+  "A stranger."--"What dost thou require?"--
+  "Rest and a guide, and food and fire.                               25
+  My life's beset, my path is lost.
+  The gale has chilled my limbs with frost."--
+  "Art thou a friend to Roderick?"--"No."--
+  "Thou darest not call thyself a foe?"--
+  "I dare! to him and all the band                                    30
+  He brings to aid his murderous hand."--
+  "Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,                                  35
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+  Thus, treacherous scouts,--yet sure they lie,
+  Who say thou camest a secret spy!"--
+  "They do, by Heaven!--Come Roderick Dhu,                            40
+  And of his clan the boldest two,
+  And let me but till morning rest,
+  I write the falsehood on their crest."--
+  "If by the blaze I mark aright,
+  Thou bear'st the belt and spur of Knight."--                        45
+  "Then, by these tokens mayest thou know,
+  Each proud oppressor's mortal foe."--
+  "Enough, enough; sit down and share
+  A soldier's couch, a soldier's fare."--
+
+  He gave him of his Highland cheer,                                  50
+  The hardened flesh of mountain deer;
+  Dry fuel on the fire he laid,
+  And bade the Saxon share his plaid.
+  He tended him like welcome guest,
+  Then thus his further speech addressed:--                           55
+  "Stranger, I am to Roderick Dhu
+  A clansman born, a kinsman true;
+  Each word against his honour spoke,
+  Demands of me avenging stroke;
+  Yet more,--upon thy fate, 'tis said,                                60
+  A mighty augury is laid.
+  It rests with me to wind my horn,
+  Thou art with numbers overborne;
+  It rests with me, here, brand to brand,
+  Worn as thou art, to bid thee stand:                                65
+  But not for clan, nor kindred's cause,
+  Will I depart from honour's laws;
+  To assail a wearied man were shame,
+  And stranger is a holy name;
+  Guidance and rest, and food and fire,                               70
+  In vain he never must require.
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward.
+  Till past Clan-Alpine's outmost guard,                              75
+  As far as Coilantogle's ford;
+  From thence thy warrant is thy sword."--
+  "I take thy courtesy, by Heaven,
+  As freely as 'tis nobly given!"--
+  "Well, rest thee; for the bittern's cry                             80
+  Sings us the lake's wild lullaby."
+  With that he shook the gathered heath,
+  And spread his plaid upon the wreath;
+  And the brave foemen, side by side,
+  Lay peaceful down, like brothers tried,                             85
+  And slept until the dawning beam
+  Purpled the mountain and the stream.
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Connect this scene with the rest of the
+  poem.
+
+  Give a dramatic form to this extract, describing
+  definitely the scenery and stage-setting. One reader may
+  render the descriptive parts, another the speeches of
+  Roderick Dhu, and a third those of Fitz-James.
+
+  WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS,
+  BOLDEST TWO. (Appendix A, 6.)
+
+  25 and 70. (Appendix A, 5.) 1-4. Note the word-pictures.
+  How do they affect the Pause? (Introduction, pp. 7 and
+  8.)
+
+  7. NOT ENOUGH. With what is it contrasted? Which word is
+  emphatic? Where do the Pauses occur in this line?
+
+  9. What is the atmosphere of this line? What is the
+  Quality of voice? (Introduction, p. 34.)
+
+  10-11. What Inflection? Why? What is the Shading when
+  compared with the two following lines? (Introduction, p.
+  24.)
+
+  16-17. Give an example of Grouping.
+
+  18-19. Compare the Shading of these two lines.
+
+  22. What feeling and movement are here expressed? How
+  does the voice give expression to them? (Introduction,
+  pp. 5, 6, and 27.)
+
+  Describe the mental attitude of each of the speakers.
+  What is the Stress in each case? (Introduction, pp.
+  27-29.)
+
+  38. THE PROWLING FOX ... SCOUTS. What is the mental
+  attitude here? What Stress is the result? (Introduction,
+  p. 28.) How does the rest of the speech differ from the
+  preceding? What is the Inflection? (Introduction, p.
+  18.)
+
+  What is the Stress of ordinary conversation? Illustrate
+  from the above selection.
+
+  32-39. BOLD WORDS ... SPY. (Introduction, p. 24.)
+
+  48. Why should SIT DOWN be kept distinct from SHARE? How
+  is this effected?
+
+  60. 'TIS SAID. How does the voice subordinate this
+  phrase? (Introduction, p. 24.)
+
+  66-69. Which are the emphatic words and why are they
+  emphatic?
+
+  77. What feeling is introduced here? How does the voice
+  express it?
+
+       *       *       *       *       *
+
+
+THE OUTLAW
+
+From "Rokeby"
+
+
+  O, Brignall banks are wild and fair,
+    And Greta woods are green,
+  And you may gather garlands there,
+    Would grace a summer queen.
+
+  And as I rode by Dalton-Hall,                                        5
+    Beneath the turrets high,
+  A Maiden on the castle wall
+    Was singing merrily,--
+
+  "O, Brignall banks are fresh and fair,
+    And Greta woods are green;                                        10
+  I'd rather rove with Edmund there
+    Than reign our English queen."--
+
+  "If, Maiden, thou would'st wend with me,
+    To leave both tower and town,
+  Thou first must guess what life lead we                             15
+    That dwell by dale and down.
+  And if thou canst that riddle read,
+    As read full well you may,
+  Then to the greenwood shalt thou speed
+    As blithe as Queen of May."--                                     20
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are green;
+  I'd rather rove with Edmund there.
+    Than reign our English queen.
+
+  "I read you by your bugle-horn,                                     25
+    And by your palfrey good,
+  I read you for a Ranger sworn,
+    To keep the king's greenwood."--
+  "A Ranger, lady, winds his horn,
+   And 'tis at peep of light;                                         30
+  His blast is heard at merry morn,
+    And mine at dead of night."--
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are gay;
+  I would I were with Edmund there,                                   35
+    To reign his Queen of May!
+
+  "With burnish'd brand and musketoon,
+    So gallantly you come,
+  I read you for a bold Dragoon,
+    That lists the tuck of drum."--                                   40
+  "I list no more the tuck of drum,
+    No more the trumpet hear;
+  But when the beetle sounds his hum
+    My comrades take the spear.
+
+  "And O! though Brignall banks be fair                               45
+    And Greta woods be gay,
+  Yet mickle must the maiden dare
+    Would reign my Queen of May!
+
+  "Maiden! a nameless life I lead,
+    A nameless death I'll die!                                        50
+  The fiend whose lantern lights the mead
+    Were better mate than I!
+  And when I'm with my comrades met
+    Beneath the greenwood bough,
+  What once we were we all forget,                                    55
+    Nor think what we are now.
+
+  "Yet Brignall banks are fresh and fair,
+    And Greta woods are green,
+  And you may gather garlands there
+    Would grace a summer queen."                                      60
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--"The Life of an Outlaw." Speak on this
+  subject, illustrating from such characters as Rob Roy,
+  Robin Hood, etc., and emphasizing the pathos of such a
+  life.
+
+  For dramatic rendering see preparatory notes on
+  _Highland Hospitality_.
+
+  1-4. What Stress indicates the state of mind reflected
+  by these lines? (Introduction, p. 29.)
+
+  3, 11. What Inflection is placed on THERE?
+  (Introduction, p. 16.)
+
+  12. What word may be supplied after REIGN? How is this
+  indicated in the reading? (Introduction, p. 10.)
+
+  13-20. Read these lines with a view to Perspective.
+  (Introduction, p. 33.)
+
+  Give examples of Grouping throughout the poem and show
+  how the Pause is affected. (Introduction, p. 11.)
+
+  What words in stanza iii are emphatic through contrast?
+  In stanza v?
+
+  What feeling in the last half of stanza v?
+  (Introduction, pp. 10-12.) In what Time, Pitch, and
+  Force are these lines read? Give your reasons.
+
+       *       *       *       *       *
+
+
+OF STUDIES
+
+From the "Essays"
+
+
+Studies serve for delight, for ornament, and for ability. Their chief
+use for delight, is in privateness and retiring; for ornament, is in
+discourse; and for ability, is in the judgment and disposition of
+business. For expert men can execute, and perhaps judge of
+particulars, one by one; but the general counsels, and the plots, and
+marshalling of affairs, come best from those that are learned.
+
+To spend too much time in studies, is sloth; to use them too much for
+ornament, is affectation; to make judgment wholly by their rules, is
+the humour of a scholar. They perfect nature and are perfected by
+experience: for natural abilities are like natural plants, that need
+pruning by study; and studies themselves do give forth directions too
+much at large, except they be bounded in by experience.
+
+Crafty men contemn studies; simple men admire them; and wise men use
+them; for they teach not their own use; but that is a wisdom without
+them, and above them, won by observation. Read not to contradict and
+confute; nor to believe and take for granted; nor to find talk and
+discourse; but to weigh and consider.
+
+Some books are to be tasted, others to be swallowed, and some few to
+be chewed and digested; that is, some books are to be read only in
+parts; others to be read, but not curiously; and some few to be read
+wholly, and with diligence and attention. Some books also may be read
+by deputy, and extracts made of them by others; but that would be only
+in the less important arguments, and the meaner sort of books; else
+distilled books are like common distilled waters, flashy things.
+
+Reading maketh a full man; conference a ready man; and writing an
+exact man. And therefore, if a man write little, he had need have a
+good memory, if he confer little, he had need have a present wit; and
+if he read little, he had need have much cunning, to seem to know that
+he doth not.
+
+If a man's wit be wandering, let him study the mathematics; for in
+demonstrations, if his wit be called away never so little, he must
+begin again; if his wits be not apt to distinguish or find
+differences, let him study the schoolmen; if he be not apt to beat
+over matters, and to call up one thing to prove and illustrate
+another, let him study the lawyers' cases. So every defect of the mind
+may have a special receipt.
+
+      --_Lord Bacon_
+
+
+  Preparatory.--Observe the sentence structure employed
+  throughout this extract, and make a list of the
+  antithetical words and phrases.
+
+  This lesson may be used as an exercise to illustrate the
+  principle of Inflection as applied to antithetical words
+  or phrases and to series of words or phrases parallel in
+  construction. (Introduction, p. 20.)
+
+       *       *       *       *       *
+
+
+THE INFLUENCE OF ATHENS
+
+From essay "On Mitford's History of Greece"
+
+
+If we consider merely the subtlety of disquisition, the force of
+imagination, the perfect energy and elegance of expression, which
+characterize the great works of Athenian genius, we must pronounce
+them intrinsically most valuable. But what shall we say when we
+reflect that from hence have sprung, directly or indirectly, all the
+noblest creations of the human intellect; that from hence were the
+vast accomplishments and the brilliant fancy of Cicero, the withering
+fire of Juvenal, the plastic imagination of Dante, the humour of
+Cervantes, the comprehension of Bacon, the wit of Butler, the supreme
+and universal excellence of Shakespeare?
+
+All the triumphs of truth and genius over prejudice and power, in
+every country and in every age, have been the triumphs of Athens.
+Wherever a few great minds have made a stand against violence and
+fraud, in the cause of liberty and reason, there has been her spirit
+in the midst of them; inspiring, encouraging, consoling;--by the
+lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune
+of Mirabeau, in the cell of Galileo, on the scaffold of Sidney.
+
+But who shall estimate her influence on private happiness? Who shall
+say how many thousands have been made wiser, happier, and better, by
+those pursuits in which she has taught mankind to engage; to how many
+the studies which took their rise from her have been wealth in
+poverty, liberty in bondage, health in sickness, society in solitude?
+
+Her power is, indeed, manifested at the bar, in the senate, in the
+field of battle, in the schools of philosophy. But these are not her
+glory. Wherever literature consoles sorrow, or assuages pain; wherever
+it brings gladness to eyes which fail with wakefulness and tears, and
+ache for the dark house and the long sleep,--there is exhibited, in
+its noblest form, the immortal influence of Athens.
+
+The dervish, in the Arabian tale, did not hesitate to abandon to his
+comrade the camels with their loads of jewels and gold, while he
+retained the casket of that mysterious juice which enabled him to
+behold at one glance all the hidden riches of the universe. Surely it
+is no exaggeration to say that no external advantage is to be compared
+with that purification of the intellectual eye which gives us to
+contemplate the infinite wealth of the mental world, all the hoarded
+treasures of its primeval dynasties, all the shapeless ore of its yet
+unexplored mines. This is the gift of Athens to man.
+
+Her freedom and her power have, for more than twenty centuries, been
+annihilated; her people have degenerated into timid slaves; her
+language, into a barbarous jargon; her temples have been given up to
+the successive depredations of Romans, Turks, and Scotchmen; but her
+intellectual empire is imperishable.
+
+And when those who have rivalled her greatness shall have shared her
+fate; when civilization and knowledge shall have fixed their abode in
+distant continents; when the sceptre shall have passed away from
+England; when, perhaps, travellers from distant regions shall in vain
+labour to decipher on some mouldering pedestal the name of our
+proudest chief, shall hear savage hymns chaunted to some misshapen
+idol over the ruined dome of our proudest temple, and shall see a
+single naked fisherman wash his nets in the river of the ten thousand
+masts,--her influence and her glory will still survive,--fresh in
+eternal youth, exempt from mutability and decay, immortal as the
+intellectual principle from which they derived their origin, and over
+which they exercise their control.
+
+      --_Macaulay_
+
+
+  Illustrate from this lesson the principle of Inflection
+  as applied to (1) a series of words parallel in
+  construction; (2) rhetorical questions.
+
+  How should the principal clause in the last paragraph be
+  made prominent by the voice? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+NATIONAL MORALITY
+
+
+1. I believe there is no permanent greatness to a nation except it be
+based upon morality. I do not care for military greatness or military
+renown. I care for the condition of the people among whom I live.
+There is no man in England who is less likely to speak irreverently of
+the Crown and Monarchy of England than I am; but crowns, coronets,
+mitres, military display, the pomp of war, wide colonies, and a huge
+empire, are, in my view, all trifles light as air, and not worth
+considering, unless with them you can have a fair share of comfort,
+contentment, and happiness, among the great body of the people.
+Palaces, baronial castles, great halls, stately mansions, do not make
+a nation. The nation in every country dwells in the cottage; and
+unless the light of your Constitution can shine there, unless the
+beauty of your legislation and the excellence of your statesmanship
+are impressed there on the feelings and condition of the people, rely
+upon it, you have yet to learn the duties of government.
+
+2. I have not pleaded, as you have observed, that this country should
+remain without adequate and scientific means of defence. I acknowledge
+it to be the duty of your statesmen, acting upon the known opinions
+and principles of ninety-nine out of every one hundred persons in the
+country, at all times, with all possible moderation, but with all
+possible efficiency, to take steps which shall preserve order within
+and on the confines of your kingdom. But I shall repudiate and
+denounce the expenditure of every shilling, the engagement of every
+man, the employment of every ship which has no object but
+intermeddling in the affairs of other countries and endeavouring to
+extend the boundaries of an Empire which is already large enough to
+satisfy the greatest ambition, and I fear is much too large for the
+highest statesmanship to which any man has yet attained.
+
+3. The most ancient of profane historians has told us that the
+Scythians of his time were a very warlike people, and that they
+elevated an old scimitar upon a platform as a symbol of Mars, for to
+Mars alone, I believe, they built altars and offered sacrifices. To
+this scimitar they offered sacrifices of horses and cattle, the main
+wealth of the country, and more costly sacrifices than to all the rest
+of their gods. I often ask myself whether we are at all advanced in
+one respect beyond those Scythians. What are our contributions to
+charity, to education, to morality, to religion, to justice, and to
+civil government, when compared with the wealth we expend in
+sacrifices to the old scimitar?
+
+4. Two nights ago I addressed in this hall a vast assembly composed to
+a great extent of your countrymen, who have no political power, who
+are at work from the dawn of the day to the evening, and who have
+therefore limited means of informing themselves on these great
+subjects. Now I am privileged to speak to a somewhat different
+audience. You represent those of your great community who have a more
+complete education, who have on some points greater intelligence, and
+in whose hands reside the power and influence of the district. I am
+speaking, too, within the hearing of those whose gentle nature, whose
+finer instincts, whose purer minds, have not suffered as some of us
+have suffered in the turmoil and strife of life. You can mould
+opinion, you can create political power,--you cannot think a good
+thought on this subject and communicate it to your neighbours,--you
+cannot make these points topics of discussion in your social circles
+and more general meetings, without affecting sensibly and speedily the
+course which the government of your country will pursue. May I ask
+you, then, to believe, as I do most devoutly believe, that the moral
+law was not written for men alone in their individual character, but
+that it was written as well for nations, and for nations great as this
+of which we are citizens. If nations reject and deride that moral law,
+there is a penalty which will inevitably follow. It may not come at
+once, it may not come in our lifetime; but, rely upon it, the great
+Italian is not a poet only, but a prophet, when he says:
+
+  The sword of heaven is not in haste to smite,
+  Nor yet doth linger.
+
+5. We have experience, we have beacons, we have landmarks enough. We
+know what the past has cost us, we know how much and how far we have
+wandered, but we are not left without a guide. It is true, we have
+not, as an ancient people had, Urim and Thummin--those oraculous gems
+in Aaron's breast--from which to take counsel, but we have the
+unchangeable and eternal principles of the moral law to guide us, and
+only so far as we walk by that guidance can we be permanently a great
+nation, or our people a happy people.
+
+      --_The Right Honourable John Bright_
+
+
+  BARONIAL, CASTLES, CHARACTER, PAST. (Appendix A, 1.)
+
+  Par. 1. MILITARY GREATNESS, MILITARY RENOWN. Note the
+  transferred Emphasis. (Introduction, pp. 31 and 32.)
+
+  CROWNS, CORONETS, ETC. Explain the Inflection on each
+  member of this series. Give similar examples from this
+  paragraph and from Pars. 3, 4, and 5.
+
+  UNLESS WITH THEM, ETC. How does the voice prepare the
+  listener for this clause? Give a similar example from
+  Par. 4.
+
+  YOU HAVE YET TO LEARN, ETC. How is this clause made
+  prominent?
+
+  Par. 2. Give an analysis of the second sentence from the
+  standpoint of Perspective.
+
+  THE EXPENDITURE ... SHIP. How is the Climax brought out?
+
+  FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give
+  another example from this sentence.
+
+  Par. 4. NATIONS. What Inflection on this word? With what
+  is it contrasted?
+
+       *       *       *       *       *
+
+
+HAMLET'S ADVICE TO THE PLAYERS
+
+Act III. Scene 2
+
+
+Speak the speech, I pray you, as I pronounced it to
+you, trippingly on the tongue: but if you mouth it, as
+many of your players do, I had as lief the town-crier
+spoke my lines. Nor do not saw the air too much with
+your hand, thus; but use all gently: for in the very                   5
+torrent, tempest, and, as I may say, the whirlwind of
+passion, you must acquire and beget a temperance that
+may give it smoothness. O, it offends me to the soul to
+hear a robustious periwig-pated fellow tear a passion to
+tatters, to very rags, to split the ears of the groundlings,          10
+who, for the most part, are capable of nothing but
+inexplicable dumb-shows and noise: I would have such
+a fellow whipped for o'erdoing Termagant; it out-herods
+Herod: pray you, avoid it.
+
+Be not too tame neither, but let your own discretion                  15
+be your tutor: suit the action to the word, the word to
+the action; with this special observance, that you o'erstep
+not the modesty of nature: for anything so overdone
+is from the purpose of playing, whose end, both at the
+first and now, was and is, to hold, as 'twere, the mirror             20
+up to nature; to show virtue her own feature, scorn her
+own image, and the very age and body of the time his
+form and pressure. Now, this overdone or come tardy
+off, though it make the unskilful laugh, cannot but make
+the judicious grieve; the censure of the which one                    25
+must, in your allowance, o'erweigh a whole theatre of
+others. O, there be players that I have seen play, and
+heard others praise, and that highly, not to speak it
+profanely, that neither having the accent of Christains
+nor the gait of Christain, pagan, nor man, have so                    30
+strutted and bellowed, that I have thought some of
+nature's journeymen had made men, and not made them
+well, they imitated humanity so abominably.
+
+      --_Shakespeare_
+
+
+  MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words
+  emphatic? (Introduction, p. 30.)
+
+  Explain FROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE
+  CENSURE OF THE WHICH ... OTHERS. What are the emphatic
+  words in each?
+
+  TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.
+
+  Give other examples of Climax from this selection and
+  show how the Emphasis is employed. (Introduction, p.
+  31.)
+
+  Select parenthetical clauses and show how they are
+  subordinated. (Introduction, p. 24.)
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+ROSABELLE
+
+  From "The Lay of the Last Minstrel"
+
+
+    O listen, listen, ladies gay!
+      No haughty feat of arms I tell;
+    Soft is the note, and sad the lay
+      That mourns the lovely Rosabelle.
+
+  "Moor, moor the barge, ye gallant crew!
+    And, gentle ladye, deign to stay!
+  Rest thee in Castle Ravensheuch,
+    Nor tempt the stormy firth to-day.
+
+  "The blackening wave is edged with white;
+    To inch and rock the sea-mews fly;
+  The fishers have heard the Water-Sprite,
+    Whose screams forebode that wreck is =nigh=.
+
+  "Last night the gifted Seer did view
+    A wet shroud swathed round ladye gay;
+  Then stay thee, Fair, in Ravensheuch;
+    Why cross the gloomy firth to-day?"--
+
+  "'Tis not because Lord Lindesay's heir
+    To-night at Roslin leads the ball,
+  But that my ladye-mother there
+    Sits lonely in her castle-hall.
+
+  "'Tis not because the ring they ride,
+    And Lindesay at the ring rides well,
+  But that my sire the wine will chide
+    If 'tis not fill'd by Rosabelle."--
+
+  O'er Roslin all that dreary night
+    A wondrous blaze was seen to gleam;
+  'Twas broader than the watch-fire's light,
+    And redder than the bright moonbeam.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from cavern'd Hawthornden.
+
+  Seem'd all on fire that chapel proud,
+    Where Roslin's chiefs uncoffin'd lie,
+  Each Baron, for a sable shroud,
+    Sheathed in his iron panoply.
+
+  Seem'd all on fire within, around,
+    Deep sacristy and altar's pale;
+  Shone every pillar foliage-bound,
+    And glimmer'd all the dead men's mail.
+
+  Blazed battlement and pinnet high,
+    Blazed every rose-carved buttress fair--
+  So still they blaze, when fate is nigh
+    The lordly line of high Saint Clair.
+
+  There are twenty of Roslin's barons bold
+    Lie buried within that proud chapelle;
+  Each one the holy vault doth hold--
+    But the sea holds lovely Rosabelle!
+
+  And each Saint Clair was buried there
+    With candle, with book, and with knell;
+  But the sea-caves rung, and the wild winds sung
+    The dirge of lovely Rosabelle!
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Describe the scene suggested by the first
+  stanza.
+
+  Make three scenes of the rest of the poem, and give a
+  descriptive title to each.
+
+  Articulation. (Appendix A, 1, 3, and 6.)
+
+  Stanza i. How is the ellipsis in l. 3 indicated?
+
+  Stanza ii. What is the difference between the way the
+  speaker addresses the crew and that in which he
+  addresses the lady?
+
+  Stanzas iii-iv. How does the reader make prominent the
+  four different arguments of the speaker in ll. 9-15, at
+  the same time showing that each is a stronger warning
+  than the last? (Introduction, pp. 24, 25, and 31.)
+
+  Stanzas v-vi. What is the Inflection on the negative
+  statements in the first two lines of each stanza?
+
+  Stanzas vii-xi. What feeling pervades the description of
+  the ominous light over Roslyn? What Quality of voice is
+  the natural outcome? (Introduction, p. 34.)
+
+  What are the central ideas in stanzas vii, ix, and x?
+
+  How is the break in the thought after FAIR, (stanza xi)
+  shown? (Introduction, pp. 8, 9, and 25.)
+
+  Stanzas xii-xiii. What phrases contrast the burial of
+  the Saint Clairs with that of Rosabelle? What contrast
+  of feeling?
+
+       *       *       *       *       *
+
+
+THE ISLAND OF THE SCOTS
+
+December, 1697
+
+
+  The Rhine is running deep and red, the island lies before,--
+  "Now is there one of all the host will dare to venture o'er?
+  For not alone the river's sweep might make a brave man quail;
+  The foe are on the further side, their shot comes fast as hail.
+  God help us, if the middle isle we may not hope to win;              5
+  Now is there any of the host will dare to venture in?"
+  "The ford is deep, the banks are steep, the island-shore lies wide;
+  Nor man nor horse could stem its force, or reach the further side.
+  See there! amidst the willow-boughs the serried bayonets gleam;
+  They've flung their bridge,--they've won the isle; the foe have
+    cross'd the stream!                                               10
+  Their volley flashes sharp and strong,--by all the saints! I trow
+  There never yet was soldier born could force that passage now!"
+
+  So spoke the bold French Mareschal with him who led the van,
+  Whilst rough and red before their view the turbid river ran.
+  Nor bridge nor boat had they to cross the wild and swollen Rhine, 15
+  And thundering on the other bank far stretch'd the German line.
+  Hard by there stood a swarthy man was leaning on his sword,
+  And a sadden'd smile lit up his face as he heard the Captain's word.
+  "I've seen a wilder stream ere now than that which rushes there;
+  I've stemm'd a heavier torrent yet and never thought to dare.       20
+  If German steel be sharp and keen, is ours not strong and true?
+  There may be danger in the deed, but there is honour too."
+
+  The old lord in his saddle turn'd, and hastily he said,
+  "Hath bold Duguesclin's fiery heart awaken'd from the dead?
+  Thou art the leader of the Scots,--now well and sure I know,        25
+  That gentle blood in dangerous hour ne'er yet ran cold nor slow,
+  And I have seen ye in the fight do all that mortal may:
+  If honour is the boon ye seek, it may be won this day,--
+  The prize is in the middle isle, there lies the adventurous way,
+  And armies twain are on the plain, the daring deed to see,--        30
+  Now ask thy gallant company if they will follow thee!"
+
+  Right gladsome look'd the Captain then, and nothing did he say,
+  But he turn'd him to his little band, O, few, I ween, were they!
+  The relics of the bravest force that ever fought in fray.
+  No one of all that company but bore a gentle name,                  35
+  Not one whose fathers had not stood in Scotland's fields of fame.
+  All they had march'd with great Dundee to where he fought and fell,
+  And in the deadly battle-strife had venged their leader well;
+  And they had bent the knee to earth when every eye was dim,
+  As o'er their hero's buried corpse they sang the funeral hymn;      40
+  And they had trod the Pass once more, and stoop'd on either side.
+  To pluck the heather from the spot where he had dropp'd and died;
+  And they had bound it next their hearts, and ta'en a last farewell
+  Of Scottish earth and Scottish sky, where Scotland's glory fell.
+  Then went they forth to foreign lands like bent and broken men,     45
+  Who leave their dearest hope behind, and may not turn again.
+
+  "The stream," he said, "is broad and deep, and stubborn is
+    the foe,--
+  Yon island-strength is guarded well,--say, brothers, will ye go?
+  From home and kin for many a year our steps have wander'd wide,
+  And never may our bones be laid our fathers' graves beside.         50
+  No children have we to lament, no wives to wail our fall;
+  The traitor's and the spoiler's hand have reft our hearths of all.
+  But we have hearts, and we have arms, as strong to will and dare
+  As when our ancient banners flew within the northern air.
+  Come, brothers! let me name a spell shall rouse your souls again, 55
+  And send the old blood bounding free through pulse and heart
+    and vein.
+  Call back the days of bygone years,--be young and strong once more;
+  Think yonder stream, so stark and red, is one we've cross'd before.
+
+  Rise, hill and glen! rise, crag and wood! rise up on either hand,--
+  Again upon the Garry's banks, on Scottish soil we stand!            60
+  Again I see the tartans wave, again the trumpets ring;
+  Again I hear our leader's call: 'Upon them for the King!'
+  Stay'd we behind that glorious day for roaring flood or linn?
+  The soul of Græme is with us still,--now, brothers, will ye in?"
+
+  No stay,--no pause. With one accord, they grasp'd each
+    other's hand,                                                     65
+  Then plunged into the angry flood, that bold and dauntless band.
+  High flew the spray above their heads, yet onward still they bore,
+  Midst cheer, and shout, and answering yell, and shot,
+    and cannon-roar,--
+  "Now, by the Holy Cross! I swear, since earth and sea began,
+  Was never such a daring deed essay'd by mortal man!"                70
+  Thick blew the smoke across the stream, and faster flash'd
+    the flame:
+  The water plash'd in hissing jets as ball and bullet came.
+  Yet onward push'd the Cavaliers all stern and undismay'd,
+  With thousand armed foes before, and none behind to aid
+  Once, as they near'd the middle stream, so strong
+    the torrent swept,                                                75
+  That scarce that long and living wall their dangerous footing kept.
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them
+   in the Rhine!"                                                     80
+
+  Have you seen the tall trees swaying when the blast is sounding
+    shrill,
+  And the whirlwind reels in fury down the gorges of the hill?
+  How they toss their mighty branches struggling with
+    the tempest's shock;
+  How they keep their place of vantage, cleaving firmly to the rock?
+  Even so the Scottish warriors held their own against the river;     85
+  Though the water flashed around them, not an eye was seen to quiver;
+  Though the shot flew sharp and deadly, not a man relax'd his hold;
+  For their hearts were big and thrilling with the mighty thoughts
+    of old.
+  One word was spoken among them, and through the ranks it spread,--
+  "Remember our dead Claverhouse!" was all the Captain said.          90
+  Then, sternly bending forward, they wrestled on a while,
+  Until they clear'd the heavy stream, then rush'd toward the isle.
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armed foemen throng.
+  But never had they faced in field so stern a charge before,         95
+  And never had they felt the sweep of Scotland's broad claymore.
+  Not fiercer pours the avalanche adown the steep incline,
+  That rises o'er the parent springs of rough and rapid Rhine,--
+  Scarce swifter shoots the bolt from heaven than came
+    the Scottish band
+  Right up against the guarded trench, and o'er it sword in hand.    100
+  In vain their leaders forward press,--they meet the deadly brand!
+
+  O lonely island of the Rhine,--where seed was never sown,
+  What harvest lay upon thy sands, by those strong reapers thrown?
+  What saw the winter moon that night, as, struggling through
+    the rain,
+  She pour'd a wan and fitful light on marsh, and stream,
+    and plain?                                                       105
+  A dreary spot with corpses strewn, and bayonets glistening round;
+  A broken bridge, a stranded boat, a bare and batter'd mound;
+  And one huge watch-fire's kindled pile, that sent its
+    quivering glare
+  To tell the leaders of the host the conquering Scots were there.
+
+  And did they twine the laurel-wreath, for those who fought
+    so well?                                                         110
+  And did they honour those who liv'd, and weep for those who fell?
+  What meed of thanks was given to them let agèd annals tell.
+  Why should they bring the laurel-wreath,--why crown the cup
+    with wine?
+  It was not Frenchmen's blood that flow'd so freely on the Rhine,--
+  A stranger band of beggar'd men had done the venturous deed:       115
+  The glory was to France alone, the danger was their meed.
+  And what cared they for idle thanks from foreign prince and peer?
+  What virtue had such honey'd words the exiled heart to cheer?
+  What matter'd it that men should vaunt and loud and fondly swear,
+
+  That higher feat of chivalry was never wrought elsewhere?          120
+  They bore within their breasts the grief that fame
+    can never heal,--
+  The deep, unutterable woe which none save exiles feel.
+  Their hearts were yearning for the land they ne'er might
+    see again,--
+  For Scotland's high and heather'd hills, for mountains,
+    loch and glen--
+  For those who haply lay at rest beyond the distant sea,            125
+  Beneath the green and daisied turf where they would gladly be!
+
+  Long years went by. The lonely isle in Rhine's tempestuous flood
+  Has ta'en another name from those who bought it with their blood:
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,           130
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep
+    and dangerous ford
+  The Passage of the Scot.
+
+      --_William Edmondstoune Aytoun_
+
+
+  PREPARATORY.--Narrate briefly the events of this poem,
+  and show by a blackboard diagram the situation of the
+  island, the position of the armies, etc.
+
+  Into how many dramatic scenes can the poem be divided?
+  Describe each one, showing what part of the poem it
+  covers.
+
+  For exercise in dramatic rendering, see notes on
+  _Highland Hospitality_, pp. 153 and 154.
+
+  In what state of mind are the first two speakers?
+  Compare their speeches in this respect with the first
+  speech of the Scottish Captain--"I'VE SEEN A WILDER,"
+  ETC. What is the difference in Time, Pitch, and Stress?
+
+  3. RIVER'S SWEEP, FOE. Which is more emphatic? Compare
+  MAN and HORSE, l. 8.
+
+  10-12. Give some examples of Climax in the second stanza
+  and show how the Force and the Pitch are affected.
+
+  24. "HATH BOLD DUGUESCLIN'S," ETC. Supply the
+  undercurrent of thought between the first line of this
+  speech and the second. How is this suggested in reading?
+  (Introduction, p. 14.)
+
+  33. HE TURNED HIM TO HIS LITTLE BAND--O FEW, ETC. How
+  can the break in the thought be indicated?
+  (Introduction, pp. 8, 9, and 25.)
+
+  33-46. O FEW I WEEN ... NOT TURN AGAIN. What two
+  feelings predominate?
+
+  Compare the first part of the Captain's speech with the
+  second part from the standpoint of energy. What is the
+  difference in Force and Pitch? (Introduction, pp. 23 and
+  26.)
+
+  65. NO STAY,--NO PAUSE, ETC. What part does spontaneous
+  Imitation play here, and in the following stanza?
+  (Introduction, pp. 4 and 5.)
+
+  69. NOW, BY THE HOLY CROSS! ETC. Where should the
+  longest Pause be made in this line?
+
+  78. THE CURRENT'S STRONG, ETC. What are the Pitch,
+  Force, and Stress? (Introduction, pp. 22, 26, and 29.)
+
+  93. THE GERMAN HEART, ETC. Emphasis. (Introduction, p.
+  31.)
+
+  96. AND NEVER HAD THEY FELT, ETC. Note Grouping and
+  Pause.
+
+  99. SCARCE SWIFTER, ETC. What is the Stress? Why?
+  (Introduction, p. 28.)
+
+  101. IN VAIN. Note the transition at this line.
+  (Introduction, pp. 8, 9, and 25.)
+
+  113. WHY SHOULD THEY BRING, ETC. How does the voice
+  indicate the insincerity of thought in these lines?
+  (Introduction, pp. 21, 22, and 30.)
+
+  What Inflection is used on the various questions in this
+  and the preceding stanzas? (Introduction, pp. 18 and
+  19.)
+
+  127-133. Note the Grouping and the Shading.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+CRANFORD SOCIETY
+
+From "Cranford"
+
+
+In the first place, Cranford is in possession of the Amazons; all the
+holders of houses above a certain rent are women. If a married couple
+come to settle in the town, somehow the gentleman disappears; he is
+either fairly frightened to death by being the only man in the
+Cranford evening parties, or he is accounted for by being with his
+regiment, his ship, or closely engaged in business all the week in the
+great neighbouring commercial town of Drumble, distant only twenty
+miles on a railway. In short, whatever does become of the gentlemen,
+they are not at Cranford. What could they do if they were there? The
+surgeon has his round of thirty miles, and sleeps at Cranford; but
+every man cannot be a surgeon. For keeping the trim gardens full of
+choice flowers without a weed to speck them; for frightening away
+little boys who look wistfully at the said flowers through the
+railings; for rushing out at the geese that occasionally venture into
+the gardens if the gates are left open; for deciding all questions of
+literature and politics without troubling themselves with unnecessary
+reasons or arguments; for obtaining clear and correct knowledge of
+everybody's affairs in the parish; for keeping their neat maidservants
+in admirable order; for kindness (somewhat dictatorial) to the poor,
+and real tender good offices to each other whenever they are in
+distress--the ladies of Cranford are quite sufficient. "A man," as one
+of them observed to me once, "is _so_ in the way in the house!"
+Although the ladies of Cranford know all each other's proceedings,
+they are exceedingly indifferent to each other's opinions. Indeed, as
+each has her own individuality, not to say eccentricity, pretty
+strongly developed, nothing is so easy as verbal retaliation; but,
+somehow, good-will reigns among them to a considerable degree.
+
+Then there were rules and regulations for visiting and calls; and they
+were announced to any young people who might be staying in the town,
+with all the solemnity with which the old Manx laws were read once a
+year on the Tinwald Mount.
+
+"Our friends have sent to inquire how you are after your journey
+to-night, my dear" (fifteen miles in a gentleman's carriage). "They
+will give you some rest to-morrow; but the next day, I have no doubt,
+they will call; so be at liberty after twelve--from twelve to three
+are our calling hours."
+
+Then, after they had called--
+
+"It is the third day, I dare say your mamma has told you, my dear,
+never to let more than three days elapse between receiving a call and
+returning it; and also, that you are never to stay longer than a
+quarter of an hour."
+
+"But am I to look at my watch? How am I to find out when a quarter of
+an hour has passed?"
+
+"You must keep thinking about the time, my dear, and not allow
+yourself to forget it in conversation."
+
+As everybody had this rule in their minds, whether they received or
+paid a call, of course no absorbing subject was ever spoken about. We
+kept ourselves to short sentences of small talk, and were punctual to
+our time.
+
+I imagine that a few of the gentlefolks of Cranford were poor, and had
+some difficulty in making both ends meet; but they were like the
+Spartans, and concealed their smart under a smiling face. We none of
+us spoke of money, because that subject savoured of commerce and
+trade; and though some might be poor, we were all aristocratic. The
+Cranfordians had that kindly _esprit de corps_ which made them
+overlook all deficiencies in success when some among them tried to
+conceal their poverty. When Mrs. Forrester, for instance, gave a party
+in her baby-house of a dwelling, and the little maiden disturbed the
+ladies on the sofa by a request that she might get the tea-tray out
+from underneath, every one took this novel proceeding as the most
+natural thing in the world, and talked on about household forms and
+ceremonies as if we all believed that our hostess had a regular
+servants' hall, second table, with house-keeper and steward, instead
+of the one little charity-school maiden, whose short ruddy arms could
+never have been strong enough to carry the tray upstairs, if she had
+not been assisted in private by her mistress, who now sat in state,
+pretending not to know what cakes were sent up, though she knew, and
+we knew, and she knew that we knew, and we knew that she knew that we
+knew, she had been busy all morning making tea-bread and
+sponge-cakes.
+
+There were one or two consequences arising from this general but
+unacknowledged poverty, and this very much acknowledged gentility,
+which were not amiss, and which might be introduced into many circles
+of society to their great improvement. For instance, the inhabitants
+of Cranford kept early hours, and clattered home in their pattens,
+under the guidance of a lantern-bearer, about nine o'clock at night;
+and the whole town was abed and asleep by half-past ten. Moreover, it
+was considered "vulgar" (a tremendous word in Crawford) to give
+anything expensive, in the way of eatable or drinkable, at the evening
+entertainments. Wafer bread-and-butter and sponge-biscuits were all
+that the Honourable Mrs. Jamieson gave; and she was sister-in-law to
+the late Earl of Glenmire, although she did practise such "elegant
+economy."
+
+"Elegant economy!" How naturally one falls back into the phraseology
+of Cranford! There, economy was always "elegant," and money-spending
+always "vulgar and ostentatious;" a sort of sour-grapeism which made
+us very peaceful and satisfied. I never shall forget the dismay felt
+when a certain Captain Brown came to live at Cranford, and openly
+spoke about his being poor--not in a whisper to an intimate friend,
+the doors and windows being previously closed, but in the public
+street, in a loud military voice, alleging his poverty as a reason for
+not taking a particular house. The ladies of Cranford were already
+rather moaning over the invasion of their territories by a man and a
+gentleman. He was a half-pay captain, and had obtained some situation
+on a neighbouring railway, which had been vehemently petitioned
+against by the little town; and if, in addition to his masculine
+gender, and his connection with the obnoxious railway, he was so
+brazen as to talk of being poor--why, then, indeed, he must be sent to
+Coventry. Death was as true and as common as poverty; yet people never
+spoke about that loud out in the streets. It was a word not to be
+mentioned to ears polite. We had tacitly agreed to ignore that any
+with whom we associated on terms of visiting equality could ever be
+prevented by poverty from doing anything that they wished. If we
+walked to or from a party, it was because the night was _so_ fine, or
+the air _so_ refreshing, not because sedan-chairs were expensive. If
+we wore prints instead of summer silks, it was because we preferred a
+washing material; and so on, till we blinded ourselves to the vulgar
+fact that we were, all of us, people of very moderate means. Of
+course, then, we did not know what to make of a man who could speak of
+poverty as if it was not a disgrace. Yet, somehow, Captain Brown made
+himself respected in Cranford, and was called upon, in spite of all
+resolutions to the contrary.
+
+      --_Mrs. Gaskell_
+
+
+  Give examples of momentary completeness in the second
+  and sixth sentences of Par. 1. (Introduction, p. 16.)
+
+  What Inflection is placed on the Interrogative sentence
+  in Par. 1? (Introduction, p. 19.)
+
+  Select words throughout the lesson which are emphatic
+  through contrast and tell what Inflection is placed on
+  them. (Introduction, pp. 20 and 21.)
+
+  How are the parenthetical clauses kept in the
+  background? (Introduction, p. 24.)
+
+  WHEN MRS FORRESTER ... SPONGE-CAKES. Account for the
+  Inflection on the various phrases and clauses of this
+  sentence.
+
+  THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW THAT WE KNEW.
+  Explain the Emphasis. (Introduction, pp. 30-32.)
+
+       *       *       *       *       *
+
+
+SIR GALAHAD
+
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,                               5
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel:
+  They reel, they roll in clanging lists,
+    And when the tide of combat stands,                               10
+  Perfume and flowers fall in showers,
+    That lightly rain from ladies' hands.
+
+  How sweet are looks that ladies bend
+    On whom their favours fall!
+  For them I battle till the end,                                     15
+    To save from shame and thrall:
+  But all my heart is drawn above,
+    My knees are bow'd in crypt and shrine:
+  I never felt the kiss of love,
+    Nor maiden's hand in mine.                                        20
+  More bounteous aspects on me beam,
+    Me mightier transports move and thrill;
+  So keep I fair thro' faith and prayer
+    A virgin heart in work and will.
+
+  When down the stormy crescent goes,                                 25
+    A light before me swims,
+  Between dark stems the forest glows,
+    I hear a noise of hymns:
+  Then by some secret shrine I ride;
+    I hear a voice but none are there;                                30
+  The stalls are void, the doors are wide,
+    The tapers burning fair.
+  Fair gleams the snowy altar-cloth,
+    The silver vessels sparkle clean,
+  The shrill bell rings, the censer swings,                           35
+    And solemn chaunts resound between.
+
+  Sometimes on lonely mountain-meres
+    I find a magic bark;
+  I leap on board: no helmsman steers:
+    I float till all is dark.                                         40
+  A gentle sound, an awful light!
+    Three angels bear the Holy Grail;
+  With folded feet, in stoles of white,
+    On sleeping wings they sail.
+  Ah, blessed vision! blood of God!                                   45
+    My spirit beats her mortal bars,
+  As down dark tides the glory slides,
+    And star-like mingles with the stars.
+
+  When on my goodly charger borne
+    Thro' dreaming towns I go,                                        50
+  The cock crows ere the Christmas morn,
+    The streets are dumb with snow.
+  The tempest crackles on the leads,
+    And, ringing, springs from brand and mail;
+  But o'er the dark a glory spreads,                                  55
+    And gilds the driving hail.
+  I leave the plain, I climb the height;
+    No branchy thicket shelter yields;
+  But blessed forms in whistling storms
+    Fly o'er waste fens and windy fields.                             60
+
+  A maiden knight--to me is given
+    Such hope, I know not fear;
+  I yearn to breathe the airs of heaven
+    That often meet me here.
+  I muse on joy that will not cease.                                  65
+    Pure spaces clothed in living beams,
+  Pure lilies of eternal peace,
+    Whose odours haunt my dreams;
+  And, stricken by an angel's hand,
+    This mortal armour that I wear,                                   70
+  This weight and size, this heart and eyes,
+    Are touch'd, are turn'd to finest air.
+
+  The clouds are broken in the sky,
+    And thro' the mountain-walls
+  A rolling organ-harmony                                             75
+    Swells up, and shakes and falls.
+  Then move the trees, the copses nod,
+    Wings flutter, voices hover clear:
+  "O just and faithful knight of God!
+    Ride on! the prize is near."                                      80
+  So pass I hostel, hall, and grange;
+    By bridge and ford, by park and pale,
+  All-arm'd I ride, whate'er betide,
+    Until I find the Holy Grail.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Point out the contrast of scene in stanza
+  i. How has the poet obtained contrast of sound? Note the
+  difficulties of Articulation.
+
+  Enumerate the manifestations by means of which Sir
+  Galahad apprehends the continual proximity of the Holy
+  Grail.
+
+  Select the lines in which the mystical element is most
+  strongly marked. What feeling is aroused in reading
+  these lines?
+
+  In what Quality of voice does this feeling find
+  expression? (Introduction, p. 34.)
+
+  What is the prevailing Quality of voice?
+
+  A ROLLING ORGAN-HARMONY, ETC. What idea predominates?
+  How does it affect the Quality of voice?
+
+       *       *       *       *       *
+
+
+SONG FOR SAINT CECILIA'S DAY
+
+November 22, 1687
+
+
+  From harmony, from heavenly harmony
+      This universal frame began;
+    When Nature underneath a heap
+        Of jarring atoms lay,
+        And could not heave her head,                                  5
+  The tuneful voice was heard from high,
+      Arise ye more than dead.
+  Then cold, and hot, and moist, and dry,
+  In order to their stations leap,
+        And Music's power obey.                                       10
+  From harmony, from heavenly harmony,
+      This universal frame began;
+      From harmony to harmony
+  Through all the compass of the notes it ran,
+  The diapason closing full in Man.                                   15
+
+  What passion cannot Music raise and quell?
+      When Jubal struck the chorded shell,
+    His listening brethren stood around,
+      And, wondering, on their faces fell
+    To worship that celestial sound;                                  20
+  Less than a God they thought there could not dwell
+      Within the hollow of that shell,
+    That spoke so sweetly and so well.
+  What passion cannot Music raise and quell?
+
+  The trumpet's loud clangour                                         25
+    Excites us to arms
+  With shrill notes of anger
+    And mortal alarms.
+  The double double double beat
+    Of the thundering drum                                            30
+    Cries, Hark! the foes come;
+  Charge, charge, 'tis too late to retreat!
+
+    The soft complaining flute
+    In dying notes discovers
+    The woes of hopeless lovers,                                      35
+  Whose dirge is whisper'd by the warbling lute.
+    Sharp violins proclaim
+  Their jealous pangs and desperation,
+  Fury, frantic indignation,
+  Depth of pains, and height of passion                               40
+    For the fair, disdainful dame.
+
+    But oh! what art can teach,
+    What human voice can reach
+      The sacred organ's praise?
+    Notes inspiring holy love,                                        45
+  Notes that wing their heavenly ways
+    To mend the choirs above.
+
+  Orpheus could lead the savage race,
+  And trees unrooted left their place,
+    Sequacious of the lyre:                                           50
+  But bright Cecilia rais'd the wonder higher:
+  When to her organ vocal breath was given
+  An angel heard, and straight appear'd
+    Mistaking Earth for Heaven.
+
+
+GRAND CHORUS
+
+  As from the power of sacred lays                                    55
+    The spheres began to move,
+  And sung the great Creator's praise
+    To all the blessed above;
+  So when the last and dreadful hour
+  This crumbling pageant shall devour,                                60
+  The trumpet shall be heard on high,
+  The dead shall live, the living die,
+  And Music shall untune the sky.
+
+      --_John Dryden_
+
+
+  What feeling pervades the first and last stanzas? The
+  second stanza? In what Quality of voice does each of
+  these feelings find expression? (Introduction, pp.
+  33-35.)
+
+  Illustrate by means of the third, fourth, and fifth
+  stanzas the extent to which Imitation enters into
+  reading. (Introduction, pp. 4 and 5.)
+
+  Account for the gradually increasing Emphasis in ll.
+  11-15, 48-54, and 60-63. (Introduction, p. 31.)
+
+  3-6. What is the Shading and Inflection? (Introduction,
+  pp. 16 and 33.) Compare with these ll. 55-61.
+
+  16. What is the Inflection on this question?
+  (Introduction, p. 19.) Compare with this ll. 42-44.
+
+  21. THEY THOUGHT. How does the reader give to these
+  words the force of a parenthetical clause?
+  (Introduction, p. 33.)
+
+  22-23. Note the Grouping.
+
+  31. How does the voice make the transition to direct
+  discourse? (Introduction, p. 24.)
+
+  42-54. What is the mental attitude? What is the
+  corresponding Stress? (Introduction, p. 29.)
+
+  44. ORGAN'S. Account for the marked Emphasis on this
+  word. Compare BRIGHT CECILIA, l. 51.
+
+       *       *       *       *       *
+
+
+THE DAY WAS LINGERING
+
+
+  The day was lingering in the pale northwest,
+    And night was hanging o'er my head,--
+    Night where a myriad stars were spread;
+  While down in the east, where the light was least,
+    Seem'd the home of the quiet dead.                                 5
+  And, as I gazed on the field sublime,
+    To watch the bright, pulsating stars,
+    Adown the deep where the angels sleep
+  Came drawn the golden chime
+    Of those great spheres that sound the years                       10
+  For the horologe of time.
+    Millenniums numberless they told,
+    Millenniums a million-fold
+  From the ancient hour of prime.
+
+      --_Charles Heavysege_
+
+
+  PREPARATORY.--Compare other passages from literature
+  which suggest the "music of the spheres," for example:
+  Dryden's _Song for Saint Cecilia's Day, The Moonlight
+  Scene_ from _The Merchant of Venice_, Milton's _The
+  Hymn_.
+
+  What is the atmosphere of ll. 1-4? Of ll. 5-14? In what
+  two different Qualities of voice do the corresponding
+  feelings find expression?
+
+  Read ll. 6-11, with a view to Perspective.
+
+  Note the Grouping in ll. 9-11.
+
+       *       *       *       *       *
+
+
+ON FIRST LOOKING INTO CHAPMAN'S HOMER
+
+
+  Much have I travelled in the realms of gold,
+    And many goodly states and kingdoms seen;
+    Round many western islands have I been,
+  Which bards in fealty to Apollo hold.
+  Oft of one wide expanse had I been told                              5
+    That deep-browed Homer ruled as his demesne;
+    Yet never did I breathe its pure serene
+  Till I heard Chapman speak out loud and bold:
+  Then felt I like some watcher of the skies
+    When a new planet swims into his ken;                             10
+  Or like stout Cortez when with eagle eyes
+    He stared at the Pacific--and all his men
+  Looked at each other with a wild surmise--
+    Silent, upon a peak in Darien.
+
+      --_John Keats_
+
+
+  PREPARATORY.--How is the fundamental idea of this sonnet
+  illustrated in _The Key to Human Happiness?_ (p. 266.)
+
+  What feeling pervades the last six lines? In which line
+  is this feeling most marked? In what Quality of voice
+  does it find expression? (Introduction, pp. 33-35.)
+
+  Select the words which are emphatic through contrast,
+  expressed or implied. (Introduction, p. 32.)
+
+       *       *       *       *       *
+
+
+GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR
+
+
+  Great things were ne'er begotten in an hour;
+    Ephemerons in birth, are such in life;
+    And he who dareth, in the noble strife
+  Of intellects, to cope for real power,--
+  Such as God giveth as His rarest dower                               5
+    Of mastery, to the few with greatness rife,--
+  Must, ere the morning mists have ceased to lower
+    Till the long shadows of the night arrive,
+  Stand in the arena. Laurels that are won,
+  Plucked from green boughs, soon wither; those that last             10
+  Are gather'd patiently, when sultry noon
+  And summer's fiery glare in vain are past.
+      Life is the hour of labour; on Earth's breast
+      Serene and undisturb'd shall be thy rest.
+
+      --_Sir Daniel Wilson (By permission)_
+
+
+  PREPARATORY.--What is the essential thought in this
+  sonnet? Quote corresponding passages. Give illustrations
+  from history and fiction.
+
+  What words are emphatic because of (_a_) contrast
+  expressed, (_b_) contrast implied? (Introduction, pp. 30
+  and 32.)
+
+  Read ll. 3-9, with a view to Perspective. (Introduction,
+  p. 33.)
+
+       *       *       *       *       *
+
+
+A WOOD LYRIC
+
+
+  Into the stilly woods I go,
+  Where the shades are deep and the wind-flowers blow,
+  And the hours are dreamy and lone and long,
+  And the power of silence is greater than song.
+  Into the stilly woods I go,                                          5
+  Where the leaves are cool and the wind-flowers blow.
+
+  When I go into the stilly woods,
+  And know all the flowers in their sweet, shy hoods,
+  The tender leaves in their shimmer and sheen
+  Of darkling shadow, diaphanous green,                               10
+  In those haunted halls where my footstep falls,
+  Like one who enters cathedral walls,
+  A spirit of beauty floods over me,
+  As over a swimmer the waves of the sea,
+  That strengthens and glories, refreshens and fills,                 15
+  Till all mine inner heart wakens and thrills
+  With a new and a glad and a sweet delight,
+  And a sense of the infinite out of sight,
+  Of the great unknown that we may not know,
+  But only feel with an inward glow                                   20
+  When into the great, glad woods we go.
+
+  O life-worn brothers, come with me
+  Into the wood's hushed sanctity,
+  Where the great, cool branches are heavy with June,
+  And the voices of summer are strung in tune;                        25
+  Come with me, O heart out-worn,
+  Or spirit whom life's brute-struggles have torn,
+  Come, tired and broken and wounded feet,
+  Where the walls are greening, the floors are sweet,
+  The roofs are breathing and heaven's airs meet.                     30
+  Come, wash earth's grievings from out of the face,
+  The tear and the sneer and the warfare's trace,
+  Come, where the bells of the forest are ringing,
+  Come, where the oriole's nest is swinging,
+  Where the brooks are foaming in amber pools,                        35
+  The mornings are still and the noonday cools.
+  Cast off earth's sorrows and know what I know,
+  When into the glad, deep woods I go.
+
+      --_William Wilfred Campbell (By permission)_
+
+
+  PREPARATORY.--"An Afternoon alone in the Woods." Tell
+  what one may see, and think, and feel. Illustrate by
+  quotations from the poets.
+
+  Give numerous examples of momentary completeness
+  throughout the poem. (Introduction, p. 16.)
+
+  How does the reader show that ll. 7-12 are merely
+  anticipative? (Introduction, p. 17.)
+
+  What change is made in the Force in l. 13?
+  (Introduction, p. 33.)
+
+  How is l. 15 connected with l. 13?
+
+  Observe the transition from description to appeal in l.
+  22. What is the change in vocal expression?
+
+       *       *       *       *       *
+
+
+TO NIGHT
+
+
+  Swiftly walk over the western wave,
+          Spirit of Night!
+  Out of the misty eastern cave,
+  Where, all the long and lone daylight,
+  Thou wovest dreams of joy and fear,                                  5
+  Which make thee terrible and dear,--
+          Swift be thy flight!
+
+  Wrap thy form in a mantle gray,
+          Star-inwrought!
+  Blind with thine hair the eyes of Day,                              10
+  Kiss her until she be wearied out,
+  Then wander o'er city, and sea, and land,
+  Touching all with thine opiate wand--
+          Come, long-sought!
+
+  When I arose and saw the dawn,                                      15
+          I sighed for thee;
+  When light rode high, and the dew was gone,
+  And noon lay heavy on flower and tree,
+  And the weary Day turned to his rest,
+  Lingering like an unloved guest,                                    20
+          I sighed for thee.
+
+  Thy brother Death came, and cried,
+          Wouldst thou me?
+  Thy sweet child Sleep, the filmy-eyed,
+  Murmured like a noontide bee                                        25
+  Shall I nestle near thy side?
+  Wouldst thou me?--And I replied,
+         No, not thee!
+
+  Death will come when thou art dead,
+         Soon, too soon--                                             30
+  Sleep will come when thou art fled;
+  Of neither would I ask the boon
+  I ask of thee, belovèd Night--
+  Swift be thine approaching flight,
+        Come soon, soon!                                              35
+
+      --_Percy Bysshe Shelley_
+
+       *       *       *       *       *
+
+
+THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS
+
+From "Essay on Warren Hastings"
+
+
+On the 13th of February, 1788, the sittings of the Court commenced.
+There have been spectacles more dazzling to the eye, more gorgeous
+with jewelry and cloth of gold, more attractive to grown-up children,
+than that which was then exhibited at Westminster; but, perhaps, there
+never was a spectacle so well calculated to strike a highly
+cultivated, a reflecting, an imaginative mind. All the various kinds
+of interest which belong to the near and to the distant, to the
+present and to the past, were collected on one spot and in one hour.
+All the talents and all the accomplishments which are developed by
+liberty and civilization were now displayed with every advantage that
+could be derived both from co-operation and from contrast. Every step
+in the proceedings carried the mind either backward, through many
+troubled centuries, to the days when the foundations of our
+constitution were laid; or far away, over boundless seas and deserts,
+to dusky nations living under strange stars, worshipping strange gods,
+and writing strange characters from right to left. The High Court of
+Parliament was to sit, according to forms handed down from the days of
+the Plantagenets, on an Englishman accused of exercising tyranny over
+the lord of the holy city of Benares and over the ladies of the
+princely house of Oude.
+
+The place was worthy of such a trial. It was the great hall of William
+Rufus, the hall which had resounded with acclamations at the
+inauguration of thirty kings, the hall which had witnessed the just
+sentence of Bacon and the just absolution of Somers, the hall where
+the eloquence of Strafford had for a moment awed and melted a
+victorious party inflamed with just resentment, the hall where Charles
+had confronted the High Court of Justice with the placid courage which
+has half redeemed his fame.
+
+Neither military nor civil pomp was wanting. The avenues were lined
+with grenadiers. The streets were kept clear by cavalry. The peers,
+robed in gold and ermine, were marshalled by the heralds under Garter
+King-at-Arms. The judges in their vestments of state attended to give
+advice on points of law. Near a hundred and seventy lords, three
+fourths of the Upper House as the Upper House then was, walked in
+solemn order from their usual place of assembling to the tribunal. The
+junior Baron present led the way, George Eliott, Lord Heathfield,
+recently ennobled for his memorable defence of Gibraltar against the
+fleets and armies of France and Spain. The long procession was closed
+by the Duke of Norfolk, Earl Marshal of the realm, by the great
+dignitaries, and by the brothers and sons of the King. Last of all
+came the Prince of Wales, conspicuous by his fine person and noble
+bearing.
+
+The gray old walls were hung with scarlet. The long galleries were
+crowded by an audience such as has rarely excited the fears or the
+emulation of an orator. There were gathered together, from all parts
+of a great, free, enlightened and prosperous empire, grace and female
+loveliness, wit and learning, the representatives of every science and
+of every art. There were seated round the Queen, the fair-haired young
+daughters of the house of Brunswick. There the Ambassadors of great
+Kings and Commonwealths gazed with admiration on a spectacle which no
+other country in the world could present. There Siddons, in the prime
+of her majestic beauty, looked with emotion on a scene surpassing all
+the imitations of the stage. There the historian of the Roman Empire
+thought of the days when Cicero pleaded the cause of Sicily against
+Verres, and when, before a senate which still retained some show of
+freedom, Tacitus thundered against the oppressor of Africa.
+
+There were seen, side by side, the greatest painter and the greatest
+scholar of the age. The spectacle had allured Reynolds from that easel
+which has preserved to us the thoughtful foreheads of so many writers
+and statesmen, and the sweet smiles of so many noble matrons. It had
+induced Parr to suspend his labours in that dark and profound mine
+from which he had extracted a vast treasure of erudition--a treasure
+too often buried in the earth, too often paraded with injudicious and
+inelegant ostentation; but still precious, massive, and splendid.
+There appeared the voluptuous charms of her to whom the heir of the
+throne had in secret plighted his faith. There too was she, the
+beautiful mother of a beautiful race, the Saint Cecilia, whose
+delicate features, lighted up by love and music, art has rescued from
+the common decay. There were the members of that brilliant society
+which quoted, criticised, and exchanged repartees under the rich
+peacock hangings of Mrs. Montague. And there the ladies, whose lips,
+more persuasive than those of Fox himself, had carried the Westminster
+election against palace and treasury, shone round Georgiana, Duchess
+of Devonshire.
+
+The Serjeants made proclamation. Hastings advanced to the bar and bent
+his knee. The culprit was indeed not unworthy of that great presence.
+He had ruled an extensive and populous country, had made laws and
+treaties, had sent forth armies, had set up and pulled down princes.
+And in his high place he had so borne himself that all had feared him,
+that most had loved him, and that hatred itself could deny him no
+title to glory except virtue. He looked like a great man and not like
+a bad man. A person small and emaciated, yet deriving dignity from a
+carriage which, while it indicated deference to the court, indicated
+also habitual self-possession and self-respect; a high and
+intellectual forehead; a brow pensive, but not gloomy; a mouth of
+inflexible decision; a face pale and worn, but serene, on which was
+written, as legibly as under the picture in the council-chamber at
+Calcutta, _Mens aequa in arduis_; such was the aspect with which the
+great Proconsul presented himself to his judges.
+
+His counsel accompanied him, men all of whom were afterwards raised by
+their talents and learning to the highest posts in their
+profession--the bold and strong-minded Law, afterwards Chief-Justice
+of the King's Bench; the more humane and eloquent Dallas, afterwards,
+Chief-Justice of the Common Pleas; and Plomer, who, near twenty years
+later, successfully conducted in the same high court the defence of
+Lord Melville, and subsequently became Vice-chancellor and Master of
+the Rolls.
+
+But neither the culprit nor his advocates attracted so much notice as
+the accusers. In the midst of the blaze of red drapery, a space had
+been fitted up with green benches and tables for the Commons. The
+managers, with Burke at their head, appeared in full dress. The
+collectors of gossip did not fail to remark that even Fox, generally
+so regardless of his appearance, had paid to the illustrious tribunal
+the compliment of wearing a bag and sword. Pitt had refused to be one
+of the conductors of the impeachment; and his commanding, copious, and
+sonorous eloquence was wanting to that great muster of various
+talents. Age and blindness had unfitted Lord North for the duties of a
+public prosecutor; and his friends were left without the help of his
+excellent sense, his tact, and his urbanity.
+
+But in spite of the absence of these two distinguished members of the
+Lower House, the box in which the managers stood contained an array of
+speakers such as perhaps had not appeared together since the great age
+of Athenian eloquence. There were Fox and Sheridan, the English
+Demosthenes and the English Hyperides. There was Burke, ignorant,
+indeed, or negligent of the art of adapting his reasonings and his
+style to the capacity and taste of his hearers, but in amplitude of
+comprehension and richness of imagination superior to every orator,
+ancient or modern.
+
+There, with eyes reverentially fixed on Burke, appeared the finest
+gentleman of the age--his form developed by every manly exercise, his
+face beaming with intelligence and spirit--the ingenious, the
+chivalrous, the high-souled Windham. Nor, though surrounded by such
+men, did the youngest manager pass unnoticed. At an age when most of
+those who distinguish themselves in life are still contending for
+prizes and fellowships at college, he had won for himself a
+conspicuous place in Parliament. No advantage of fortune or connection
+was wanting that could set off to the height his splendid talents and
+his unblemished honour. At twenty-three he had been thought worthy to
+be ranked with the veteran statesmen who appeared as the delegates of
+the British Commons at the bar of the British nobility. All who stood
+at the bar, save him alone, are gone--culprit, advocates, accusers. To
+the generation which is now in the vigour of life, he is the sole
+representative of a great age which has passed away. But those who,
+within the last ten years, have listened with delight till the morning
+sun shone on the tapestries of the House of Lords, to the lofty and
+animated eloquence of Charles, Earl Grey, are able to form some
+estimate of the powers of a race of men among whom he was not the
+foremost.
+
+The charges, and the answers of Hastings, were first read. The
+ceremony occupied two whole days, and was rendered less tedious than
+it would otherwise have been by the silver voice and just emphasis of
+Cowper, the clerk of the court, near relation of the amiable poet. On
+the third day Burke rose. Four sittings were occupied by his opening
+speech, which was intended to be a general introduction to all the
+charges. With an exuberance of thought and splendour of diction which
+more than satisfied the highly raised expectations of the audience, he
+described the character and institutions of the natives of India;
+recounted the circumstances in which the Asiatic empire of Britain had
+originated; and set forth the constitution of the Company and of the
+English Presidencies. Having thus attempted to communicate to his
+hearers an idea of Eastern society, as vivid as that which existed in
+his own mind, he proceeded to arraign the administration of Hastings,
+as systematically conducted in defiance of morality and public law.
+
+The energy and pathos of the great orator extorted expressions of
+unwonted admiration from the stern and hostile Chancellor, and, for a
+moment, seemed to pierce even the resolute heart of the defendant. The
+ladies in the galleries, unaccustomed to such displays of eloquence,
+excited by the solemnity of the occasion, and perhaps not unwilling to
+display their taste and sensibility, were in a state of uncontrollable
+emotion. Handkerchiefs were pulled out, smelling-bottles were handed
+round; hysterical sobs and screams were heard; and Mrs. Sheridan was
+carried out in a fit. At length the orator concluded. Raising his
+voice till the old arches of Irish oak resounded: "Therefore," said
+he, "hath it with all confidence been ordered by the Commons of Great
+Britain, that I impeach Warren Hastings of high crimes and
+misdemeanours. I impeach him in the name of the Commons' House of
+Parliament, whose trust he has betrayed. I impeach him in the name of
+the English nation, whose ancient honour he has sullied. I impeach him
+in the name of the people of India, whose rights he has trodden under
+foot and whose country he has turned into a desert. Lastly in the name
+of human nature itself, in the name of both sexes, in the name of
+every age, in the name of every rank, I impeach the common enemy and
+oppressor of all."
+
+      --_Macaulay_
+
+
+  This lesson is an exercise on Inflection, especially as
+  it occurs on antithetical words or phrases and on series
+  of words or phrases parallel in construction.
+  (Introduction, pp. 19 and 20.)
+
+       *       *       *       *       *
+
+
+PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS
+
+
+1. In the name of the Commons of England, I charge all this villainy
+upon Warren Hastings, in this last moment of my application to you.
+
+2. My Lords, what is it that we want here to a great act of national
+justice. Do we want a cause, my Lords? You have the cause of oppressed
+princes, of undone women of the first rank, of desolated provinces,
+and of wasted kingdoms.
+
+3. Do you want a criminal, my Lords? When was there so much iniquity
+ever laid to the charge of any one? No, my Lords, you must not look to
+punish any other such delinquent from India. Warren Hastings has not
+left substance enough in India to nourish such another delinquent.
+
+4. My Lords, is it a prosecutor you want? You have before you the
+Commons of Great Britain as prosecutors; and I believe, my Lords, that
+the sun, in his beneficent progress round the world, does not behold a
+more glorious sight than that of men, separated from a remote people
+by the material bounds and barriers of nature, united by the bond of a
+social and moral community--all the Commons of England resenting, as
+their own, the indignities and cruelties that are offered to all the
+people of India.
+
+5. Do we want a tribunal? My Lords, no example of antiquity, nothing
+in the modern world, nothing in the range of human imagination, can
+supply us with a tribunal like this. My Lords, here we see virtually,
+in the mind's eye, that sacred majesty of the Crown, under whose
+authority you sit and whose power you exercise. We have here all the
+branches of the royal family, in a situation between majesty and
+subjection, between the sovereign and the subject--offering a pledge
+in that situation, for the support of the rights of the Crown and the
+liberties of the people, both which extremities they touch.
+
+6. My Lords, we have a great hereditary peerage here; those who have
+their own honour, the honour of their ancestors, and of their
+posterity, to guard, and who will justify, as they always have
+justified, that precision in the Constitution by which justice is made
+an hereditary office. My Lords, we have here a new nobility, who have
+risen and exalted themselves by various merits, by great civil and
+military services, which have extended the fame of this country from
+the rising to the setting sun. My Lords, you have here, also, the
+lights of our religion; you have the bishops of England. My Lords, you
+have that true image of the primitive church in its ancient form, in
+its ancient ordinances, purified from the superstitions and vices
+which a long succession of ages will bring upon the best institutions.
+
+7. My Lords, these are the securities which we have in all the
+constituent parts of the body of this House. We know them, we reckon,
+we rest upon them, and commit safely the interests of India and of
+humanity into your hands. Therefore, it is with confidence that,
+ordered by the Commons, I impeach Warren Hastings, Esquire, of high
+crimes and misdemeanours. I impeach him in the name of the Commons of
+Great Britain in Parliament assembled, whose parliamentary trust he
+has betrayed. I impeach him in the name of all the Commons of Great
+Britain, whose national character he has dishonoured. I impeach him in
+the name of the people of India, whose laws, rights, and liberties he
+has subverted, whose property he has destroyed, whose country he has
+laid waste and desolate. I impeach him in the name and by virtue of
+those eternal laws of justice which he has violated. I impeach him in
+the name of human nature itself, which he has cruelly outraged,
+injured and oppressed, in both sexes, in every age, rank, situation,
+and condition of life.
+
+   --_Edmund Burke_
+
+
+  What effect would the solemnity of the occasion and the
+  gravity of the accusation have on the Quality of the
+  speaker's voice? (Introduction, p. 34.)
+
+  Par. 2. CAUSE. What words in Pars. 3, 4, and 5 are
+  emphatic through contrast with this word? Point out
+  similar contrasts in Par. 6.
+
+  Account for the Inflection on the various questions.
+
+  How are the Climaxes in Pars. 2, 5, and 7 interpreted
+  vocally? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SONG MY PADDLE SINGS
+
+
+  West wind, blow from your prairie nest,
+  Blow from the mountains, blow from the west.
+  The sail is idle, the sailor too;
+  O! wind of the west, we wait for you.
+  Blow, blow!                                                          5
+  I have wooed you so,
+  But never a favour you bestow.
+  You rock your cradle the hills between,
+  But scorn to notice my white lateen.
+
+  I stow the sail, unship the mast:                                   10
+  I wooed you long, but my wooing's past;
+  My paddle will lull you into rest.
+  O! drowsy wind of the drowsy west,
+  Sleep, sleep,
+  By your mountain steep,                                             15
+  Or down where the prairie grasses sweep!
+  Now fold in slumber your laggard wings,
+  For soft is the song my paddle sings.
+
+  August is laughing across the sky,
+  Laughing while paddle, canoe, and I,                                20
+  Drift, drift,
+  Where the hills uplift
+  On either side of the current swift.
+
+  The river rolls in its rocky bed;
+  My paddle is plying its way ahead                                   25
+  Dip, dip,
+  While the waters flip
+  In foam as over their breast we slip.
+
+  And oh, the river runs swifter now;
+  The eddies circle about my bow.                                     30
+  Swirl, swirl!
+  How the ripples curl
+  In many a dangerous pool awhirl!
+
+  And forward far the rapids roar,
+  Fretting their margin for evermore.                                 35
+  Dash, dash,
+  With a mighty crash,
+  They seethe, and boil, and bound, and splash.
+
+  Be strong, O paddle! be brave, canoe!
+  The reckless waves you must plunge into.                            40
+  Reel, reel,
+  On your trembling keel,
+  But never a fear my craft will feel.
+
+  We've raced the rapid, we're far ahead!
+  The river slips through its silent bed.                             45
+  Sway, sway,
+  As the bubbles spray
+  And fall in tinkling tunes away.
+
+  And up on the hills against the sky,
+  A fir-tree rocking its lullaby,                                     50
+  Swings, swings,
+  Its emerald wings,
+  Swelling the song that my paddle sings.
+
+      --_E. Pauline Johnson (Tekahionwake)_
+            (_By arrangement with the Author_)
+
+
+  By examples from the above poem show to what extent
+  Imitation enters into vocal expression. (Introduction,
+  pp. 4-6.)
+
+       *       *       *       *       *
+
+
+THE DEFENCE OF THE BRIDGE
+
+From "Horatius"
+
+
+  ... The Consul's brow was sad,
+    And the Consul's speech was low,
+  And darkly looked he at the wall
+    And darkly at the foe.
+  "Their van will be upon us                                           5
+    Before the bridge goes down;
+  And if they once may win the bridge,
+    What hope to save the town?"
+
+  Then out spake brave Horatius,
+    The Captain of the Gate:                                          10
+  "To every man upon this earth
+    Death cometh soon or late.
+  And how can man die better
+    Than facing fearful odds,
+  For the ashes of his fathers,                                       15
+    And the temples of his gods?
+
+  "Hew down the bridge, Sir Consul,
+    With all the speed ye may;
+  I, with two more to help me,
+    Will hold the foe in play.                                        20
+  In yon straight path a thousand
+    May well be stopped by three.
+  Now who will stand on either hand,
+  And keep the bridge with me?"
+
+  Then out spake Spurius Lartius,--                                   25
+    A Ramnian proud was he,--
+  "Lo, I will stand at thy right hand,
+    And keep the bridge with thee."
+  And out spake strong Herminius,--
+    Of Titian blood was he,--                                         30
+  "I will abide on thy left side,
+    And keep the bridge with thee."
+
+  "Horatius," quoth the Consul,
+    "As thou sayest, so let it be."
+  And straight against that great array                               35
+    Forth went the dauntless Three.
+  For Romans in Rome's quarrel
+    Spared neither land nor gold,
+  Nor son nor wife, nor limb nor life,
+    In the brave days of old.                                         40
+
+  Then none was for a party;
+    Then all were for the state;
+  Then the great man helped the poor,
+    And the poor man loved the great:
+  Then lands were fairly portioned;                                   45
+    Then spoils were fairly sold:
+  The Romans were like brothers
+    In the brave days of old.
+
+  Now, Roman is to Roman
+    More hateful than a foe,                                          50
+  And the Tribunes beard the high,
+    And the Fathers grind the low.
+  As we wax hot in faction,
+    In battle we wax cold:
+  Wherefore men fight not as they fought                              55
+    In the brave days of old.
+
+  Now while the Three were tightening
+    Their harness on their backs,
+  The Consul was the foremost man
+    To take in hand an axe:                                           60
+  And Fathers mixed with Commons
+    Seized hatchet, bar, and crow,
+  And smote upon the planks above,
+    And loosed the props below.
+
+  Meanwhile the Tuscan army,                                          65
+    Right glorious to behold,
+  Came flashing back the noonday light,
+  Rank behind rank, like surges bright
+    Of a broad sea of gold.
+  Four hundred trumpets sounded                                       70
+    A peal of warlike glee,
+  As that great host with measured tread,
+  And spears advanced, and ensigns spread,
+  Rolled slowly towards the bridge's head,
+    Where stood the dauntless Three.                                  75
+
+  The Three stood calm and silent,
+    And looked upon the foes,
+  And a great shout of laughter
+    From all the vanguard rose:
+  And forth three chiefs came spurring                                80
+    Before that deep array;
+  To earth they sprang, their swords they drew,
+  And lifted high their shields, and flew
+    To win the narrow way;
+
+  Aunus from green Tifernum,                                          85
+    Lord of the Hill of Vines;
+  And Seius, whose eight hundred slaves
+    Sicken in Ilva's mines;
+  And Picus, long to Clusium
+    Vassal in peace and war,                                          90
+  Who led to fight his Umbrian powers
+  From that gray crag where, girt with towers,
+  The fortress of Nequinum lowers
+    O'er the pale waves of Nar.
+
+  Stout Lartius hurled down Aunus                                     95
+    Into the stream beneath;
+  Herminius struck at Seius,
+    And clove him to the teeth;
+  At Picus brave Horatius
+    Darted one fiery thrust;                                         100
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+  Then Ocnus of Falerii
+    Rushed on the Roman Three;
+  And Lausulus of Urgo,                                              105
+    The rover of the sea;
+  And Aruns of Volsinium,
+    Who slew the great wild boar,
+  The great wild boar that had his den
+  Amidst the reeds of Cosa's fen,                                    110
+  And wasted fields, and slaughtered men,
+    Along Albinia's shore.
+
+  Herminius smote down Aruns;
+    Lartius laid Ocnus low;
+  Right to the heart of Lausulus                                     115
+    Horatius sent a blow.
+  "Lie there," he cried, "fell pirate!
+    No more, aghast and pale,
+  From Ostia's walls the crowd shall mark
+  The track of thy destroying bark.                                  120
+  No more Campania's hinds shall fly
+  To woods and caverns when they spy
+    Thy thrice accursèd sail."
+
+  But now no sound of laughter
+    Was heard among the foes.                                        125
+  A wild and wrathful clamour
+    From all the vanguard rose.
+  Six spears' lengths from the entrance
+    Halted that deep array,
+  And for a space no man came forth                                  130
+    To win the narrow way.
+
+  But hark! the cry is Astur:
+    And lo! the ranks divide,
+  And the great Lord of Luna
+    Comes with his stately stride.                                   135
+  Upon his ample shoulders
+    Clangs loud the fourfold shield,
+  And in his hand he shakes the brand
+    Which none but he can wield.
+
+  He smiled on those bold Romans                                     140
+    A smile serene and high;
+  He eyed the flinching Tuscans,
+    And scorn was in his eye.
+  Quoth he: "The she-wolf's litter
+    Stand savagely at bay;                                           145
+  But will ye dare to follow
+    If Astur clears the way?"
+
+  Then, whirling up his broadsword
+    With both hands to the height,
+  He rushed against Horatius,                                        150
+    And smote with all his might.
+  With shield and blade Horatius
+    Right deftly turned the blow.
+  The blow, though turned, came yet too nigh;
+  It missed his helm, but gashed his thigh:                          155
+  The Tuscans raised a joyful cry
+    To see the red blood flow.
+
+  He reeled, and on Herminius
+    He leaned one breathing-space;
+  Then, like a wild cat mad with wounds,                             160
+    Sprang right at Astur's face.
+  Through teeth, and skull, and helmet,
+    So fierce a thrust he sped,
+  The good sword stood a hand-breadth out
+    Behind the Tuscan's head.                                        165
+
+  And the great Lord of Luna
+    Fell at that deadly stroke,
+  As falls on Mount Alvernus
+    A thunder-smitten oak.
+  Far o'er the crashing forest                                       170
+    The giant arms lie spread;
+  And the pale augurs, muttering low,
+    Gaze on the blasted head.
+
+  On Astur's throat Horatius
+    Right firmly pressed his heel,                                   175
+  And thrice and four times tugged amain,
+    Ere he wrenched out the steel.
+  "And see," he cried, "the welcome,
+    Fair guests, that waits you here!
+  What noble Lucumo comes next,                                      180
+    To taste our Roman cheer?"
+
+  But at his haughty challenge
+    A sullen murmur ran,
+  Mingled of wrath, and shame, and dread,
+    Along that glittering van.                                       185
+  There lacked not men of prowess,
+    Nor men of lordly race;
+  For all Etruria's noblest
+    Were round the fatal place.
+  But all Etruria's noblest                                          190
+    Felt their hearts sink to see
+  On the earth the bloody corpses,
+    In the path the dauntless Three.
+
+  Yet one man for one moment
+    Strode out before the crowd;                                     195
+  Well known was he to all the Three,
+    And they gave him greeting loud.
+  "Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?                                 200
+    Here lies the road to Rome."
+
+  Thrice looked he at the city;
+    Thrice looked he at the dead;
+  And thrice came on in fury,
+    And thrice turned back in dread;                                 205
+  And, white with fear and hatred,
+    Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+    The bravest Tuscans lay.
+
+  But meanwhile axe and lever                                        210
+    Have manfully been plied;
+  And now the bridge hangs tottering
+    Above the boiling tide.
+  "Come back, come back, Horatius!"
+    Loud cried the Fathers all.                                      215
+  "Back Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+  Back darted Spurius Lartius;
+    Herminius darted back:
+  And, as they passed beneath their feet                             220
+    They felt the timbers crack.
+  But when they turned their faces.
+    And on the farther shore
+  Saw brave Horatius stand alone,
+    They would have crossed once more.                               225
+
+  But with a crash like thunder
+    Fell every loosened beam,
+  And, like a dam, the mighty wreck
+    Lay right athwart the stream:
+  And a long shout of triumph                                        230
+    Rose from the walls of Rome,
+  As to the highest turret-tops
+    Was splashed the yellow foam.
+
+  Alone stood brave Horatius,
+    But constant still in mind;                                      235
+  Thrice thirty thousand foes before,
+    And the broad flood behind.
+  "Down with him!" cried false Sextus,
+    With a smile on his pale face,
+  "Now yield thee," cried Lars Porsena,                              240
+    "Now yield thee to our grace."
+
+  Round turned he, as not deigning
+    Those craven ranks to see;
+  Naught spake he to Lars Porsena,
+    To Sextus naught spake he:                                       245
+  But he saw on Palatinus
+    The white porch of his home;
+  And he spake to the noble river
+    That rolls by the towers of Rome:
+
+  "Oh, Tiber! Father Tiber!                                          250
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+  So he spake, and speaking sheathed
+    The good sword by his side,                                      255
+  And with his harness on his back,
+    Plunged headlong in the tide.
+
+  No sound of joy or sorrow
+    Was heard from either bank;
+  But friends and foes in dumb surprise,                             260
+  With parted lips and straining eyes,
+    Stood gazing where he sank;
+  And when above the surges
+    They saw his crest appear,
+  All Rome sent forth a rapturous cry,                               265
+  And even the ranks of Tuscany
+    Could scarce forbear to cheer.
+
+  But fiercely ran the current,
+    Swollen high by months of rain:
+  And fast his blood was flowing,                                    270
+    And he was sore in pain,
+  And heavy with his armour,
+    And spent with changing blows:
+  And oft they thought him sinking,
+    But still again he rose.                                         275
+
+  Never, I ween, did swimmer,
+    In such an evil case
+  Struggle through such a raging flood
+    Safe to the landing-place:
+  But his limbs were borne up bravely                                280
+    By the brave heart within,
+  And our good Father Tiber
+    Bore bravely up his chin.
+
+  "Curse on him!" quoth false Sextus:
+    "Will not the villain drown?                                     285
+  But for this stay, ere close of day
+    We should have sacked the town!"
+  "Heaven help him!" quoth Lars Porsena,
+    "And bring him safe to shore;
+  For such a gallant feat of arms                                    290
+    Was never seen before."
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;                                         295
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+      --_Macaulay_
+
+
+  PREPARATORY.--What is the historic back-ground of the
+  ballad from which this selection is taken? Narrate
+  briefly the events as told by Macaulay in _Horatius_.
+  Where is the scene of the dramatic events here
+  portrayed? Who are the chief actors? Who are the
+  speakers?
+
+  Show whether the words and phrases repeated in the
+  following lines are accompanied by increased Emphasis or
+  whether the Emphasis is transferred: ll. 1-4, 41-46,
+  108-109, 118-121, 188-190, 198-199, 202-205, 214-217,
+  240-241, 244-245, 252, 292-295. (Introduction, pp.
+  30-32.) Give examples of Emphasis through contrast,
+  throughout the selection.
+
+  What Inflection is placed on the questions in ll. 8,
+  13-16, 23-24? Give reasons.
+
+  Compare the mental attitude of Horatius in ll. 11-16,
+  and ll. 17-24. What is the difference in Stress?
+
+  ll. 38-39. What Inflection and Emphasis on the series of
+  words? (Introduction, pp. 20 and 31.)
+
+  In what way does Imitation enter into the reading of ll.
+  72-75, 82-84, 95-100, 160-163, 218-221, 292-299? How are
+  the Time and Stress affected? How does Imitation affect
+  the Pitch in ll. 230-233, 156-157, 172-173, 238-241,
+  265-267, 284-291?
+
+  ll. 144-147. In what Quality of voice should Astur's
+  speech be read?
+
+  l. 153. What is the most important word?
+
+  ll. 178-181, 196-201. How does the derision affect the
+  Stress and the Inflection? (Introduction, pp. 21, 22,
+  and 30.)
+
+  ll. 186-187. Explain the Inflection on this negative
+  statement.
+
+  ll. 238-241, 284-291. Compare the feelings of Sextus
+  with those of Lars Porsena. How is the difference shown
+  in the Quality of voice? (Introduction, pp. 33-35.)
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF KING EDWARD VII
+
+Delivered in the British House of Commons, May 12th, 1910
+
+
+The late King, who has been suddenly taken away from us, had, at the
+time of his death, not yet completed the tenth year of his reign.
+Those years were crowded with moving and stirring events, both abroad,
+in the Empire, and here at home. In our relations with foreign
+countries they have been years of growing friendships, of new
+understandings, of stronger and surer safeguards for the peace of
+mankind. Within the Empire during the same time the sense of
+interdependence, the consciousness of common interests and common
+risks, the ever-tightening bonds of corporate unity have been
+developed and vivified as they had never been before. Here at home, as
+though it were by way of contrast, controversial issues of the gravest
+kind--economic, social, and constitutional--have ripened into a rapid
+maturity.
+
+Sir, in all these multiform manifestations of our national and
+imperial life, history will assign a part of singular dignity and
+authority to the great Ruler whom we have lost. In external affairs
+his powerful personal influence was steadily and zealously directed to
+the avoidance not only of war, but of the causes and pretexts of war,
+and he well earned the title by which he will always be remembered,
+"the Peacemaker of the World."
+
+Within the boundaries of his own Empire, by his intimate knowledge of
+its component parts, by his broad and elastic sympathy not only with
+ambitions, and aspirations, but with the sufferings and the hardships
+of his people, by his response to any and every appeal whether to the
+sense of justice or the spirit of compassion, he won a degree of
+loyalty, affection, and confidence which few Sovereigns have ever
+enjoyed. At home, we all recognize that, above the din and dust of our
+hard-fought controversies, detached from party and attached only to
+the common interests, we had in him an arbiter ripe in experience,
+judicial in temper, at once a reverent worshipper of our traditions
+and a watchful guardian of our constitutional liberties.
+
+One is tempted, indeed constrained, on such an occasion as this to ask
+what were the qualities which enabled a man called comparatively late
+in life to new duties of unexampled complexity--what were the
+qualities which in practice proved him so admirably fitted to the
+task, and have given him an enduring and illustrious record among the
+rulers and governors of the nations? I should be disposed to assign
+the first place to what sounds a commonplace--but in its persistent
+and unfailing exercise is one of the rarest of virtues--his strong,
+abiding, dominating sense of public duty.
+
+King Edward, be it remembered, was a man of many and varied interests.
+He was a sportsman in the best sense, an ardent and discriminating
+patron of the Arts, and as well equipped as any man of his time for
+the give-and-take of social intercourse; wholly free from the
+prejudices and narrowing rules of caste; at home in all companies; an
+enfranchised citizen of the world. To such a man, endowed as he was by
+nature, placed where he was by fortune and by circumstances, there
+was open, if he had chosen to enter it, an unlimited field for
+self-indulgence. But, Sir, as every one will acknowledge who was
+brought into daily contact with him in the sphere of affairs, his duty
+to the State always came first. In this great business community there
+was no better man of business, no man by whom the humdrum
+obligations--punctuality, method, preciseness, and economy of time and
+speech--were more keenly recognized or more severely practised. I
+speak with the privilege of close experience when I say that wherever
+he was, whatever may have been his apparent preoccupations, in the
+transactions of the business of the State there were never any
+arrears, there was never any trace of confusion, there was never any
+moment of avoidable delay.
+
+Next to these, Sir--I am still in the domain of practice and
+administration--I should put his singular, perhaps an unrivalled, tact
+in the management of men, and a judgment of intuitive shrewdness as to
+the best outlet from perplexed and often baffling situations. He had,
+in its highest and best development, the genius of common sense. These
+rare gifts of practical efficiency were, during the whole of his
+Kingship, yoked to the service of a great ideal. He was animated every
+day of his Sovereignty by the thought that he was at once the head and
+the chief servant of that vast complex organism which we call the
+British Empire. He recognized in the fullest degree both the powers
+and the limitations of a Constitutional Monarch. Here, at home, he
+was, though no politician, as every one knows, a keen Social Reformer.
+He loved his people at home and over the seas. Their interests were
+his interests; their fame was his fame. He had no self apart from
+them.
+
+I will not touch for more than a moment on more delicate and sacred
+ground--on his personal charm, the warmth and wealth of his humanity;
+his unfailing considerateness for all who in any capacity were
+permitted to work for him. I will only say, in this connection that no
+man in our time has been more justly beloved by his family and his
+friends, and no Ruler in our or in any time has been more sincerely
+true, more unswervingly loyal, more uniformly kind to his advisers and
+his servants. By the unsearchable counsels of the Disposer of Events
+he has been called suddenly, and without warning, to his account. We
+are still dazed under the blow which has befallen us. It is too soon,
+as yet, even to attempt to realize its full meaning, but this, at
+least, we may say at once and with full assurance, that he has left to
+his people a memory and an example which they will never forget, a
+memory of great opportunities greatly employed, and an example which
+the humblest of his subjects may treasure and strive to follow, of
+simplicity, courage, self-denial, tenacious devotion up to the last
+moment of conscious life to work, to duty, and to service.
+
+    --_The Right Honourable Herbert Henry Asquith_
+
+
+  WITHIN THE BOUNDARIES ... ENJOYED. Make an analysis of
+  this sentence with a view to Perspective. (Introduction,
+  p. 33.)
+
+  DETACHED ... INTERESTS. Note the contrasts and indicate
+  the Inflection on each.
+
+  TEMPTED, ... CONSTRAINED. What difference in Emphasis?
+  (Introduction, p. 31.) Compare SINGULAR, PERHAPS
+  UNRIVALLED; IN OUR OR IN ANY TIME.
+
+       *       *       *       *       *
+
+
+THE HEROES OF MAGERSFONTEIN
+
+Dec. 11, 1899
+
+
+1. During the night it was considered expedient that the Highland
+Brigade, 4,000 strong, under General Wauchope, should get close enough
+to the lines of the foe to make it possible to charge the heights. At
+midnight the gallant but ill-fated men moved cautiously through the
+darkness toward the kopje where the Boers were most strongly
+intrenched. They were led by a guide who was supposed to know every
+inch of the country, out into the darkness of an African night.
+
+2. So onward until three of the clock on the Monday. Then out of the
+darkness a rifle rang sharp and clear, a herald of disaster--a soldier
+had tripped in the dark over the hidden wires laid down by the enemy.
+In a second, in the twinkling of an eye, the searchlights of the Boers
+fell broad and clear as the noonday sun on the ranks of the doomed
+Highlanders, though it left the enemy concealed in the shadows of the
+frowning mass of hills behind them. For one brief moment the Scots
+seemed paralysed by the suddenness of their discovery, for they knew
+that they were huddled together like sheep within fifty yards of the
+trenches of the foes.
+
+3. Then clear above the confusion rolled the voice of the General:
+"Steady, men, steady!"--and like an echo to the veterans out came the
+crash of nearly a thousand rifles not fifty paces from them. The
+Highlanders reeled before the shock like trees before the tempest;
+their best, their bravest, fell in that wild hail of lead. General
+Wauchope was down, riddled with bullets; yet gasping, dying, bleeding
+from every vein, the Highland chief raised himself on his hands and
+knees and cheered his men forward. Men and officers fell in heaps
+together.
+
+4. The Black Watch charged, and the Gordons and the Seaforths, with a
+yell that stirred the British camp below, rushed onward to death or
+disaster. The accursed wires caught them around the legs until they
+floundered like trapped wolves, and all the time the rifles of the foe
+sang the song of death in their ears. They fell back broken and
+beaten, leaving nearly 1,300 dead and wounded, just where the broad
+breast of the grassy veldt melts into the embrace of the rugged
+African hills; and an hour later, the dawning came of the dreariest
+day that Scotland has known for a generation past.
+
+5. Of her officers, the flower of her chivalry, the pride of her
+breeding, but few remained to tell the tale--a sad tale truly, but one
+untinted with dishonour nor smirched with disgrace, for up these
+heights under similar circumstances, even a brigade of devils could
+scarce have hoped to pass. All that mortal man could do the Scots did;
+they tried, they failed, they fell, and there is nothing left us now
+but to revere their memory and give them a place of honour in the
+pages of history.
+
+6. Three hundred yards to the rear of the little township of Modder
+River, just as the sun was sinking in a blaze of African splendour, on
+the evening of Tuesday, the 12th of December, a long shallow grave lay
+exposed in the breast of the veldt. To the westward, the broad river
+fringed with trees runs murmuringly; to the eastward, the heights
+still held by the enemy, scowled menacingly; north and south the veldt
+undulated peacefully; a few paces to the northward of that grave,
+fifty dead Highlanders lay dressed as they had fallen on the field of
+battle: they had followed their chief to the field, and they were to
+follow him to the grave.
+
+7. How grim and stern these men looked as they lay face upward to the
+sky, with great hands clutched in the last agony, and brows still knit
+with the stern lust of the strife in which they had fallen. The
+plaids, dear to every Highland clan, were represented there, and out
+of the distance came the sound of pipes. It was the General coming to
+join his men. There, right under the eyes of the enemy, moved with
+slow and solemn tread all that remained of the Highland Brigade. In
+front of them walked the chaplain, with bared head, dressed in his
+robes of office; then came the pipers with their pipes, sixteen in
+all, and behind them, with arms reversed, moved the Highlanders,
+dressed in all the regalia of their regiments, and in the midst the
+dead General, borne by four of his comrades. Out swelled the pipes to
+the strains of "The Flowers of the Forest," now ringing proud and high
+until the soldier's head went back in haughty defiance--and eyes
+flashed through tears like sunlight on steel, now sinking to moaning
+wail like a woman mourning for her first-born, until the proud heads
+drooped forward till they rested on heaving chests, and tears rolled
+down the wan and scarred faces, and the choking sobs broke through the
+solemn rhythm of the march of death.
+
+8. Right up to the grave they marched, then broke away in companies,
+until the General lay in the shallow grave with a Scottish square of
+armed men around him. Only the dead man's son and a small remnant of
+his officers stood with the chaplain and the pipers, while the solemn
+service of the church was spoken.
+
+9. Then once again the pipes pealed out, and "Lochaber No More" cut
+through the stillness like a cry of pain until one could almost hear
+the widow in her Highland home mourning for the soldier she would
+welcome back no more.
+
+10. Then, as if touched with the magic of one thought, the soldiers
+turned their tear-damped eyes from the still form in the shallow grave
+toward the height where Cronje, the Lion of Africa, and his soldiers
+stood. Then every cheek flushed crimson, and strong jaws set like
+steel, and the veins on the hands that clasped the rifle handles
+swelled almost to bursting with the fervour of the grip, and that look
+from those silent, armed men spoke more eloquently than ever spoke the
+tongues of orators. For on each frowning face the spirit of vengeance
+sat, and each sparkling eye asked silently for blood.
+
+11. At the head of the grave, at the point nearest the enemy, the
+General was laid to sleep, his officers grouped around him, while in
+line behind him, his soldiers were laid in a double row wrapped in
+their blankets. No shots were fired over the dead men resting so
+peacefully, only the salute was given, and then the men marched
+campwards as the darkness of an African night rolled over the
+far-stretching breadth of the veldt.
+
+   --_From "The London Daily News" (By permission)_
+
+
+  Par. 1. Note the Grouping, Pause, and Shading in the
+  last sentence. Compare the Grouping in the preceding
+  sentence, in the last sentence of Par. 4, in the first
+  sentence of Par. 7, and in the second sentence of Par.
+  10.
+
+  Explain the Inflection and Emphasis on the phrases
+  parallel in construction, in the fifth and sixth
+  sentences of Par. 7, and the second sentence of Par. 10.
+
+       *       *       *       *       *
+
+
+THE FUNERAL OF JULIUS CÆSAR
+
+From "Julius Cæsar," Act III. Scene ii.
+
+The Forum. _Enter Brutus, Cassius, and a throng of Citizens._
+
+_All._ We will be satisfied; let us be satisfied.
+
+_Bru._ Then follow me, and give me audience, friends.--
+Cassius, go you into the other street,
+And part the numbers.--
+Those that will hear me speak, let them stay here;
+Those that will follow Cassius, go with him;
+And public reasons shall be rendered
+Of Cæsar's death.
+
+_1 Cit._ I will hear Brutus speak.
+
+_2 Cit._ I will hear Cassius; and compare their reasons,
+When severally we hear them rendered.                                 10
+
+[_Exit Cassius, with some of the Citizens. Brutus goes
+into the rostrum._]
+
+_3 Cit._ The noble Brutus is ascended: silence!
+
+_Bru._ Be patient till the last.
+Romans, countrymen, and lovers! hear me for my cause;
+and be silent, that you may hear: believe me for mine
+honour; and have respect to mine honour, that you may
+believe: censure me in your wisdom; and awake your
+senses, that you may the better judge. If there be any
+in this assembly, any dear friend of Cæsar's, to him I
+say, that Brutus' love to Cæsar was no less than his. If
+then that friend demand why Brutus rose against Cæsar,                20
+this is my answer.--Not that I loved Cæsar less, but that
+I loved Rome more. Had you rather Cæsar were living,
+and die all slaves, than that Cæsar were dead, to live
+all free men? As Cæsar loved me, I weep for him; as
+he was fortunate, I rejoice at it; as he was valiant, I
+honour him: but, as he was ambitious, I slew him.
+There is tears for his love; joy for his fortune; honour
+for his valour; and death for his ambition. Who is here
+so base that would be a bondman? If any, speak; for
+him have I offended. Who is here so rude that would                   30
+not be a Roman? If any, speak; for him have I offended.
+Who is here so vile that will not love his country? If
+any, speak; for him have I offended. I pause for a
+reply.
+
+_All._ None, Brutus, none.
+
+_Bru._ Then none have I offended. I have done no more
+to Cæsar than you shall do to Brutus. The question of
+his death is enrolled in the Capitol; his glory not extenuated,
+wherein he was worthy; nor his offences enforced,
+for which he suffered death.                                          40
+
+[_Enter Antony and others, with Cæsar's body._]
+
+Here comes his body, mourned by Mark Antony: who,
+though he had no hand in his death, shall receive the
+benefit of his dying, a place in the commonwealth; as
+which of you shall not? With this I depart,--that, as
+I slew my best lover for the good of Rome, I have the
+same dagger for myself, when it shall please my country
+to need my death.
+
+_All._ Live, Brutus, live! live!
+
+_1 Cit._ Bring him with triumph home unto his house.
+
+_2 Cit._ Give him a statue with his ancestors.                        50
+
+_3 Cit._ Let him be Cæsar.
+
+_4 Cit._ Cæsar's better parts
+Shall now be crown'd in Brutus.
+
+_1 Cit._ We'll bring him to his house with shouts and
+clamours.
+
+_Bru._ My countrymen,--
+
+_2 Cit._           Peace! silence! Brutus speaks.
+
+_1 Cit._ Peace, ho!
+
+_Bru._ Good countrymen, let me depart alone,
+And, for my sake, stay here with Antony:
+Do grace to Cæsar's corpse, and grace his speech                      60
+Tending to Cæsar 's glories; which Mark Antony,
+By our permission, is allow'd to make.
+I do entreat you, not a man depart,
+Save I alone, till Antony have spoke. [_Exit_]
+
+_1 Cit._ Stay, ho! and let us hear Mark Antony.
+
+_3 Cit._ Let him go up into the public chair;
+We'll hear him.--Noble Antony, go up.
+
+_Ant._ For Brutus' sake, I am beholding to you.
+
+[_He goes up into the rostrum._]
+
+_4 Cit._ What does he say of Brutus?
+
+_3 Cit._             He says, for Brutus' sake,                       70
+He finds himself beholding to us all.
+
+_4 Cit._ 'T were best to speak no harm of Brutus here.
+
+_1 Cit._ This Cæsar was a tyrant.
+
+_3 Cit._                Nay, that's certain:
+We are blest that Rome is rid of him.
+
+_2 Cit._ Peace! let us hear what Antony can say.
+
+_Ant._ You gentle Romans,--
+
+_All._                Peace, ho! let us hear him.
+
+_Ant._ Friends, Romans, countrymen, lend me your ears;
+I come to bury Cæsar, not to praise him.                              80
+The evil that men do lives after them;
+The good is oft interred with their bones;
+So let it be with Cæsar. The noble Brutus
+Hath told you, Cæsar was ambitious:
+If it were so, it was a grievous fault,
+And grievously hath Cæsar answer'd it.
+Here, under leave of Brutus and the rest,--
+For Brutus is an honourable man;
+So are they all, all honourable men.--
+Come I to speak in Cæsar's funeral.                                   90
+He was my friend, faithful and just to me:
+But Brutus says he was ambitious;
+And Brutus is an honourable man.
+He hath brought many captives home to Rome,
+Whose ransoms did the general coffers fill:
+Did this in Cæsar seem ambitious?
+When that the poor have cried, Cæsar hath wept:
+Ambition should be made of sterner stuff:
+Yet Brutus says he was ambitious;
+And Brutus is an honourable man.                                     100
+You all did see that on the Lupercal
+I thrice presented him a kingly crown,
+Which he did thrice refuse: was this ambition?
+Yet Brutus says he was ambitious;
+And, sure, he is an honourable man.
+I speak not to disprove what Brutus spoke,
+But here I am to speak what I do know.
+You all did love him once, not without cause:
+What cause withholds you then to mourn for him?
+O judgment, thou art fled to brutish beasts,                         110
+And men have lost their reason!--Bear with me;
+My heart is in the coffin there with Cæsar,
+And I must pause till it come back to me.
+
+_1 Cit._ Methinks there is much reason in his sayings.
+
+_2 Cit._ If thou consider rightly of the matter,
+Cæsar has had great wrong.
+
+_3 Cit._ Has he, masters?
+I fear there will a worse come in his place.
+
+_4 Cit._ Mark'd ye his words? He would not take the
+crown;
+Therefore 't is certain he was not ambitious.                        120
+
+_1 Cit._ If it be found so, some will dear abide it.
+
+_2 Cit._ Poor soul! his eyes are red as fire with weeping.
+
+_3 Cit._ There's not a nobler man in Rome than Antony.
+
+_4 Cit._ Now mark him, he begins again to speak.
+
+_Ant._ But yesterday the word of Cæsar might
+Have stood against the world: now lies he there,
+And none so poor to do him reverence.
+O masters! if I were dispos'd to stir
+Your hearts and minds to mutiny and rage,
+I should do Brutus wrong, and Cassius wrong,                         130
+Who, you all know, are honourable men;
+I will not do them wrong; I rather choose
+To wrong the dead, to wrong myself, and you,
+Than I will wrong such honourable men.
+But here's a parchment, with the seal of Cæsar;
+I found it in his closet, 'tis his will:
+Let but the commons hear this testament,--
+Which, pardon me, I do not mean to read,--
+And they would go and kiss dead Cæsar's wounds,
+And dip their napkins in his sacred blood.                           140
+Yea, beg a hair of him for memory,
+And, dying, mention it within their wills,
+Bequeathing it as a rich legacy
+Unto their issue.
+
+_4 Cit._ We'll hear the will: read it, Mark Antony.
+
+_All._ The will, the will! we will hear Cæsar's will.
+
+_Ant._ Have patience, gentle friends, I must not read it;
+It is not meet you know how Cæsar lov'd you.
+You are not wood, you are not stones, but men;
+And, being men, hearing the will of Cæsar,                           150
+It will inflame you, it will make you mad:
+'Tis good you know not that you are his heirs;
+For, if you should, O, what would come of it!
+
+_4 Cit._ Read the will; we'll hear it, Antony;
+You shall read us the will,--Cæsar's will.
+
+_Ant._ Will you be patient? will you stay awhile?
+I have o'ershot myself to tell you of it.
+I fear I wrong the honourable men
+Whose daggers have stabb'd Cæsar-, I do fear it.
+
+_4 Cit._ They were traitors: honourable men!                         160
+
+_All._ The will! the testament!
+
+_2 Cit._ They were villains, murderers: the will! read
+the will!
+
+_Ant._ You will compel me, then, to read the will?
+Then make a ring about the corpse of Cæsar,
+And let me show you him that made the will.
+Shall I descend? and will you give me leave?
+
+_All._ Come down.
+
+_2 Cit._ Descend.
+
+_3 Cit._ You shall have leave.
+
+[_He comes down from the rostrum._]
+
+_4 Cit._ A ring; stand round.                                        170
+
+_1 Cit._ Stand from the hearse, stand from the body.
+
+_2 Cit._ Room for Antony!--most noble Antony.
+
+_Ant._ Nay, press not so upon me; stand far off.
+
+_All._ Stand back! room! bear back!
+
+_Ant._ If you have tears, prepare to shed them now.
+You all do know this mantle; I remember
+The first time ever Cæsar put it on;
+'T was on a summer's evening, in his tent,
+That day he overcame the Nervii:--
+Look! in this place ran Cassius' dagger through:                     180
+See, what a rent the envious Casca made:
+Through this, the well-beloved Brutus stabb'd;
+And, as he pluck'd his cursed steel away,
+Mark how the blood of Cæsar follow'd it,
+As rushing out of doors, to be resolv'd
+If Brutus so unkindly knock'd, or no;
+For Brutus, as you know, was Cæsar's angel:
+Judge, O you gods, how dearly Cæsar lov'd him!
+This was the most unkindest cut of all;
+For when the noble Cæsar saw him stab,                               190
+Ingratitude, more strong than traitors' arms,
+Quite vanquish'd him: then burst his mighty heart;
+And, in his mantle muffling up his face,
+Even at the base of Pompey's statue,
+Which all the while ran blood, great Cæsar fell.
+O, what a fall was there, my countrymen!
+Then I, and you, and all of us fell down,
+Whilst bloody treason flourish'd over us.
+O, now you weep; and I perceive, you feel
+The dint of pity: these are gracious drops.                          200
+Kind souls, what, weep you, when you but behold
+Our Cæsar's vesture wounded? Look you here.
+Here is himself, marr'd, as you see, with traitors.
+
+_1 Cit._ O piteous spectacle!
+
+_2 Cit._ O noble Cæsar!
+
+_3 Cit._ O woeful day!
+
+_4 Cit._ O traitors, villains!
+
+_1 Cit._ O most bloody sight!
+
+_2 Cit._ We will be revenged.
+
+_All._ Revenge! About,--seek,--burn,--fire,--kill,--slay!            210
+Let not a traitor live!
+
+_Ant._ Stay, countrymen.
+
+_1 Cit._ Peace there! Hear the noble Antony.
+
+_2 Cit._ We'll hear him, we'll follow him, we'll die with
+him.
+
+_Ant._ Good friends, sweet friends, let me not stir you up
+To such a sudden flood of mutiny.
+They that have done this deed are honourable;
+What private griefs they have, alas! I know not,
+That made them do it; they are wise and honourable,
+And will, no doubt, with reasons answer you.                         220
+I come not, friends, to steal away your hearts:
+I am no orator, as Brutus is;
+But as you know me all, a plain blunt man,
+That love my friend; and that they know full well
+That gave me public leave to speak of him.
+For I have neither wit, nor words, nor worth,
+Action, nor utterance, nor the power of speech,
+To stir men's blood: I only speak right on;
+I tell you that which you yourselves do know;
+Show you sweet Cæsar's wounds, poor, poor dumb mouths,               230
+And bid them speak for me: but were I Brutus,
+And Brutus Antony, there were an Antony
+Would ruffle up your spirits, and put a tongue
+In every wound of Cæsar, that should move
+The stones of Rome to rise and mutiny.
+
+_All._ We'll mutiny!
+
+_1 Cit._ We'll burn the house of Brutus!
+
+_3 Cit._ Away, then! come, seek the conspirators.
+
+_Ant._ Yet hear me, countrymen; yet hear me speak.
+
+_All._ Peace, ho! Hear Antony, most noble Antony.                    240
+
+_Ant._ Why, friends, you go to do you know not what:
+Wherein hath Cæsar thus deserv'd your loves?
+Alas, you know not: I must tell you then:
+You have forgot the will I told you of.
+
+_All._ Most true;--the will!--let's stay, and hear the
+will.
+
+_Ant._ Here is the will, and under Cæsar's seal.
+To every Roman citizen he gives,
+To every several man, seventy-five drachmas.
+
+_2 Cit._ Most noble Cæsar!--we'll revenge his death.
+
+_3 Cit._ O royal Caesar!                                             250
+
+_Ant._ Hear me with patience.
+
+_All._ Peace, ho!
+
+_Ant._ Moreover, he hath left you all his walks,
+His private arbours, and new-planted orchards,
+On this side Tiber; he hath left them you,
+And to your heirs for ever,--common pleasures,
+To walk abroad, and recreate yourselves.
+Here was a Cæsar! when comes such another?
+
+_1 Cit._ Never, never!--Come, away, away!
+We'll burn his body in the holy place,                               260
+And with the brands fire the traitors' houses.
+Take up the body.
+
+_2 Cit._ Go, fetch fire.
+
+_3 Cit._ Pluck down benches.
+
+_4 Cit._ Pluck down forms, windows, anything.
+
+[_Exeunt all, with the body._]
+
+_Ant._ Now let it work! Mischief, thou art afoot,
+Take thou what course thou wilt!
+
+    --_Shakespeare_
+
+
+  PREPARATORY.--For dramatic rendering see notes on
+  _Highland Hospitality_ pp. 153 and 154.
+
+  The long speeches of Brutus and Antony may be practised
+  by themselves as exercises in Emphasis and Inflection.
+
+  88-89. How is the parenthetical clause subordinated?
+  Give other examples from the extracts.
+
+  153-154. Select the emphatic words.
+
+  160. What Stress is placed on TRAITORS and HONOURABLE
+  respectively? Account for the difference.
+
+  210. ABOUT, ... SLAY! What is the Stress? Compare ll.
+  236-237, and ll. 259-265.
+
+       *       *       *       *       *
+
+
+THE REVENGE
+
+A Ballad of the Fleet, 1591
+
+
+  At Flores in the Azores Sir Richard Grenville lay,
+  And a pinnace, like a flutter'd bird, came flying from far away:
+  "Spanish ships of war at sea! we have sighted fifty-three!"
+  Then sware Lord Thomas Howard: "'Fore God I am no coward;
+  But I cannot meet them here, for my ships are out of gear,           5
+  And the half my men are sick. I must fly, but follow quick.
+  We are six ships of the line; can we fight with fifty-three?"
+
+  Then spake Sir Richard Grenville: "I know you are no coward;
+  You fly them for a moment to fight with them again.
+  But I've ninety men and more that are lying sick ashore.            10
+
+  I should count myself the coward if I left them, my Lord Howard,
+  To these Inquisition dogs and the devildoms of Spain."
+
+  So Lord Howard past away with five ships of war that day,
+  Till he melted like a cloud in the silent summer heaven;
+  But Sir Richard bore in hand all his sick men from the land         15
+  Very carefully and slow,
+  Men of Bideford in Devon,
+  And we laid them on the ballast down below;
+  For we brought them all aboard,
+  And they blest him in their pain, that they were not left
+    to Spain,                                                         20
+  To the thumbscrew and the stake, for the glory of the Lord.
+
+  He had only a hundred seamen to work the ship and to fight,
+  And he sailed away from Flores till the Spaniard came in sight,
+  With his huge sea-castles heaving upon the weather bow.
+  "Shall we fight or shall we fly?                                    25
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+  There'll be little of us left by the time this sun be set."
+  And Sir Richard said again: "We be all good English men.
+  Let us bang these dogs of Seville, the children of the devil,       30
+  For I never turn'd my back upon Don or devil yet."
+
+  Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so
+  The little Revenge ran on sheer into the heart of the foe,
+  With her hundred fighters on deck, and her ninety sick below;
+  For half of their fleet to the right and half to the left
+    were seen,                                                        35
+  And the little Revenge ran on thro' the long sea-lane between.
+
+  Thousands of their soldiers look'd down from their decks
+    and laugh'd,
+  Thousands of their seamen made mock at the mad little craft
+  Running on and on, till delay'd
+  By their mountain-like San Philip that, of fifteen hundred tons,    40
+  And up-shadowing high above us with her yawning tiers of guns,
+  Took the breath from our sails, and we stay'd.
+
+  And while now the great San Philip hung above us like a cloud
+  Whence the thunderbolt will fall
+  Long and loud,                                                      45
+  Four galleons drew away
+  From the Spanish fleet that day,
+  And two upon the larboard and two upon the starboard lay,
+  And the battle-thunder broke from them all.
+
+  But anon the great San Philip she bethought herself and went        50
+  Having that within her womb that had left her ill-content;
+  And the rest they came aboard us, and they fought us hand to hand,
+  For a dozen times they came with their pikes and musqueteers,
+  And a dozen times we shook 'em off as a dog that shakes his ears
+  When he leaps from the water to the land.                           55
+
+  And the sun went down, and the stars came out far over
+    the summer sea,
+  But never a moment ceased the fight of the one and the fifty-three.
+  Ship after ship, the whole night long, their high-built
+    galleons came,
+  Ship after ship, the whole night long, with their battle-thunder
+    and flame;
+  Ship after ship, the whole night long, drew back with her dead
+    and her shame:                                                    60
+  For some were sunk and many were shatter'd, and so could fight
+    us no more--
+  God of battles, was ever a battle like this in the world before?
+
+  For he said "Fight on! fight on!"
+  Tho' his vessel was all but a wreck;
+  And it chanced that, when half of the short summer night
+    was gone,                                                         65
+  With a grisly wound to be drest he had left the deck,
+
+  But a bullet struck him that was dressing it suddenly dead,
+  And himself he was wounded again in the side and the head,
+  And he said, "Fight on! fight on!"
+
+  And the night went down, and the sun smiled out far over
+    the summer sea,                                                   70
+  And the Spanish fleet with broken sides lay round us all in a ring;
+  But they dar'd not touch us again, for they fear'd that we still
+    could sting,
+  So they watch'd what the end would be.
+  And we had not fought them in vain,
+  But in perilous plight were we,                                     75
+  Seeing forty of our poor hundred were slain,
+  And half of the rest of us maim'd for life
+  In the crash of the cannonades and the desperate strife;
+  And the sick men down in the hold were most of them stark and cold,
+  And the pikes were all broken or bent, and the powder was all
+    of it spent;                                                      80
+  And the masts and the rigging were lying over the side;
+  But Sir Richard cried in his English pride,
+  "We have fought such a fight for a day and a night
+  As may never be fought again!
+  We have won great glory, my men!                                    85
+  And a day less or more
+  At sea or ashore,
+  We die--does it matter when?
+  Sink me the ship, Master Gunner--sink her, split her in twain!
+  Fall into the hands of God, not into the hands of Spain!"           90
+
+  And the gunner said "Ay, ay," but the seamen made reply:
+  "We have children, we have wives,
+  And the Lord hath spared our lives.
+  We will make the Spaniard promise, if we yield, to let us go;
+  We shall live to fight again and to strike another blow."           95
+  And the lion there lay dying, and they yielded to the foe.
+
+  And the stately Spanish men to their flagship bore him then
+  Where they laid him by the mast, old Sir Richard caught at last,
+  And they praised him to his face with their courtly foreign grace;
+  But he rose upon their decks, and he cried:                        100
+  "I have fought for Queen and Faith like a valiant man and true;
+  I have only done my duty as a man is bound to do:
+  With a joyful spirit I Sir Richard Grenville die!"
+  And he fell upon their decks, and he died.
+
+  And they stared at the dead that had been so valiant and true,     105
+  And had holden the power and glory of Spain so cheap
+  That he dared her with one little ship and his English few;
+  Was he devil or man? He was devil for aught they knew,
+  But they sank his body with honour down into the deep,
+
+  And they mann'd the Revenge with a swarthier alien crew,           110
+  And away she sail'd with her loss and long'd for her own;
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,     115
+  Till it smote on their hulls and their sails and their masts
+    and their flags,
+  And the whole sea plunged and fell on the shot-shatter'd navy
+    of Spain,
+  And the little Revenge herself went down by the island crags
+  To be lost evermore in the main.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Give a series of titles suggestive of the
+  events narrated in this ballad; describe the picture
+  that each title calls up, and tell on what part of the
+  poem it is based.
+
+  What different ideals of bravery are brought out in this
+  ballad, and by whom is each presented? Compare them with
+  those set forth in _The Private of the Buffs_ (Fourth
+  Reader), and _Horatius_.
+
+  1, 3, and 13. (Appendix A, 1 and 6.)
+
+  'FORE GOD ... sick. What Inflection prevails?
+  (Introduction, pp. 17 and 18.)
+
+  What Inflection is placed on the questions in ll. 7, 25,
+  62, 88, and 108? (Introduction, pp. 18 and 19.)
+
+  FOR THE GLORY OF THE LORD. How is the irony brought out
+  by the voice? (Introduction, pp. 21, 22, and 30.)
+
+  25-28. (Introduction, p. 18.)
+
+  Compare the speech of the men (ll. 25-28) with that of
+  Sir Richard (ll. 29-31) from the standpoint of mental
+  attitude. How is this difference indicated by Stress?
+
+  32. Which are the emphatic words? Give your reasons.
+  Select words that are emphatic because of contrast from
+  ll. 34, 35, and 91. What Inflection is placed on the
+  emphatic words in each case?
+
+  How does repetition affect the Emphasis in ll. 37-38,
+  53-54, 58-60, 63, and 89? (Introduction, pp. 31-33.)
+
+  40. With what word is THAT connected in sense? How does
+  the voice make the connection? (Introduction, p. 33.)
+
+  43-47. Analyse these lines from the standpoint of
+  Perspective.
+
+  66-67. Where do the Pauses occur? How does the Grouping
+  affect them?
+
+  68. Why is HIMSELF emphatic?
+
+  75-81. Give examples of "momentary completeness".
+
+  93. Which is the most emphatic word in this line? Give
+  your reason.
+
+  101-103. To what extent should Imitation enter into the
+  reading of this speech? (Introduction, pp. 4 and 5.)
+
+  112-117. How can the effect of this Climax be brought
+  out by the voice? (Introduction, p. 31.)
+
+  118. Note the transition in thought and feeling. By what
+  change in Time, Pitch, and Force is it accompanied?
+
+       *       *       *       *       *
+
+
+HERVÉ RIEL
+
+
+  On the sea and at the Hogue, sixteen hundred ninety-two,
+    Did the English fight the French,--woe to France!
+  And the thirty-first of May, helter-skelter through the blue,
+  Like a crowd of frightened porpoises a shoal of sharks pursue,
+    Came crowding ship on ship to St. Malo on the Rance,               5
+  With the English fleet in view.
+
+  'Twas the squadron that escaped, with the victor in full chase;
+    First and foremost of the drove, in his great ship, Damfreville:
+      Close on him fled, great and small,
+      Twenty-two good ships in all;                                   10
+  And they signalled to the place,
+  "Help the winners of a race!
+    Get us guidance, give us harbour, take us quick--or, quicker still,
+    Here's the English can and will!"
+
+  Then the pilots of the place put out brisk and leapt on board;      15
+    "Why, what hope or chance have ships like these to pass?"
+       laughed they:
+  "Rocks to starboard, rocks to port, all the passage scarred
+    and scored,
+  Shall the _Formidable_ here, with her twelve and eighty guns,
+    Think to make the river-mouth by the single narrow way,
+  Trust to enter where 'tis ticklish for a craft of twenty tons,      20
+      And with flow at full beside?
+      Now 'tis slackest ebb of tide.
+    Reach the mooring? Rather say,
+  While rock stands or water runs,
+    Not a ship will leave the bay!"                                   25
+
+  Then was called a council straight.
+  Brief and bitter the debate:
+  "Here's the English at our heels; would you have them take in tow
+  All that's left us of the fleet, linked together stern and bow,
+  For a prize to Plymouth Sound?                                      30
+  Better run the ships aground!"
+    (Ended Damfreville his speech.)
+  Not a minute more to wait!
+    "Let the captains all and each
+    Shove ashore, then blow up, burn the vessels on the beach!        35
+  France must undergo her fate.
+
+  Give the word!" But no such word
+  Was ever spoke or heard;
+    For up stood, for out stepped, for in struck amid all these,--
+  A Captain? a Lieutenant? a Mate--first, second, third?              40
+    No such man of mark, and meet
+    With his betters to compete!
+    But a simple Breton sailor pressed by Tourville for the fleet,
+  A poor coasting-pilot he, Hervé Riel the Croisickese.
+
+  And, "What mockery or malice have we here?" cries Hervé Riel:       45
+    "Are you mad, you Malouins?  Are you cowards, fools, or rogues?
+  Talk to me of rocks and shoals, me who took the soundings, tell
+  On my fingers every bank, every shallow, every swell
+    'Twist the offing here and Grève, where the river disembogues?
+  Are you bought by English gold? Is it love the lying's for?         50
+    Morn and eve, night and day,
+    Have I piloted your bay,
+  Entered free and anchored fast, at the foot of Solidor.
+    Burn the fleet and ruin France? That were worse than fifty Hogues!
+      Sirs, they know I speak the truth! Sirs, believe me there's
+        a way!                                                        55
+  Only let me lead the line,
+    Have the biggest ship to steer,
+    Get this _Formidable_ clear,
+  Make the others follow mine,
+  And I lead them, most and least, by a passage I know well,          60
+    Right to Solidor past Grève,
+      And there lay them safe and sound;
+    And if one ship misbehave--
+        Keel so much as grate the ground--
+  Why, I've nothing but my life,--here's my head!" cries
+    Hervé Riel.                                                       65
+
+  Not a minute more to wait.
+  "Steer us in, then, small and great!
+    Take the helm, lead the line, save the squadron!" cried its chief.
+  Captains, give the sailor place!
+    He is Admiral, in brief.                                          70
+  Still the north wind, by God's grace!
+  See the noble fellow's face
+  As the big ship, with a bound,
+  Clears the entry like a hound.
+  Keeps the passage, as its inch of way were the wide sea's
+      profound!                                                       75
+    See, safe through shoal and rock,
+    How they follow in a flock,
+  Not a ship that misbehaves, not a keel that grates the ground,
+    Not a spar that comes to grief!
+  The peril, see, is past,                                            80
+  All are harboured to the last,
+  And just as Hervé Riel hollas "Anchor!"--sure as fate,
+  Up the English come--too late.
+
+  So, the storm subsides to calm:
+    They see the green trees wave                                     85
+    On the heights o'erlooking Grève.
+  Hearts that bled are stanched with balm.
+  "Just our rapture to enhance,
+    Let the English rake the bay,
+  Gnash their teeth and glare askance                                 90
+    As they cannonade away!
+  'Neath rampired Solidor pleasant riding on the Rance!"
+  How hope succeeds despair on each captain's countenance!
+  Out burst all with one accord,
+    "This is Paradise for Hell!                                       95
+    Let France, let France's King,
+    Thank the man that did the thing!"
+  What a shout, and all one word,
+    "Hervé Riel!"
+  As he stepped in front once more,                                  100
+    Not a symptom of surprise
+    In the frank, blue Breton eyes,
+  Just the same man as before.
+
+  Then said Damfreville, "My friend,
+  I must speak out at the end,                                       105
+    Though I find the speaking hard.
+  Praise is deeper than the lips:
+  You have saved the King his ships,
+    You must name your own reward.
+  'Faith, our sun was near eclipse!                                  110
+  Demand whate'er you will,
+  France remains your debtor still.
+  Ask to heart's content and have! or my name's not Damfreville."
+
+  Then a beam of fun outbroke
+  On the bearded mouth that spoke,                                   115
+  As the honest heart laughed through
+  Those frank eyes of Breton blue:
+  "Since I needs must say my say,
+    Since on board the duty's done,
+    And from Malo Roads to Croisic Point, what is it but a run?--    120
+  Since 'tis ask and have, I may--
+    Since the others go ashore--
+  Come! A good whole holiday!
+    Leave to go and see my wife, whom I call the Belle Aurore!"
+    That he asked and that he got,--nothing more.                    125
+
+  Name and deed alike are lost:
+  Not a pillar nor a post
+    In his Croisic keeps alive the feat as it befell;
+  Not a head in white and black
+  On a single fishing-smack,                                         130
+  In memory of the man but for whom had gone to wrack
+    All that France saved from the fight whence England bore the bell.
+  Go to Paris: rank on rank
+    Search the heroes flung pell-mell
+  On the Louvre, face and flank!                                     135
+    You shall look long enough ere you come to Hervé Riel.
+  So, for better and for worse,
+  Hervé Riel, accept my verse!
+  In my verse, Hervé Riel, do thou once more
+  Save the squadron, honour France, love thy wife the Belle
+    Aurore!                                                          140
+
+    --_Robert Browning_
+         (_By permission of the owner of the copyright
+             and Smith, Elder & Co._)
+
+
+  PREPARATORY.--Narrate briefly the events of the poem and
+  describe (_a_) the council, (_b_) the scene after the
+  ships are safely anchored.
+
+  How does this poem illustrate the truth that the highest
+  motive in life is duty? From this standpoint compare
+  Hervé Riel with Sir Richard Grenville in Tennyson's _The
+  Revenge_.
+
+  Give other examples to show that true nobility does not
+  depend on such externals as rank and position.
+
+  2. WOE TO FRANCE. How does the voice indicate that this
+  phrase is parenthetical?
+
+  4. What is the subject of PURSUE? Its object? How does
+  the reader make the meaning clear?
+
+  3-5. What is the Shading?
+
+  8 and 14. Supply the ellipsis in each case. How is the
+  reading affected by an ellipsis? (Introduction, p. 10.)
+
+  12-14. What is the Stress? (Introduction, pp. 27 and
+  28.)
+
+  16-25. What energy characterizes these lines? With what
+  Stress should they be read?
+
+  TWELVE AND EIGHTY GUNS, TWENTY TONS. What is the
+  difference in the Quality of voice? Compare MAN OF MARK,
+  SIMPLE BRETON SAILOR, ll. 40 and 42.
+
+  26. Where is the Pause? Why?
+
+  Note the transitions in ll. 27, 31, 32, and 33. How is
+  each one indicated?
+
+  38. STOOD, STEPPED, STRUCK. Observe the increased
+  Emphasis. Compare ll. 46 and 69.
+
+  41-43. Note the contrast. What is the Inflection on each
+  part? (Introduction, p. 20.)
+
+  45-66. What state of mind does Hervé Riel's speech
+  indicate throughout? What feelings predominate when he
+  addresses (_a_) the Malouins, (_b_) the officers? What
+  Time, Pitch, Force, and Stress are the natural
+  expression?
+
+  46. COWARDS, FOOLS, ROGUES. What is the Inflection on
+  each word? (Introduction, p. 20.)
+
+  65. KEEL SO MUCH, ETC. Note the Pause and Grouping.
+
+  72, 73-76, 77-84. What is the predominant feeling in
+  each passage?
+
+  104-113. Compare the self-control of Damfreville's
+  speech with the impulsive shout of the preceding stanza.
+  What is the resulting difference in vocal expression?
+
+  114-116. Note the Pause and Grouping.
+
+  118-122. What is the Inflection? (Introduction, p. 17.)
+
+  129-132. Observe the Grouping.
+
+       *       *       *       *       *
+
+
+THE HANDWRITING ON THE WALL
+
+Daniel V
+
+
+Belshazzar the king made a great feast to a thousand of his lords, and
+drank wine before the thousand. Belshazzar, whiles he tasted the wine,
+commanded to bring the golden and silver vessels which his father
+Nebuchadnezzar had taken out of the temple which was in Jerusalem;
+that the king, and his princes, his wives, and his concubines, might
+drink therein. Then they brought the golden vessels that were taken
+out of the temple of the house of God which was in Jerusalem; and the
+king, and his princes, his wives, and his concubines, drank in them.
+They drank wine, and praised the gods of gold, and of silver, of
+brass, of iron, of wood, and of stone.
+
+In the same hour came forth fingers of a man's hand, and wrote over
+against the candlestick upon the plaister of the wall of the king's
+palace: and the king saw the part of the hand that wrote. Then the
+king's countenance was changed, and his thoughts troubled him, so that
+the joints of his loins were loosed, and his knees smote one against
+another. The king cried aloud to bring in the astrologers, the
+Chaldeans, and the soothsayers. And the king spake, and said to the
+wise men of Babylon, Whosoever shall read this writing, and shew me
+the interpretation thereof, shall be clothed with scarlet, and have a
+chain of gold about his neck, and shall be the third ruler in the
+kingdom. Then came in all the king's wise men: but they could not read
+the writing, nor make known to the king the interpretation thereof.
+Then was the king Belshazzar greatly troubled, and his countenance was
+changed in him, and his lords were astonied.
+
+Now the queen by reason of the words of the king and his lords came
+into the banquet house: and the queen spake and said, O king, live for
+ever: let not thy thoughts trouble thee, nor let thy countenance be
+changed: There is a man in thy kingdom, in whom is the spirit of the
+holy gods; and in the days of thy father light and understanding and
+wisdom, like the wisdom of the gods, was found in him; whom the king
+Nebuchadnezzar thy father, the king, I say, thy father, made master of
+the magicians, astrologers, Chaldeans, and soothsayers; Forasmuch as
+an excellent spirit and knowledge and understanding, interpreting of
+dreams, and shewing of hard sentences, and dissolving of doubts, were
+found in the same Daniel, whom the king named Belteshazzar: now let
+Daniel be called, and he will shew the interpretation.
+
+Then was Daniel brought in before the king. And the king spake and
+said unto Daniel, Art thou that Daniel, which art of the children of
+the captivity of Judah, whom the king my father brought out of Jewry?
+I have even heard of thee, that the spirit of the gods is in thee, and
+that light and understanding and excellent wisdom is found in thee.
+And now the wise men, the astrologers, have been brought in before me,
+that they should read this writing, and make known unto me the
+interpretation thereof: but they could not shew the interpretation of
+the thing: And I have heard of thee, that thou canst make
+interpretations, and dissolve doubts: now if thou canst read the
+writing, and make known to me the interpretation thereof, thou shalt
+be clothed with scarlet, and have a chain of gold about thy neck, and
+shalt be the third ruler in the kingdom.
+
+Then Daniel answered and said before the king, Let thy gifts be to
+thyself, and give thy reward to another; yet I will read the writing
+unto the king, and make known to him the interpretation. O thou king,
+the most high God gave Nebuchadnezzar thy father a kingdom, and
+majesty, and glory, and honour: And for the majesty that he gave him,
+all people, nations, and languages, trembled and feared before him:
+whom he would he slew; and whom he would he kept alive; and whom he
+would he set up; and whom he would he put down. But when his heart was
+lifted up, and his mind hardened in pride, he was deposed from his
+kingly throne, and they took his glory from him: And he was driven
+from the sons of men; and his heart was made like the beasts, and his
+dwelling was with the wild asses: they fed him with grass like oxen,
+and his body was wet with the dew of heaven; till he knew that the
+most high God ruled in the kingdom of men, and that he appointeth over
+it whomsoever he will. And thou, his son, O Belshazzar, hast not
+humbled thine heart, though thou knewest all this; But has lifted up
+thyself against the Lord of heaven; and they have brought the vessels
+of his house before thee, and thou, and thy lords, thy wives, and thy
+concubines, have drunk wine in them; and thou hast praised the gods of
+silver, of gold, of brass, iron, wood, and stone, which see not, nor
+hear, nor know: and the God in whose hand thy breath is, and whose are
+all thy ways, hast thou not glorified: Then was the part of the hand
+sent from him; and this writing was written.
+
+And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN.
+This is the interpretation of the thing: MENE; God hath numbered thy
+kingdom, and finished it. TEKEL; Thou art weighed in the balances, and
+art found wanting. PERES; Thy kingdom is divided, and given to the
+Medes and Persians. Then commanded Belshazzar, and they clothed Daniel
+with scarlet, and put a chain of gold about his neck, and made a
+proclamation concerning him, that he should be the third ruler in the
+kingdom.
+
+In that night was Belshazzar the king of the Chaldeans slain. And
+Darius the Median took the kingdom, being about threescore and two
+years old.
+
+
+  Give a dramatic form to this extract, indicating by
+  suitable titles the various scenes suggested and the
+  parts that would properly belong to the scenery, the
+  action, and the dialogue respectively. The different
+  parts may be read by different readers before one reader
+  attempts all the parts.
+
+       *       *       *       *       *
+
+
+PAUL'S DEFENCE BEFORE KING AGRIPPA
+
+Acts xxvi
+
+
+1. Then Agrippa said unto Paul, Thou art permitted to speak for
+thyself. Then Paul stretched forth the hand, and answered for himself:
+I think myself happy, King Agrippa, because I shall answer for myself
+this day before thee touching all the things whereof I am accused of
+the Jews: especially because I know thee to be expert in all customs
+and questions which are among the Jews: wherefore I beseech thee to
+hear me patiently.
+
+2. My manner of life from my youth, which was at the first among mine
+own nation at Jerusalem, know all the Jews; which knew me from the
+beginning, if they would testify, that after the most straitest sect
+of our religion I lived a Pharisee. And now I stand and am judged for
+the hope of the promise made of God unto our fathers: unto which
+promise our twelve tribes, instantly serving God day and night, hope
+to come. For which hope's sake, King Agrippa, I am accused of the
+Jews.
+
+3. Why should it be thought a thing incredible with you, that God
+should raise the dead? I verily thought with myself, that I ought to
+do many things contrary to the name of Jesus of Nazareth. Which thing
+I also did in Jerusalem: and many of the saints did I shut up in
+prison, having received authority from the chief priests; and when
+they were put to death, I gave my voice against them. And I punished
+them oft in every synagogue, and compelled them to blaspheme; and
+being exceedingly mad against them, I persecuted them even unto
+strange cities.
+
+4. Whereupon as I went to Damascus with authority and commission from
+the chief priests, at midday, O king, I saw in the way a light from
+heaven, above the brightness of the sun, shining round about me and
+them which journeyed with me. And when we were all fallen to the
+earth, I heard a voice speaking unto me, and saying in the Hebrew
+tongue, Saul, Saul, why persecutest thou me? It is hard for thee to
+kick against the pricks. And I said, Who art thou, Lord? And he said,
+I am Jesus whom thou persecutest. But rise, and stand upon thy feet:
+for I have appeared unto thee for this purpose, to make thee a
+minister and a witness both of these things which thou hast seen, and
+of those things in the which I will appear unto thee; delivering thee
+from the people, and from the Gentiles, unto whom now I send thee, to
+open their eyes, and to turn them from darkness to light, and from the
+power of Satan unto God, that they may receive forgiveness of sins,
+and inheritance among them which are sanctified by faith that is in
+me.
+
+5. Whereupon, O King Agrippa, I was not disobedient unto the heavenly
+vision: but shewed first unto them of Damascus, and at Jerusalem, and
+throughout all the coasts of Judæa, and then to the Gentiles, that
+they should repent and turn to God, and do works meet for repentance.
+For these causes the Jews caught me in the temple, and went about to
+kill me. Having therefore obtained help of God, I continue unto this
+day, witnessing both to small and great, saying none other things than
+those which the prophets and Moses did say should come: that Christ
+should suffer, and that he should be the first that should rise from
+the dead, and should shew light unto the people, and to the Gentiles.
+
+6. And as he thus spake for himself, Festus said with a loud voice,
+Paul, thou art beside thyself; much learning doth make thee mad. But
+he said, I am not mad, most noble Festus; but speak forth the words of
+truth and soberness. For the king knoweth of these things, before whom
+also I speak freely: for I am persuaded that none of these things are
+hidden from him; for this thing was not done in a corner. King
+Agrippa, believest thou the prophets? I know that thou believest.
+Then Agrippa said unto Paul, Almost thou persuadest me to be a
+Christian. And Paul said, I would to God, that not only thou, but also
+all that hear me this day, were both almost, and altogether such as I
+am, except these bonds.
+
+7. And when he had thus spoken, the king rose up, and the governor,
+and Bernice, and they that sat with them: And when they were gone
+aside, they talked between themselves, saying, This man doeth nothing
+worthy of death or of bonds. Then said Agrippa unto Festus, This man
+might have been set at liberty, if he had not appealed unto Cæsar.
+
+
+  PREPARATORY.--Under what circumstances did Paul deliver
+  this defence? Picture the scene.
+
+  What attitude of mind characterizes the chief speaker?
+  How does this affect the reading?
+
+  How are the direct speeches in Pars. 1, 4, 6, and 7 made
+  to stand out from the narrative? (Introduction, p. 24.)
+
+  How do the mental and emotional states of the various
+  speakers differ? Indicate this difference by the Quality
+  of the voice. (Introduction, p. 34.)
+
+  Point out the Climax in Par. 3. How does the voice
+  express it?
+
+  IF THEY WOULD TESTIFY. What change in the voice
+  subordinates this clause? (Introduction, p. 33.) Give
+  another example from Par. 2.
+
+       *       *       *       *       *
+
+
+THE STRANDED SHIP
+
+
+  Far up the lonely strand the storm had lifted her.
+  And now along her keel the merry tides make stir
+  No more. The running waves that sparkled at her prow
+  Seethe to the chains and sing no more with laughter now.
+  No more the clean sea-furrow follows her. No more
+  To the hum of her gallant tackle the hale Nor'-westers roar.
+  No more her bulwarks journey. For the only boon they crave
+  Is the guerdon of all good ships and true, the boon of
+    a deep-sea grave.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  No more she mounts the circles from Fundy to the Horn,
+  From Cuba to the Cape runs down the tropic morn,
+  Explores the Vast Uncharted where great bergs ride in ranks,
+  Nor shouts a broad "Ahoy" to the dories on the Banks.
+  No more she races freights to Zanzibar and back,
+  Nor creeps where the fog lies blind along the liner's track,
+  No more she dares the cyclone's disastrous core of calm
+  To greet across the dropping wave the amber isles of palm.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Amid her trafficking peers, the wind-wise, journeyed ships,
+  At the black wharves no more, nor at the weedy slips,
+  She comes to port with cargo from many a storied clime.
+  No more to the rough-throat chantey her windlass creaks in time.
+  No more she loads for London with spices from Ceylon,--
+  With white spruce deals and wheat and apples from St. John.
+  No more from Pernambuco with cotton-bales,--no more
+  With hides from Buenos Ayres she clears for Baltimore.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Wan with the slow vicissitudes of wind and rain and sun
+  How grieves her deck for the sailors whose hearty brawls are done!
+  Only the wandering gull brings word of the open wave,
+  With shrill scream at her taffrail deriding her alien grave.
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  And when the winds are low, and when the tides are still,
+  And the round moon rises inland over the naked hill,
+  And o'er her parching seams the dry cloud-shadows pass,
+  And dry along the land-rim lie the shadows of thin grass,
+  Then aches her soul with longing to launch and sink away
+  Where the fine silts lift and settle, and sea-things drift
+    and stray,
+  To make the port of Last Desire, and slumber with her peers
+  In the tide-wash rocking softly through the unnumbered years.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+      --_Charles G. D. Roberts (By arrangement)_
+
+
+  PREPARATORY.--What is the fundamental idea of the first
+  three stanzas? Of the fourth stanza? Of the last stanza?
+  Of the refrain? Apply these ideas to human life? What
+  feelings do they arouse? Show that these feelings grow
+  stronger as the poem advances.
+
+  What Time, Pitch, and Stress are the natural expression
+  of the atmosphere pervading the poem? Where are they
+  most marked?
+
+  What effect has the atmosphere of the last stanza on the
+  Quality of the voice?
+
+  HER, STIR. (Appendix A, 10.)
+
+  STRAND, FAR, CALM, BRAWLS. Distinguish the sound of _a_
+  in these words, and select other words from the poem
+  with the same sound. (Appendix A, 1.)
+
+  What is the Inflection on the negative statements in the
+  first three stanzas? On the entreaty in the refrain?
+  (Introduction, p. 18.)
+
+  What effect do the falling Inflection, and the marked
+  Pause after MORE, l. 3, stanza 1 produce?
+
+  AND WHEN THE WINDS ... GRASS. What is the Inflection?
+  What is the Shading when compared with the next line?
+
+       *       *       *       *       *
+
+
+SIR PATRICK SPENS
+
+
+  The king sits, in Dunfermline toun,
+  Drinking the blude-red wine;
+  "O whare will I get a skeely skipper,
+  To sail this new ship o' mine?"
+
+  O up and spake an eldern knight,
+  Sat at the king's right knee,--
+  "Sir Patrick Spens is the best sailor,
+  That ever sailed the sea."
+
+  The king has written a braid letter,
+  And sealed it wi' his hand,
+  And sent it to Sir Patrick Spens,
+  Was walking on the strand.
+
+  "To Noroway, to Noroway,
+  To Noroway o'er the faem;
+  The king's daughter of Noroway,
+  'Tis thou maun bring her hame."
+
+  The first word that Sir Patrick read,
+  Sae loud, loud laughèd he;
+  The neist word that Sir Patrick read,
+  The tear blindit his e'e.
+
+  "O wha is this has done this deed,
+  And tauld the king o'me,
+  To send us out, this time o' the year,
+  To sail upon the sea?
+
+  Be't wind, be't weet, be't hail, be't sleet,
+  Our ship must sail the faem;
+  The king's daughter of Noroway,
+  'Tis we must fetch her hame."
+
+  They hoysed their sails on Monenday morn,
+  Wi' a' the speed they may;
+  They hae landed in Noroway,
+  Upon a Wodensday.
+
+  They hadna been a week, a week,
+  In Noroway, but twae,
+  When that the lords o' Noroway
+  Began aloud to say,--
+
+  "Ye Scottishmen spend a' our king's goud,
+  And a' our queenis fee."
+  "Ye lee, ye lee, ye lears loud!
+  Fu' loud I hear ye lee!
+
+  For I brought as mickle white monie,
+  As gane my men and me,
+  And I brought a half-fou o' gude red goud,
+  Out o'er the sea wi' me.
+
+  Mak' ready, mak' ready, my merry men a'!
+  Our gude ship sails the morn."
+  "Now, ever alake, my master dear,
+  I fear a deadly storm!
+
+  I saw the new moon, late yestreen,
+  Wi' the auld moon in her arm!
+  And, if we gang to sea, master,
+  I fear we'll come to harm."
+
+  They hadna sailed a league, a league,
+  A league, but barely three,
+  When the lift grew dark, and the wind blew loud,
+  And gurly grew the sea.
+
+  The ankers brak, and the topmasts lap,
+  It was sic a deadly storm;
+  And the waves cam' o'er the broken ship,
+  Till a' her sides were torn.
+
+  "O whare will I get a gude sailor,
+  To tak' my helm in hand,
+  Till I gae up to the tall topmast,
+  To see if I spy land?"
+
+  "O here am I, a sailor gude,
+  To tak' the helm in hand,
+  Till you gae up to the tall topmast;
+  But I fear ye'll ne'er spy land."
+
+  He hadna gane a step, a step,
+  A step, but barely ane,
+  When a bolt flew out o' our goodly ship,
+  And the salt sea it cam' in.
+
+  "Gae fetch a web o' the silken claith,
+  Anither o' the twine,
+  And wap them into our ship's side,
+  And letna the sea come in."
+
+  They fetched a web o' the silken claith,
+  Anither o' the twine,
+  And they wapped them roun' that gude ship's side,
+  But still the sea cam' in.
+
+  O laith, laith were our gude Scots lords,
+  To weet their cork-heeled shoon!
+  But lang or a' the play was played,
+  They wat their hats aboon.
+
+  And mony was the feather-bed,
+  That floated o'er the faem;
+  And mony was the gude lord's son,
+  That never mair cam' hame.
+
+  The ladyes wrang their fingers white,
+  The maidens tore their hair,
+  A' for the sake of their true loves;
+  For them they'll see na mair.
+
+  O lang, lang may the ladyes sit,
+  Wi' their fans into their hand,
+  Before they see Sir Patrick Spens
+  Come sailing to the strand!
+
+  And lang, lang may the maidens sit,
+  Wi' their goud kaims in their hair,
+  A' waiting for their ain dear loves!
+  For them they'll see na mair.
+
+  Half ower, half ower to Aberdour,
+  'Tis fifty fathoms deep,
+  And there lies gude Sir Patrick Spens,
+  Wi' the Scots lords at his feet.
+
+     --_Old Ballad_
+
+
+  Into how many different scenes does this drama fall?
+  Where is each one laid? How can each one be made to
+  stand out by itself? (Introduction, p. 10.)
+
+       *       *       *       *       *
+
+
+KING JOHN AND THE ABBOT OF CANTERBURY
+
+
+  An ancient story Ile tell you anon.
+  Of a notable prince, that was called king John;
+  And he ruled England with maine and with might,
+  For he did great wrong, and maintein'd little right.
+
+  And Ile tell you a story, a story so merrye,
+  Concerning the Abbot of Canterbùrye;
+  How for his house-keeping, and high renowne,
+  They rode poste for him to fair London towne.
+
+  An hundred men, the king did heare say,
+  The abbot kept in his house every day;
+  And fifty golde chaynes, without any doubt,
+  In velvet coates waited the abbot about.
+
+  "How now, father abbot, I heare it of thee,
+  Thou keepest a farre better house than mee,
+  And for thy house-keeping and high renowne,
+  I feare thou work'st treason against my crown."
+
+  "My liege," quo' the abbot, "I would it were knowne,
+  I never spend nothing, but what is my owne;
+  And I trust, your grace will doe me no deere,
+  For spending of my owne true-gotten geere."
+
+  "Yes, yes, father abbot, thy fault it is highe,
+  And now for the same thou needest must dye;
+  For except thou canst answer me questions three,
+  Thy head shall be smitten from thy bodie.
+
+  And first," quo' the king, "when I'm in this stead,
+  With my crowne of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Thou must tell me to one penny what I am worthe.
+
+  Secondlye, tell me, without any doubt,
+  How soone I may ride the whole world about.
+  And at the third question thou must not shrink,
+  But tell me here truly what do I think."
+
+  "O, these are hard questions for my shallow witt,
+  Nor I cannot answer your grace as yet:
+  But if you will give me but three weekes space,
+  Ile do my endeavour to answer your grace."
+
+  "Now three weeks space to thee will I give,
+  And that is the longest time thou hast to live;
+  For if thou dost not answer my questions three,
+  Thy lands and thy livings are forfeit to mee."
+
+  Away rode the abbot all sad at that word,
+  And he rode to Cambridge, and Oxenford;
+  But never a doctor there was so wise,
+  That could with his learning an answer devise.
+
+  Then home rode the abbot of comfort so cold,
+  And he mett his shepheard a going to fold:
+  "How now, my lord abbot, you are welcome home;
+  What newes do you bring us from good king John?"
+
+  "Sad newes, sad newes, shepheard, I must give;
+  That I have but three days more to live:
+  For if I do not answer him questions three,
+  My head will be smitten from my bodie.
+
+  The first is to tell him, there in that stead,
+  With his crowne of golde so fair on his head,
+  Among all his liege-men so noble of birth,
+  To within one penny of what he is worth.
+
+  The seconde, to tell him, without any doubt,
+  How soon he may ride this whole world about:
+  And at the third question I must not shrinke,
+  But tell him there truly what he does thinke."
+
+  "Now cheare up, sire abbot, did you never hear yet,
+  That a fool he may learn a wise man witt?
+  Lend me horse, and serving-men, and your apparel,
+  And I'll ride to London to answere your quarrel.
+
+  Nay frowne not, if it hath bin told unto mee,
+  I am like your lordship, as ever may bee:
+  And if you will but lend me your gowne,
+  There is none shall knowe us at fair London towne."
+
+  "Now horses, and serving-men thou shalt have,
+  With sumptuous array most gallant and brave;
+  With crozier, and miter, and rochet, and cope,
+  Fit to appeare 'fore our fader the pope."
+
+  "Now welcome, sire abbot," the king he did say,
+  "Tis well thou'rt come back to keepe thy day;
+  For and if thou canst answer my questions three,
+  Thy life and thy living both saved shall bee.
+
+  And first, when thou seest me here in this stead,
+  With my crown of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Tell me to one penny what I am worth."
+
+  "For thirty pence our Saviour was sold
+  Amonge the false Jewes, as I have bin told;
+  And twenty-nine is the worth of thee,
+  For I thinke, thou art one penny worser than hee."
+
+  The king he laughed, and swore by St. Bittel,
+  "I did not thinke I had been worth so littel!
+  --Now secondly tell me, without any doubt,
+  How soone I may ride this whole world about."
+
+  "You must rise with the sun, and ride with the same,
+  Until the next morning he riseth againe;
+  And then your grace need not make any doubt,
+  But in twenty-four hours you'll ride it about."
+
+  The king he laughed, and swore by St. Jone,
+  "I did not think, it could be gone so soone!
+  --Now from the third question thou must not shrinke,
+  But tell me here truly what I do thinke."
+
+  "Yea, that shall I do, and make your grace merry:
+  You thinke I'm the Abbot of Canterbùry;
+  But I'm his poor shepheard, as plain you may see,
+  That am come to beg pardon for him and for mee."
+
+  The king he laughed, and swore "by the masse,
+  He make thee lord abbot this day in his place!"
+  "Now naye, my liege, be not in such speede,
+  For alacke I can neither write ne reade."
+
+  "Four nobles a weeke, then, I will give thee,
+  For this merry jest thou hast showne unto mee;
+  And tell the old abbot when thou comest home,
+  Thou hast brought him a pardon from good king John."
+
+      --_Old Ballad_
+
+
+  PREPARATORY.--Divide this poem into three dramatic
+  scenes. Who are the actors in each scene?
+
+  What is the king's attitude toward the abbot in the
+  first scene? Toward the supposed abbot in the third
+  scene? Where does this attitude suddenly change? Show at
+  what points this changed attitude gradually increases in
+  strength and where it reaches its climax. Indicate these
+  changes by means of the voice.
+
+  What is the abbot's attitude toward the king in the
+  first scene? How does it differ from his attitude toward
+  the shepherd? What is the difference in vocal
+  expression?
+
+  Where does the shepherd's attitude toward the king
+  change? How does the voice indicate this change?
+
+       *       *       *       *       *
+
+
+THE KEY TO HUMAN HAPPINESS
+
+From "The Mill on the Floss"
+
+
+1. At last Maggie's eyes glanced down on the books that lay on the
+window-shelf, and she half forsook her reverie to turn over listlessly
+the leaves of the "Portrait Gallery"; but she soon pushed this aside
+to examine the little row of books tied together with, string.
+"Beauties of the Spectator", "Rasselas", "Economy of Human Life",
+"Gregory's Letters",--she knew the sort of matter that was inside all
+these; the "Christian Year"--that seemed to be a hymn-book, and she
+laid it down again; but "Thomas à Kempis"--the name had come across
+her in her reading, and she felt the satisfaction, which every one
+knows, of getting some ideas to attach to a name that strays solitary
+in the memory. She took up the little, old, clumsy book with some
+curiosity; it had the corners turned down in many places, and some
+hand, now for ever quiet, had made at certain passages strong
+pen-and-ink marks, long since browned by time. Maggie turned from leaf
+to leaf, and read where the quiet hand pointed ... "Know that the love
+of thyself doth hurt thee more than anything in the world.... If thou
+seekest this or that, and would'st be here or there to enjoy thy own
+will and pleasure, thou shalt never be quiet nor free from care; for
+in everything somewhat will be wanting, and in every place there will
+be some that will cross thee.... Both above and below, which way
+soever thou dost turn thee, everywhere thou shalt find the Cross; and
+everywhere of necessity thou must have patience, if thou wilt have
+inward peace, and enjoy an everlasting crown.... It is but little thou
+sufferest in comparison of them that have suffered so much, were so
+strongly tempted, so grievously afflicted, so many ways tried and
+exercised. Thou oughtest therefore to call to mind the more heavy
+sufferings of others, that thou mayest the easier bear thy little
+adversities. And if they seem not little unto thee, beware lest thy
+impatience be the cause thereof.... Blessed are those ears that
+receive the whispers of the divine voice, and listen not to the
+whisperings of the world. Blessed are those ears which hearken not
+unto the voice which soundeth outwardly, but unto the Truth which
+teacheth inwardly...."
+
+2. A strange thrill of awe passed through Maggie while she read, as if
+she had been awakened in the night by a strain of solemn music,
+telling of beings whose souls had been astir while hers was in stupor.
+She went on from one brown mark to another, where the quiet hand
+seemed to point, hardly conscious that she was reading--seeming rather
+to listen while a low voice said:--
+
+3. "Why dost thou here gaze about, since this is not the place of thy
+rest? In heaven ought to be thy dwelling, and all earthly things are
+to be looked on as they forward thy journey thither. All things pass
+away, and thou together with them. Beware thou cleave not unto them,
+lest thou be entangled and perish.... If a man should give all his
+substance yet it is as nothing. And, if he should do great penances,
+yet they are but little. And if he should attain to all knowledge, he
+is yet far off. And if he should be of great virtue, and very fervent
+devotion, yet is there much wanting--to wit, one thing, which is most
+necessary for him. What is that? That having left all, he leave
+himself, and go wholly out of himself, and retain nothing of
+self-love.... I have often said unto thee, and now again I say the
+same: Forsake thyself, resign thyself, and thou shalt enjoy much
+inward peace.... Then shall all vain imaginations, evil perturbations,
+and superfluous cares fly away; then shall immoderate fear leave thee,
+and inordinate love shall die."
+
+4. Maggie drew a long breath and pushed her heavy hair back as if to
+see a sudden vision more clearly. Here, then, was a secret of life
+that would enable her to renounce all other secrets; here was a
+sublime height to be reached without the help of outward things; here
+was insight, and strength and conquest, to be won by means entirely
+within her own soul, where a supreme Teacher was waiting to be heard.
+It flashed through her, like the suddenly apprehended solution of a
+problem, that all the miseries of her young life had come from fixing
+her heart on her own pleasure, as if that were the central necessity
+of the universe; and for the first time she saw the possibility of
+shifting the position from which she looked at the gratification of
+her own desires, of taking her stand out of herself, and looking at
+her own life as an insignificant part of a divinely-guided whole. She
+read on and on in the old book, devouring eagerly the dialogues with
+the invisible Teacher, the pattern of sorrow, the source of all
+strength, returning to it after she had been called away, and reading
+till the sun went down behind the willows. With all the hurry of an
+imagination that could never rest in the present, she sat in the
+deepening twilight forming plans of self-humiliation and entire
+devotedness; and, in the ardour of first discovery, renunciation
+seemed to her the entrance into that satisfaction which she had so
+long been craving in vain. She had not perceived--how could she until
+she had lived longer?--the inmost truth of the old monk's outpourings,
+that renunciation remains sorrow, though a sorrow borne willingly.
+Maggie was still panting for happiness, and was in ecstasy because she
+had found the key to it. She knew nothing of doctrines and systems--of
+mysticism or quietism; but this voice out of the far-off Middle Ages
+was the direct communication of a human soul's belief and experience,
+and came to Maggie as an unquestioned message.
+
+5. I suppose that is the reason why the small, old-fashioned book, for
+which you need pay only sixpence at a book-stall, works miracles to
+this day, turning bitter waters into sweetness; while expensive
+sermons and treatises, newly issued, leave all things as they were
+before. It was written down by a hand that waited for the heart's
+prompting; it is the chronicle of a solitary hidden anguish, struggle,
+trust, and triumph--not written on velvet cushions to teach endurance
+to those who are treading with bleeding feet on the stones. And so it
+remains to all time a lasting record of human needs and human
+consolations--the voice of a brother who, ages ago, felt and suffered
+and renounced in the cloister, perhaps, with serge gown and tonsured
+head, with much chanting and long fasts, and with a fashion of speech
+different from ours, but under the same silent far-off heavens, and
+with the same passionate desires, the same strivings, the same
+failures, the same weariness.
+
+     --_George Eliot_
+
+
+  Par. 1. IF THOU SEEKEST ... PLEASURE. What principle of
+  Inflection does this clause illustrate? Give similar
+  examples from Par. 3.
+
+  BOTH ABOVE AND BELOW ... EVERYWHERE. Which phrase in
+  this series has the strongest Emphasis?
+
+  THOU SUFFEREST. Which word is emphatic? (Introduction,
+  p. 30.) What phrases are contrasted with it?
+
+  Account for the Inflection used in the last two
+  sentences. (Introduction, p. 20.)
+
+  Par. 4. Indicate the Grouping in sentences 3 and 5.
+
+  HOW COULD SHE, ETC. What is the Inflection and Shading?
+  (Introduction, pp. 24 and 25.)
+
+  Par. 5. What is the Inflection on NOT WRITTEN ...
+  STONES? (Introduction p. 18.)
+
+       *       *       *       *       *
+
+
+THE VISION OF SIR LAUNFAL
+
+PART FIRST
+
+
+  "My golden spurs now bring to me,
+    And bring to me my richest mail,
+  For to-morrow I go over land and sea
+    In search of the Holy Grail;
+  Shall never a bed for me be spread,                                  5
+  Nor shall a pillow be under my head,
+  Till I begin my vow to keep;
+  Here on the rushes will I sleep,
+  And perchance there may come a vision true
+  Ere day create the world anew."                                     10
+    Slowly Sir Launfal's eyes grew dim,
+    Slumber fell like a cloud on him,
+  And into his soul the vision flew.
+
+  The crows flapped over by twos and threes,
+  In the pool drowsed the cattle up to their knees,                   15
+    The little birds sang as if it were
+    The one day of summer in all the year,
+  And the very leaves seemed to sing on the trees.
+  The castle alone in the landscape lay
+  Like an outpost of winter, dull and gray:                           20
+
+  'Twas the proudest hall in the North Countree,
+  And never its gates might opened be,
+  Save to lord or lady of high degree;
+  Summer besieged it on every side,
+  But the churlish stone her assaults defied;                         25
+  She could not scale the chilly wall,
+  Though round it for leagues her pavilions tall
+  Stretched left and right,
+  Over the hills and out of sight;
+    Green and broad was every tent,                                   30
+    And out of each a murmur went
+  Till the breeze fell off at night.
+  The drawbridge dropped with a surly clang,
+  And through the dark arch a charger sprang,
+  Bearing Sir Launfal, the maiden knight,                             35
+  In his gilded mail that flamed so bright
+  It seemed the dark castle had gathered all
+  Those shafts the fierce sun had shot over its wall
+    In his siege of three hundred summers long,
+  And, binding them all in one blazing sheaf,                         40
+    Had cast them forth: so, young and strong,
+  And lightsome as a locust leaf,
+  Sir Launfal flashed forth in his unscarred mail,
+  To seek in all climes for the Holy Grail.
+
+  It was morning on hill and stream and tree                          45
+    And morning in the young knight's heart;
+  Only the castle moodily
+  Rebuffed the gift of the sunshine free,
+    And gloomed by itself apart;
+  The season brimmed all other things up                              50
+  Full as the rain fills the pitcher-plant's cup.
+
+  As Sir Launfal made morn through the darksome gate
+    He was 'ware of a leper, crouched by the same,
+  Who begged with his hand and moaned as he sate;
+    And a loathing over Sir Launfal came;                             55
+  The sunshine went out of his soul with a thrill,
+    The flesh 'neath his armour 'gan shrink and crawl,
+  And midway its leap his heart stood still
+    Like a frozen waterfall;
+  For this man, so foul and bent of stature,                          60
+  Rasped harshly against his dainty nature,
+  And seemed the one blot on the summer morn,--
+  So he tossed him a piece of gold in scorn.
+
+  The leper raised not the gold from the dust:
+  "Better to me the poor man's crust,                                 65
+  Better the blessing of the poor,
+  Though I turn me empty from his door;
+  That is no true alms which the hand can hold;
+  He gives nothing but worthless gold
+    Who gives from a sense of duty;                                   70
+  But he who gives a slender mite,
+  And gives to that which is out of sight,
+    That thread of the all-sustaining Beauty
+  Which runs through all and doth all unite,--
+  The hand cannot clasp the whole of his alms,                        75
+  The heart outstretches its eager palms,
+  For a god goes with it and makes it store
+  To the soul that was starving in darkness before."
+
+
+PART SECOND
+
+  There was never a leaf on bush or tree,
+  The bare boughs rattled shudderingly;                               80
+  The river was numb and could not speak,
+    For the weaver Winter its shroud had spun;
+  A single crow on the tree-top bleak
+    From his shining feathers shed off the cold sun;
+  Again it was morning, but shrunk and cold                           85
+  As if her veins were sapless and old,
+  And she rose up decrepitly
+  For a last dim look at earth and sea.
+
+  Sir Launfal turned from his own hard gate,
+  For another heir in his earldom sate;                               90
+  An old, bent man, worn out and frail,
+  He came back from seeking the Holy Grail;
+  Little he recked of his earldom's loss,
+  No more on his surcoat was blazoned the cross,
+  But deep in his soul the sign he wore,                              95
+  The badge of the suffering and the poor.
+
+  Sir Launfal's raiment thin and spare
+  Was idle mail 'gainst the barbed air,
+  For it was just at the Christmas time;
+  So he mused, as he sat, of a sunnier clime,                        100
+  And sought for a shelter from cold and snow
+  In the light and warmth of long-ago:
+  He sees the snake-like caravan crawl
+  O'er the edge of the desert, black and small.
+  Then nearer and nearer, till, one by one,                          105
+  He can count the camels in the sun,
+  As over the red-hot sands they pass
+  To where, in its slender necklace of grass,
+  The little spring laughed and leapt in the shade,
+  And with its own self like an infant played,                       110
+  And waved its signal of palms.
+  "For Christ's sweet sake I beg an alms;"--
+  The happy camels may reach the spring,
+  But Sir Launfal sees only the grewsome thing,
+  The leper, lank as the rain-blanched bone,                         115
+  That cowers beside him, a thing as lone
+  And white as the ice-isles of Northern seas
+  In the desolate horror of his disease.
+
+  And Sir Launfal said, "I behold in thee
+  An image of Him who died on the tree;                              120
+  Thou also hast had thy crown of thorns,
+  Thou also hast had the world's buffets and scorns,
+  And to thy life were not denied
+  The wounds in the hands and feet and side:
+  Mild Mary's Son, acknowledge me;                                   125
+  Behold, through him, I give to thee!"
+
+  Then the soul of the leper stood up in his eyes
+    And looked at Sir Launfal, and straightway he
+  Remembered in what a haughtier guise
+    He had flung an alms to leprosie,                                130
+  When he girt his young life up in gilded mail
+  And set forth in search of the Holy Grail.
+  The heart within him was ashes and dust;
+  He parted in twain his single crust,
+  He broke the ice on the streamlet's brink,                         135
+  And gave the leper to eat and drink:
+  'Twas a mouldy crust of coarse brown bread,
+    'Twas water out of a wooden bowl,--
+  Yet with fine wheaten bread was the leper fed,
+    And 'twas red wine he drank with his thirsty soul.               140
+
+  As Sir Launfal mused with a downcast face,
+  A light shone round about the place;
+  The leper no longer crouched at his side,
+  But stood before him glorified,
+  Shining and tall and fair and straight                             145
+  As the pillar that stood by the Beautiful Gate,--
+  Himself the Gate whereby men can
+  Enter the temple of God in Man.
+
+  His words were shed softer than leaves from the pine,
+  And they fell on Sir Launfal as snows on the brine,                150
+  Which mingle their softness and quiet in one
+  With the shaggy unrest they float down upon:
+  And the voice that was calmer than silence said:
+  "Lo it is I, be not afraid!
+  In many climes, without avail,                                     155
+  Thou has spent thy life for the Holy Grail;
+  Behold it is here,--this cup which thou
+  Didst fill at the streamlet for me but now;
+  This crust is my body broken for thee,
+  This water His blood that died on the tree;                        160
+  The Holy Supper is kept, indeed,
+  In whatso we share with another's need;
+  Not what we give, but what we share,--
+  For the gift without the giver is bare;
+  Who gives himself with his alms feeds three,--                     165
+  Himself, his hungering neighbour, and me."
+
+  Sir Launfal awoke as from a swound:--
+  "The Grail in my castle here is found!
+  Hang my idle armour up on the wall,
+  Let it be the spider's banquet-hall;                               170
+  He must be fenced with stronger mail
+  Who would seek and find the Holy Grail."
+
+  The castle gate stands open now,
+    And the wanderer is welcome to the hall
+  As the hangbird is to the elm-tree bough;                          175
+    No longer scowl the turrets tall,
+  The Summer's long siege at last is o'er;
+  When the first poor outcast went in at the door,
+  She entered with him in disguise,
+  And mastered the fortress by surprise;                             180
+  There is no spot she loves so well on ground,
+  She lingers and smiles there the whole year round.
+  The meanest serf on Sir Launfal's land
+  Has hall and bower at his command;
+  And there's no poor man in the North Countree                      185
+  But is lord of the earldom as much as he.
+
+      --_James Russell Lowell_
+
+
+  PREPARATORY.--Read Tennyson's _The Holy Grail_.
+
+  Compare the mode in which Tennyson treats the pursuit of
+  the Holy Grail, in _Sir Galahad_, with that adopted by
+  Lowell in this poem.
+
+  Show the connection between the fundamental ideas in
+  this poem, and those in Longfellow's _King Robert of
+  Sicily_ and _The Legend Beautiful_.
+
+  Point out the various contrasts (_a_) of scene, (_b_) of
+  thought, (_c_) of emotion, and show a corresponding
+  contrast in vocal expression.
+
+  Articulation. (Appendix A, 1 and 11.)
+
+  5 and 6. What is the Inflection?
+
+  11. What changes of vocal expression accompany the
+  transition?
+
+  14-20. Note the word-pictures and the effect of the
+  Imaging process on the Time.
+
+  22. What is the Inflection on BE?
+
+  27-29 and 37-39. Observe the Grouping, Pause, and
+  Inflection.
+
+  41. HAD CAST THEM FORTH. With what phrase is this
+  parallel? How does the voice express the parallelism?
+
+  42-44. Which line expresses the main thought? How is it
+  made prominent? (Introduction, p. 33.)
+
+  51. Where is the Pause?
+
+  65-67. Show the relative importance of the emphatic
+  words and phrases. (Introduction, pp. 30 and 31.)
+
+  69-78. Read these lines with a view to (_a_)
+  Perspective, (_b_) Inflection.
+
+  91. OLD, BENT. Account for the pause between these two
+  adjectives. (Introduction, pp. 7 and 8.)
+
+  95. What is the emphatic word? Why?
+
+  107-111. Note the difference in the sound of the letter
+  _a_ in the various words.
+
+  119-126. What feeling predominates? How are the Force,
+  Pitch, and Time affected?
+
+  137-140. How does the voice indicate the contrast
+  between the meagre and the sumptuous? (Introduction, pp.
+  34 and 35.)
+
+  141-142. Note the transition from the subjective to the
+  objective. How is it indicated in reading?
+
+  154-166. What atmosphere pervades this speech? What
+  Quality of voice suggests it? (Introduction, p. 35.)
+
+  167. Note the transition. What movement is suggested?
+  What is the Stress and Quality of voice?
+
+  168-172. What state of mind does this speech suggest?
+  What is the change in Stress and Quality?
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF GLADSTONE
+
+Delivered in the Canadian House of Commons, May 26, 1898
+
+
+England has lost the most illustrious of her sons; but the loss is not
+England's alone, nor is it confined to the great empire which
+acknowledges England's suzerainty, nor even to the proud race which
+can claim kinship with the people of England. The loss is the loss of
+mankind. Mr. Gladstone gave his whole life to his country; but the
+work which he did for his country, was conceived and carried out, on
+principles of such high elevation, for purposes so noble, and aims so
+lofty, that not his country alone, but the whole of mankind, benefited
+by his work. It is no exaggeration to say that he has raised the
+standard of civilization, and the world to-day is undoubtedly better
+for both the precept and the example of his life.
+
+His death is mourned not only by England, the land of his birth, not
+only by Scotland, the land of his ancestors, not only by Ireland for
+whom he did so much, and attempted so much more; but also by the
+people of the two Sicilies, for whose outraged rights he once aroused
+the conscience of Europe, by the people of the Ionian Islands, whose
+independence he secured, and by the people of Bulgaria and the
+Danubian Provinces, in whose cause he enlisted the sympathy of his own
+native country. Indeed, since the days of Napoleon, no man has lived
+whose name has travelled so far and so wide, over the surface of the
+earth; no man has lived whose name alone so deeply moved the hearts of
+so many millions of men. Whereas Napoleon impressed his tremendous
+personality upon peoples far and near, by the strange fascination
+which the genius of war has always exercised over the imagination of
+men in all lands and in all ages, the name of Gladstone had come to be
+in the minds of all civilized nations, the living incarnation of right
+against might--the champion, the dauntless, tireless champion, of the
+oppressed against the oppressor. It is, I believe, equally true to say
+that he was the most marvellous mental organization which the world
+has seen since Napoleon--certainly the most compact, the most active
+and the most universal.
+
+This last half century in which we live, has produced many able and
+strong men who, in different walks of life, have attracted the
+attention of the world at large; and of the men who have illustrated
+this age, it seems to me that in the eyes of posterity four will
+outlive and outshine all others--Cavour, Lincoln, Bismarck, and
+Gladstone. If we look simply at the magnitude of the results obtained,
+compared with the exiguity of the resources at command,--if we
+remember that out of the small Kingdom of Sardinia grew united Italy,
+we must come to the conclusion that Count Cavour was undoubtedly a
+statesman of marvellous skill and prescience. Abraham Lincoln, unknown
+to fame when he was elected to the presidency, exhibited a power for
+the government of men which has scarcely been surpassed in any age. He
+saved the American Union, he enfranchised the black race, and for the
+task he had to perform he was endowed in some respects almost
+miraculously. No man ever displayed a greater insight into the
+motives, the complex motives, which shape the public opinion of a free
+country, and he possessed almost to the degree of an instinct, the
+supreme quality in a statesman of taking the right decision, taking it
+at the right moment and expressing it in language of incomparable
+felicity. Prince Bismarck was the embodiment of resolute common sense,
+unflinching determination, relentless strength, moving onward to his
+end, and crushing everything in his way as unconcerned as fate itself.
+Mr. Gladstone undoubtedly excelled every one of these men. He had in
+his person a combination of varied powers of the human intellect,
+rarely to be found in one single individual. He had the imaginative
+fancy, the poetic conception of things, in which Count Cavour was
+deficient. He had the aptitude for business, the financial ability
+which Lincoln never exhibited. He had the lofty impulses, the generous
+inspirations which Prince Bismarck always discarded, even if he did
+not treat them with scorn. He was at once an orator, a statesman, a
+poet, and a man of business. As an orator he stands certainly in the
+very front rank of orators of his country or any country of his age or
+any age. I remember when Louis Blanc was in England, in the days of
+the Second Empire, he used to write to the press of Paris, and in one
+of his letters to "Le Temps" he stated that Mr. Gladstone would
+undoubtedly have been the foremost orator of England, if it were not
+for the existence of Mr. Bright. It may be admitted, and I think it is
+admitted generally, that on some occasions Mr. Bright reached heights
+of grandeur and pathos which even Mr. Gladstone did not attain. But
+Mr. Gladstone had an ability, a vigour, a fluency which no man in his
+age or any age ever rivalled or even approached. That is not all. To
+his marvellous mental powers he added no less marvellous physical
+gifts. He had the eye of a god, the voice of a silver bell; and the
+very fire of his eye, the very music of his voice swept the hearts of
+men even before they had been dazzled by the torrents of his
+eloquence.
+
+As a statesman, it was the good fortune of Mr. Gladstone that his
+career was not associated with war. The reforms which he effected, the
+triumphs which he achieved, were not won by the supreme arbitrament of
+the sword. The reforms which he effected and the triumphs which he
+achieved were the result of his power of persuasion over his
+fellow-men. The reforms which he achieved in many ways amounted to a
+revolution. They changed, in many particulars, the face of the realm.
+After Sir Robert Peel had adopted the great principle which eventually
+carried England from protection to free trade, it was Mr. Gladstone
+who created the financial system which has been admitted ever since by
+all students of finance, as the secret of Great Britain's commercial
+success. He enforced the extension of the suffrage to the masses of
+the nation, and practically thereby made the government of monarchical
+England as democratic as that of any republic. He disestablished the
+Irish church, he introduced reform into the land tenure and brought
+hope into the breasts of those tillers of the soil in Ireland who had
+for so many generations laboured in despair. And all this he did, not
+by force or violence, but simply by the power of his eloquence and the
+strength of his personality.
+
+Great, however, as were the acts of the man, after all he was of the
+human flesh, and for him, as for everybody else, there were trivial
+and low duties to be performed. It is no exaggeration to say that even
+in those low and trivial duties he was great. He ennobled the common
+realities of life. His was above all things a religious
+mind--essentially religious in the highest sense of the term. And the
+religious sentiment which dominated his public life and his speeches,
+that same sentiment, according to the testimony of those who knew him
+best, also permeated all his actions from the highest to the humblest.
+He was a man of strong and pure affections, of long and lasting
+friendship, and to describe the beauty of his domestic life, no words
+of praise can be adequate. It was simply ideally beautiful, and in the
+later years of his life, as touching as it was beautiful. May I be
+permitted, without any impropriety, to recall that it was my privilege
+to experience and to appreciate that courtesy, made up of dignity and
+grace, which was famous all the world over, but of which no one could
+have an appropriate opinion, unless he had been the recipient of it.
+In a character so complex and diversified, one may ask what was the
+dominant feature, what was the supreme quality, the one characteristic
+which marked the nature of the man. Was it his incomparable genius for
+finance? Was it his splendid oratorical powers? Was it his marvellous
+fecundity of mind? In my estimation it was not any one of these
+qualities. Great as they were, there was one still more marked, and if
+I have to give my own impression, I would say that the one trait which
+was dominant in his nature, which marked the man more distinctly than
+any other, was his intense humanity, his paramount sense of right, his
+abhorrence of injustice, wrong, and oppression wherever to be found or
+in whatever shape they might show themselves. Injustice, wrong,
+oppression acted upon him, as it were, mechanically, and aroused every
+fibre of his being, and from that moment to the repairing of the
+injustice, the undoing of the wrong, and the destruction of the
+oppression, he gave his mind, his heart, his soul, his whole life with
+an energy, with an intensity, with a vigour paralleled in no man
+unless it be the first Napoleon. There are many evidences of this in
+his life. When he was travelling in Southern Italy, as a tourist, for
+pleasure and for the benefit of the health of his family, he became
+aware of the abominable system which was there prevailing under the
+name of Constitutional Government. He left everything aside, even the
+object which had brought him to Italy, and applied himself to
+investigate and to collect evidence, and then denounced the abominable
+system in a trumpet blast of such power that it shook to its very
+foundations the throne of King Ferdinand and sent it tottering to its
+fall. Again, when he was sent as High Commissioner to the Ionian
+Islands, the injustice of keeping this Hellenic population separated
+from the rest of Greece, separated from the kingdom to which they were
+adjacent, and toward which all their aspirations were raised, struck
+his generous soul with such force that he became practically their
+advocate, and secured their independence. Again, when he had
+withdrawn from public life, and when, in the language of Thiers, under
+somewhat similar circumstances, he had returned to "ses chères
+études," the atrocities perpetrated by the Turks on the people of
+Roumania brought him back to public life with a vehemence, an
+impetuosity, and a torrent of fierce indignation that swept everything
+before it. If this be, as I think it is, the one distinctive feature
+of his character, it seems to explain away what are called the
+inconsistencies of his life. Inconsistencies there were none in his
+life. He had been brought up in the most unbending school of Toryism.
+He became the most active reformer of our times. But whilst he became
+the leader of the Liberal party and an active reformer, it is only due
+to him to say that in his complex mind there was a vast space for what
+is known as conservatism. His mind was not only liberal but
+conservative as well, and he clung to the affections of his youth
+until, in questions of practical moment, he found them clashing with
+that sense of right and abhorrence of injustice of which I have
+spoken. But the moment he found his conservative affections clash with
+what he thought right and just, he did not hesitate to abandon his
+former convictions and go the whole length of the reforms demanded.
+Thus he was always devotedly, filially, lovingly attached to the
+Church of England. He loved it, as he often declared. He adhered to it
+as an establishment in England, but the very reasons and arguments
+which, in his mind, justified the establishment of the Church in
+England, compelled him to a different course as far as that church was
+concerned in Ireland. In England the Church was the church of the
+majority, of almost the unanimity of the nation. In Ireland it was
+the church of the minority, and, therefore, he did not hesitate. His
+course was clear: he removed the one church and maintained the other.
+So it was with Home Rule. But coming to the subject of Home Rule,
+though there may be much to say, perhaps this is neither the occasion
+nor the place to say it. The Irish problem is dormant, not solved; but
+the policy proposed by Mr. Gladstone for the solution of this question
+has provoked too much bitterness, too deep division, even on the floor
+of this House, to make it advisable to say anything about it on this
+occasion.
+
+I notice it, however, simply because it is the last and everlasting
+monument of that high sense of justice which, above all things,
+characterized him. When he became convinced that Home Rule was the
+only method whereby the long-open wound could be healed, he did not
+hesitate one moment, even though he were to sacrifice friends, power,
+popularity. And he sacrificed friends, power, popularity, in order to
+give that supreme measure of justice to a long-suffering people.
+Whatever may be the views which men entertain upon the policy of Home
+Rule, whether they favour that policy or whether they oppose it,
+whether they believe in it or whether they do not believe in it, every
+man, whether friend or foe of that measure, must say that it was not
+only a bold, but it was a noble thought, that of attempting to cure
+discontent in Ireland by trusting to Irish honour and Irish
+generosity.
+
+Now, Sir, he is no more. England is to-day in tears, but fortunate is
+the nation which has produced such a man. His years are over; but his
+work is not closed; his work is still going on. The example which he
+gave to the world shall live for ever, and the seed which he has sown
+with such a copious hand shall still germinate and bear fruit under
+the full light of heaven.
+
+      --_Sir Wilfrid Laurier (By permission)_
+
+
+  In reading this speech, apply the principles of Pause,
+  Inflection, Grouping, Emphasis, and Perspective
+  illustrated in the preceding lessons.
+
+       *       *       *       *       *
+
+
+THE DOWNFALL OF WOLSEY
+
+From "King Henry VIII" Act III. Scene ii.
+
+
+  Farewell! a long farewell, to all my greatness!
+  This is the state of man: to-day he puts forth
+  The tender leaves of hope; to-morrow blossoms,
+  And bears his blushing honours thick upon him;
+  The third day comes a frost, a killing frost,                        5
+  And,--when he thinks, good easy man, full surely
+  His greatness is a-ripening,--nips his root,
+  And then he falls, as I do. I have ventured,
+  Like little wanton boys that swim on bladders,
+  This many summers in a sea of glory,                                10
+  But far beyond my depth: my high-blown pride
+  At length broke under me; and now has left me,
+  Weary, and old with service, to the mercy
+  Of a rude stream, that must for ever hide me.
+  Vain pomp and glory of this world, I hate ye:                       15
+  I feel my heart new open'd. O, how wretched
+  Is that poor man that hangs on princes' favours!
+  There is, betwixt that smile we would aspire to,
+  That sweet aspect of princes, and their ruin,
+  More pangs and fears than wars or women have;                       20
+  And when he falls, he falls like Lucifer,
+  Never to hope again.--
+
+[_Enter Cromwell, and stands amazed_]
+
+    Why, how now, Cromwell!
+
+  _Crom._ I have no power to speak, sir.
+
+  _Wol._ What! amaz'd
+  At my misfortunes? can thy spirit wonder
+  A great man should decline? Nay, an you weep,                       25
+  I am fall'n indeed.
+
+  _Crom._ How does your grace?
+
+  _Wol._ Why, well;
+  Never so truly happy, my good Cromwell.
+  I know myself now; and I feel within me
+  A peace above all earthly dignities,
+  A still and quiet conscience. The king has cur'd me,                30
+  I humbly thank his grace; and from these shoulders,
+  These ruin'd pillars, out of pity, taken
+  A load would sink a navy,--too much honour:
+  O, 't is a burden, Cromwell, 't is a burden,
+  Too heavy for a man that hopes for heaven!                          35
+
+  _Crom._ I am glad your grace has made that right
+  use of it.
+
+  _Wol._ I hope I have: I am able now, methinks,--
+  Out of a fortitude of soul I feel--
+  To endure more miseries, and greater far,
+  Than my weak-hearted enemies dare offer.                            40
+  What news abroad?
+
+  _Crom._ The heaviest, and the worst
+  Is your displeasure with the king.
+
+  _Wol._ God bless him!
+
+  _Crom._ The next is, that Sir Thomas More is chosen
+  Lord chancellor in your place.
+
+  _Wol._ That's somewhat sudden:
+  But he's a learned man. May he continue                             45
+  Long in his highness' favour, and do justice
+  For truth's sake, and his conscience; that his bones,
+  When he has run his course and sleeps in blessings,
+  May have a tomb of orphans' tears wept on 'em!--
+  What more?                                                          50
+
+  _Crom._ That Cranmer is return'd with welcome,
+  Install'd Lord Archbishop of Canterbury.
+
+  _Wol._ That's news indeed.
+
+  _Crom._                    Last, that the Lady Anne,
+  Whom the king hath in secrecy long married,
+  This day was view'd in open, as his queen,                          55
+  Going to chapel; and the voice is now
+  Only about her coronation.
+
+  _Wol._ There was the weight that pull'd me down.
+      O Cromwell,
+  The king has gone beyond me: all my glories
+  In that one woman I have lost for ever.                             60
+  No sun shall ever usher forth mine honours,
+  Or gild again the noble troops that waited
+  Upon my smiles. Go, get thee from me, Cromwell;
+  I am a poor fall'n man, unworthy now
+  To be thy lord and master. Seek the king;                           65
+  That sun, I pray, may never set! I have told him
+  What and how true thou art: he will advance thee;
+  Some little memory of me will stir him--
+  I know his noble nature--not to let
+  Thy hopeful service perish too. Good Cromwell,                      70
+  Neglect him not; make use now, and provide
+  For thine own future safety.
+
+  _Crom._                  O my lord,
+  Must I, then, leave you? must I needs forego
+  So good, so noble, and so true a master?
+  Bear witness, all that have not hearts of iron,                     75
+  With what a sorrow Cromwell leaves his lord.
+  The king shall have my service; but my prayers,
+  For ever and for ever, shall be yours.
+
+  _Wol._ Cromwell, I did not think to shed a tear
+  In all my miseries; but thou hast forced me,                        80
+  Out of thy honest truth, to play the woman.
+  Let's dry our eyes; and thus far hear me, Cromwell:
+  And--when I am forgotten, as I shall be,
+  And sleep in dull cold marble, where no mention
+  Of me more must be heard of--say, I taught thee,                    85
+  Say, Wolsey, that once trod the ways of glory,
+  And sounded all the depths and shoals of honour,
+  Found thee a way, out of his wrack, to rise in;
+  A sure and safe one, though thy master miss'd it.
+  Mark but my fall, and that that ruin'd me.                          90
+  Cromwell, I charge thee, fling away ambition:
+  By that sin fell the angels; how can man, then,
+  The image of his Maker, hope to win by 't?
+  Love thyself last; cherish those hearts that hate thee;
+  Corruption wins not more than honesty.                              95
+  Still in thy right hand carry gentle peace,
+  To silence envious tongues. Be just, and fear not:
+  Let all the ends thou aim'st at be thy country's,
+  Thy God's, and truth's: then if thou fall'st, O Cromwell,
+  Thou fall'st a blessed martyr. Serve the king;                     100
+  And--pr'ythee lead me in:
+  There take an inventory of all I have,
+  To the last penny; 't is the king's: my robe,
+  And my integrity to Heaven, is all
+  I dare now call my own. O Cromwell, Cromwell!                      105
+  Had I but served my God with half the zeal
+  I served my king, He would not in mine age
+  Have left me naked to mine enemies.
+
+  _Crom._ Good sir, have patience.
+
+  _Wol._                  So I have. Farewell                        110
+  The hopes of court! my hopes in heaven do dwell.
+
+        --_Shakespeare_
+
+
+  Compare the last words of Wolsey with those of Socrates
+  as found in Jowett's translation of _The Apology_, (p.
+  145.)
+
+  BE JUST ... MARTYR. Show that the life and death of
+  Socrates illustrates this ideal.
+
+  Compare the Pitch in which Wolsey utters his monologue
+  with that in which he addresses Cromwell. (Introduction,
+  p. 23.)
+
+  How is the parenthetical clause in ll. 6 and 7 kept in
+  the back-ground? (Introduction, p. 24.) Select similar
+  examples from Wolsey's speeches.
+
+  AND FROM THESE SHOULDERS ... NAVY. Supply the ellipses.
+
+  BY THAT SIN ... WIN BY 'T? Select the emphatic words and
+  account for the Emphasis in each case. (Introduction, p.
+  30.)
+
+       *       *       *       *       *
+
+
+THE ITALIAN IN ENGLAND
+
+
+  That second time they hunted me
+  From hill to plain, from shore to sea,
+  And Austria, hounding far and wide
+  Her blood-hounds thro' the country-side,
+  Breathed hot and instant on my trace.--                              5
+  I made, six days, a hiding-place
+  Of that dry green old aqueduct
+  Where I and Charles, when boys, have plucked
+  The fireflies from the roof above,
+  Bright creeping thro' the moss they love:                           10
+  --How long it seems since Charles was lost!
+  Six days the soldiers crossed and crossed
+  The country in my very sight;
+  And when that peril ceased at night,
+  The sky broke out in red dismay                                     15
+  With signal-fires. Well, there I lay
+  Close covered o'er in my recess,
+  Up to the neck in ferns and cress,
+  Thinking on Metternich our friend,
+  And Charles's miserable end,                                        20
+  And much beside, two days; the third,
+  Hunger o'ercame me when I heard
+  The peasants from the village go
+  To work among the maize: you know,
+  With us in Lombardy, they bring                                     25
+  Provisions packed on mules, a string
+  With little bells that cheer their task,
+  And casks, and boughs on every cask
+  To keep the sun's heat from the wine;
+  These I let pass in jingling line,                                  30
+  And, close on them, dear noisy crew,
+  The peasants from the village, too;
+  For at the very rear would troop
+  Their wives and sisters in a group
+  To help, I knew. When these had passed,                             35
+  I threw my glove to strike the last,
+  Taking the chance: she did not start,
+  Much less cry out, but stooped apart,
+  One instant rapidly glanced round,
+  And saw me beckon from the ground;                                  40
+  A wild bush grows and hides my crypt,
+  She picked my glove up while she stripped
+  A branch off, then rejoined the rest
+  With that; my glove lay in her breast:
+  Then I drew breath; they disappeared:                               45
+  It was for Italy I feared.
+
+  An hour, and she returned alone
+  Exactly where my glove was thrown.
+  Meanwhile came many thoughts; on me
+  Rested the hopes of Italy;                                          50
+  I had devised a certain tale
+  Which, when 't was told her, could not fail
+  Persuade a peasant of its truth;
+  I meant to call a freak of youth
+  This hiding, and give hopes of pay,                                 55
+  And no temptation to betray.
+  But when I saw that woman's face,
+  It's calm simplicity of grace,
+  Our Italy's own attitude
+  In which she walked thus far, and stood,                            60
+  Planting each naked foot so firm,
+  To crush the snake and spare the worm--
+  At first sight of her eyes, I said,
+  "I am that man upon whose head
+  They fix the price, because I hate                                  65
+  The Austrians over us; the State
+  Will give you gold--oh, gold so much!--
+  If you betray me to their clutch,
+  And be your death, for aught I know,
+  If once they find you saved their foe.                              70
+  Now, you must bring me food and drink,
+  And also paper, pen and ink,
+  And carry safe what I shall write
+  To Padua, which you'll reach at night
+  Before the duomo shuts; go in,                                      75
+  And wait till Tenebrae begin;
+  Walk to the third confessional,
+  Between the pillar and the wall,
+  And kneeling whisper, _Whence comes peace?_
+  Say it a second time, then cease;                                   80
+  And if the voice inside returns,
+  _From Christ and Freedom; what concerns
+  The cause of Peace?_--for answer, slip
+  My letter where you placed your lip;
+  Then come back happy we have done                                   85
+  Our mother service--I, the son,
+  As you the daughter of our land!"
+
+    Three mornings more, she took her stand
+  In the same place, with the same eyes:
+  I was no surer of sunrise                                           90
+  Than of her coming: we conferred
+  Of her own prospects, and I heard
+  She had a lover--stout and tall,
+  She said--then let her eyelids fall,
+  "He could do much"--as if some doubt                                95
+  Entered her heart,--then, passing out,
+  "She could not speak for others, who
+  Had other thoughts; herself she knew":
+  And so she brought me drink and food.
+  After four days, the scouts pursued                                100
+  Another path; at last arrived
+  The help my Paduan friends contrived
+  To furnish me: she brought the news.
+  For the first time I could not choose
+  But kiss her hand, and lay my own                                  105
+  Upon her head--"This faith was shown
+  To Italy, our mother; she
+  Uses my hand and blesses thee."
+  She followed down to the sea-shore;
+  I left and never saw her more.                                     110
+
+    How very long since I have thought
+  Concerning--much less wished for--aught
+  Beside the good of Italy,
+  For which I live and mean to die!
+  I never was in love; and since                                     115
+  Charles proved false, what shall now convince
+  My inmost heart I have a friend?
+  However, if I pleased to spend
+  Real wishes on myself--say, three--
+  I know at least what one should be.                                120
+  I would grasp Metternich until
+  I felt his red wet throat distil
+  In blood thro' these two hands. And next,
+  --Nor much for that am I perplexed--
+  Charles, perjured traitor, for his part,                           125
+  Should die slow of a broken heart
+  Under his new employers. Last,
+  --Ah, there, what should I wish? For fast
+  Do I grow old and out of strength.
+  If I resolved to seek at length                                    130
+  My father's house again, how scared
+  They all would look, and unprepared!
+  My brothers live in Austria's pay
+  --Disowned me long ago, men say;
+  And all my early mates who used                                    135
+  To praise me so--perhaps induced
+  More than one early step of mine--
+  Are turning wise: while some opine
+  "Freedom grows license", some suspect
+  "Haste breeds delay", and recollect                                140
+  They always said, such premature
+  Beginnings never could endure!
+  So, with a sullen "All's for best",
+  The land seems settling to its rest.
+  I think then, I should wish to stand                               145
+  This evening in that dear, lost land,
+  Over the sea the thousand miles,
+  And know if yet that woman smiles
+  With the calm smile; some little farm
+  She lives in there, no doubt: what harm                            150
+  If I sat on the door-side bench,
+  And, while her spindle made a trench
+  Fantastically in the dust,
+  Inquired of all her fortunes--just
+  Her children's ages and their names,                               155
+  And what may be the husband's aims
+  For each of them. I'd talk this out,
+  And sit there, for an hour about,
+  Then kiss her hand once more, and lay
+  Mine on her head, and go my way.                                   160
+
+  So much for idle wishing--how
+  It steals the time! To business now.
+
+      --_Robert Browning (By permission)_
+
+
+  PREPARATORY.--What is the historical back-ground of this
+  poem? Suggest the possible details of the exiled
+  patriot's life in England, his surroundings and frame of
+  mind at the moment of speaking.
+
+  Reconstruct for yourself the three scenes of which the
+  peasant woman is the centre.
+
+  What qualities did the Italian at once recognize in the
+  peasant woman which led him to intrust his safety to
+  her?
+
+  79. WHENCE COMES PEACE? In what Quality of voice is this
+  read? Give your reason. (Introduction, p. 34.)
+
+  95. HE COULD DO MUCH. How is the doubt in this speech
+  and in the one following indicated by the Inflection?
+  (Introduction, p. 18.)
+
+  111-112. With what is THOUGHT CONCERNING connected? How?
+
+  120-123. I KNOW AT LEAST ... HANDS. What Quality of
+  voice expresses the feeling here? What succeeding lines
+  have the same Quality? (Introduction, p. 35.) With what
+  is NEXT connected? How?
+
+  139-142. FREEDOM GROWS LICENSE ... ENDURE. How is the
+  irony of these lines indicated? (Introduction, pp. 21
+  and 30.)
+
+  How does the mood of the last two lines differ from the
+  preceding? What is the difference in vocal expression?
+
+       *       *       *       *       *
+
+
+ADVANTAGES OF IMPERIAL FEDERATION
+
+From an address delivered in Toronto, January 30th, 1891, under the
+auspices of the Imperial Federation League
+
+
+I now go on to mention another and greater advantage of Imperial
+Federation than the one which we have just been considering; an
+advantage too that is so connected with that of improved trade that
+the two must be considered together. In fact, in my opinion, the first
+is not likely to be obtained without the second. We cannot expect
+Britain to concede preferential trade to us, on the ground that we are
+part of the Empire, unless we are willing to share the
+responsibilities of the Empire. I say then, secondly, that only by
+some form of Imperial Federation can the independence of Canada be
+preserved, with due regard to self-respect.
+
+If this is true, if Imperial Federation can do this, and if it can be
+done in no other way, then the necessity for Imperial Federation is
+proved; for national independence is an advantage so great that no
+price can be named that is too great to give in payment. It is the
+same with a country as with a man. Independent he must be, or he
+ceases to be a man. Burns advises his young friend to "gather gear" in
+every honourable way, and what for?
+
+  Not for to hoard it in a dyke,
+    Not for a train attendant;
+  But for the glorious privilege
+    Of being independent.
+
+And that which is the supreme dignity of manhood is even more
+essential in the case of a nation.
+
+What do we mean when we speak of the independence of the country? We
+mean something beyond price, something that is the indispensable
+condition of true manhood in any country, something without which a
+country is poor in the present and a butt for the world's scorn in the
+future. There are men, or things that look like men, who say that as
+long as we put money in our purse, nothing else counts. How that class
+of men must have laughed some centuries ago at a fool called William
+Wallace! How clearly they could point out that it was much better to
+be part of the richer country to the south. When they heard of the
+fate of the patriot, did they not serenely say: "We told you so?" Did
+they not in their hearts envy the false Menteath the price he got for
+betraying the man who acted as true sentiment bade? But, give it time,
+and the judgment of the world is just. Even the blind can now see
+whether the patriot or the so-called "practical man" did most for
+Scotland's advantage. Now
+
+  At Wallace' name, what Scottish blood
+  But boils up in a springtime flood!
+  Oft have our fearless fathers strode
+        By Wallace' side,
+  Still pressing onward, red-wat shod,
+        Or glorious died.
+
+What has his memory been worth to Scotland! Would you estimate it in
+millions? Superior persons will tell me that Wallace is an
+anachronism. In form, yes; in spirit, never. It may be said that in
+the end Scotland did unite with England. Yes, but first, what a curse
+the union would have been if unaccompanied, as in the case of Ireland,
+with national self-respect! And, secondly, Canada is ready for union
+with the States any day on the same terms as those which Scotland got:
+(1) That the States accept our Queen or King as their head. (2) That
+we keep our own civil and criminal law and parliamentary constitution,
+as Scotland did. (3) That the whole Empire be included in the
+arrangement, as the whole of Scotland was in the union. Surely the men
+who are never tired of citing the case of Scotland and England as
+parallel to ours must admit that this is fair.
+
+But, here comes a question that must be faced. Is it worth while
+preserving the independence, the unity, and dignity of Canada? There
+are men who, for one reason or another, doubt whether it is. They have
+lost faith in the country, or rather they never had any faith to lose.
+It is this absence of faith that is at the bottom of all their
+arguments and all their unrest. Now, I do not wonder that there should
+be men who do not share our faith. Men who were brought up in England,
+and who have seen and tasted the best of it; who are proud of that
+"dear, dear land", as Shakespeare called it, proud of its history, its
+roll of saints, statesmen, heroes; of its cathedrals, colleges,
+castles; of its present might as well as its ancient renown; and who
+have then come to live in Canada,--well, they naturally look with
+amused contempt at our raw, rough ways, our homespun legislators and
+log colleges, combined with lofty ambitions expressed sometimes--it
+must be admitted--in bunkum. I do not wonder, either, that men who
+have been citizens of the United States, who exult in its vast
+population, its vast wealth, and its boundless energy, should think it
+madness on our part that we are not knocking untiringly at their door
+for admission, and that the only explanation of our attitude that they
+can give is that we are "swelled heads", or "the rank and file of
+jingoism." But, after all, they must know that this question is not to
+be settled by them. It must be settled by genuine Canadians. We, like
+Cartier, are Canadians _avant tout_. Most of us have been born in the
+land, have buried our fathers and mothers, and some of us our
+children, too, in the natal soil, and above the sacred dust we have
+pledged ourselves to be true to their memories and to the country they
+loved, and to those principles of honour that are eternal! God
+helping, we will do so, whether strangers help or hinder! We do not
+think so meanly of our country that we are willing to sell it for a
+mess of pottage. I know Canada well, from ocean to ocean; from the
+rich sea pastures on the Atlantic all the way across to Vancouver and
+Victoria. Every province and every territory of it, I know well. I
+know the people, too, a people thoroughly democratic and honest to the
+core. I would now plainly warn those who think that there is no such
+thing as Canadian sentiment that they are completely mistaken. They
+had better not reckon without their host. The silent vote is that
+which tells, and though it will not talk, it will vote solid all the
+time for those who represent national sentiment when the national life
+is threatened. I am not a party man. In my day, I have voted about
+evenly on both sides, for when I do vote, it is after consideration of
+the actual issues involved at the time. Both sides therefore rightly
+consider me unreliable, but, perhaps, both will listen when I point
+out that the independent vote is increasing, and that it is the only
+vote worth cultivating. The true Grit or Tory will vote with his
+party, right or wrong. No time, therefore, need be given to him. Let
+the wise candidate win the men who believe that the country is higher
+than party, and there is, I think, only one thing that these men will
+not forgive--lack of faith in the country. They have no doubt that it
+is worth while to preserve the unity, dignity, and independence of
+Canada.
+
+We are quite sure of this. Are we as sure that it is our duty to pay
+the price? The United States are paying three or four times our whole
+revenue in pensions to those who fought to keep the country united.
+They do not grudge this enormous price. They have besides a
+respectable army, and a fleet that will soon be formidable. What means
+do we find it necessary to use? In any trouble we simply call on the
+Mother Country. The present system is cheap. No! it is dear and nasty,
+and cannot last.
+
+What should we do? First, let us remember what Britain has dared for
+us within the last two or three years. Britain would fight the rest of
+the world rather than the United States,--not because the Republic
+could hurt her seriously, not because her trade with it is five times
+as much as with us, but because she is proud of her own eldest child
+and knows that a war between mother and daughter would be a blow
+struck at the world's heart. Yet, for us she spoke the decisive word
+from which there was no drawing back. For us, once and again, because
+we were in the right, she dared a risk which she hated with her whole
+soul.
+
+Let us show that we appreciate her attitude. Let us, at any rate, do
+what Australia has done--enter into a treaty, according to which we
+shall pay so much a year for a certain number of ships, to be on our
+own coasts in peace, and in war at the disposal of the Empire. That
+would be tantamount to saying: "You have shared our risks, we will
+share yours; we will pay part of the insurance that is necessary to
+guarantee peace; we are educating officers for the army, and we are
+willing to give a much needed addition to the fleet". That would be a
+first step toward the attainment of full citizenship. What would be
+the next? We could ask that our voice should be heard in some
+constitutional way before any war was decided on. And we would have
+the right standing ground from which to urge a wise system of
+preferential trade in the common interest. These three things are, in
+my opinion, connected, and I have ventured to indicate the order in
+which they should be taken.
+
+Would it pay? The experience of the world proves that nothing pays in
+the long run but duty-doing. How can a country grow great men if it is
+content to be in leading-strings, and to give plausible excuses to
+show that that state of things is quite satisfactory?
+
+Only by some form of Imperial Federation can the unity of the Empire
+be preserved.
+
+The previous advantages to which I referred concerned Canada directly.
+This one may appear, to some persons, far away from us, but it is not.
+In another speech I may enlarge on this advantage, but suffice it to
+say now, that we cannot isolate ourselves from humanity. Canada ought
+to be dearer to us than any other part of the Empire, but none the
+less we must admit that the Empire is more important to the world than
+any of its parts, and every true man is a citizen of the world.
+
+I will not speak to-night of what the Empire has done for us in the
+past, of the rich inheritance into which we have entered, and of the
+shame that falls on children who value lightly the honour of their
+family and race. Consider only the present position of affairs. The
+European nations are busy watching each other. Britain is detaching
+herself from them, understanding that she is an oceanic, colonizing,
+and world power, much more than a European state. The United States
+and Britain are the two Powers, one in essence, cradled in freedom,
+that have a great future before them. According to the last census,
+the first has a population of some fifty-four millions of whites. The
+census of next April will show that the other has nearly forty
+millions in the home islands and ten millions in the self-governing
+Colonies. The two Powers have thus about the same population of white
+men, and the two are likely to grow at the same rate.
+
+In Britain the rate of increase will be less, but in the Colonies it
+will be greater than in the States during the next half century. The
+States will keep united. They have stamped out disunion. We have to
+prove that we intend to keep the Empire united; but that can be done
+only by giving the ten millions a gradually increasing share in common
+privileges and responsibilities. Surely such a work is not beyond the
+resources of statesmanship. For a long time decentralization was
+needed. Now, all the signs of the times indicate the necessity to
+centralize. The days of small powers are over, and modern inventions
+make communication easy between east and west, as well as between
+north and south.
+
+If this is not done, what will certainly happen? Separation, first of
+one part then of another; weakness of each part and weakness all
+round. Think of the impetus that this would give to every force that
+makes for chaos among the three hundred millions over whom God in His
+providence has placed us. The work that the British Empire has in hand
+is far grander than the comparatively parochial duties with which the
+States are content to deal. Its problems are wider and more inspiring;
+yet, at the same time, the white race that alone, so far, has proved
+itself fit for self-government, lives by itself, instead of being
+commingled with a coloured race to which only nominal freedom is
+allowed. Any one who has lived either in South Africa or in the
+Southern States will understand what a free hand and what an
+unspeakable leverage this gives us. We need no Force Bill to ensure a
+free ballot in Britain, Canada, Australia, or New Zealand. Already our
+sons are taking their part in introducing civilization into Africa,
+under the aegis of the flag, and in preserving the _Pax Britannica_
+among the teeming millions of India and southeastern Asia, those
+peoples kindred to ourselves, who for centuries before had been the
+prey of successive spoilers. Think of the horizon that this opens up,
+and remember that in building a state we must think not of the present
+but of the future.
+
+In a generation all the best land on this continent will have been
+taken up. But, thanks to the far-reaching wisdom of our fathers, the
+greater part of the world will be open to the trade, to the
+colonizing, and to the enterprise of our children. We shall not be
+confined to a frozen north or to a single continent. We shall take
+part in work that is of world-wide significance, and shall act out our
+belief that God loves not North America only, but the whole world.
+Only on conditions of the British Empire standing, can this be done.
+This is the ideal that we should set before us, and remember that no
+people has ever been a great or permanent factor in the world that was
+without high ideals. I know that this advantage to which I am
+referring is not one that can be calculated in dollars, any more than
+the work of a Wallace or the poems of a Shakespeare, the life of
+Sydney or the death of Gordon; but it is an advantage none the less
+for which many of us are content to struggle and, if need be, to
+suffer. What are we in this world for? Surely for something higher
+than to still the daily craving of appetite. Surely for something
+higher than to accumulate money, though it should be to the extent of
+adding million to million. Surely we are in the world for something
+better! Yes, we are here to think great thoughts, to do great things,
+to promote great ideals. This can be done only through faithfulness to
+the best spirit of our fathers. Society is an organism, and must
+preserve its continuity. It must work, too, through instruments; and
+the most potent, keenest, best-tried instrument on earth for
+preserving peace, order, liberty and righteousness, is the Empire of
+which we are citizens. Shall we throw away that citizenship, or shall
+we maintain and strengthen that Empire?
+
+      --_George Monro Grant (By permission)_
+
+
+  Apply the principles of Emphasis, Inflection, Grouping,
+  and Perspective in reading this address. Give specific
+  illustrations of each.
+
+       *       *       *       *       *
+
+
+COLLECT FOR DOMINION DAY
+
+
+  Father of nations! Help of the feeble hand!
+    Strength of the strong! to whom the nations kneel!
+  Stay and destroyer, at whose just command
+    Earth's kingdoms tremble and her empires reel!
+  Who dost the low uplift, the small make great,                       5
+    And dost abase the ignorantly proud,
+  Of our scant people mould a mighty state,
+    To the strong, stern,--to Thee in meekness bowed!
+  Father of unity, make this people one!
+    Weld, interfuse them in the patriot's flame,--                    10
+  Whose forging on Thine anvil was begun
+    In blood late shed to purge the common shame;
+  That so our hearts, the fever of faction done,
+    Banish old feud in our young nation's name.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+       *       *       *       *       *
+
+
+ENGLAND
+
+
+  This royal throne of kings, this scepter'd isle,
+  This earth of majesty, this seat of Mars,
+  This other Eden, demi-paradise,
+  This fortress, built by Nature for herself
+  Against infection and the hand of war,
+  This happy breed of men, this little world,
+  This precious stone set in the silver sea.
+
+       *       *       *       *       *
+
+
+
+
+APPENDIX
+
+
+A
+
+EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION
+
+
+1. � as in ate, fate, cave, made, glade, pale.
+
+   â as in air, fair, chair, hair, lair, pair, care, dare, bare,
+     share, bear, fairy, compare, parent, prayer, garish, there, heir.
+
+   ă as in at, that, and, damp, glad, bade, castle, baron, barrel.
+
+   ä as in far, arm, hark, charm, march, bard, calm, palm, psalm,
+     balm, half, alms, father, dark, wrath, path, marsh, laugh.
+
+   ȧ as in ask, grasp, fast, last, pass, past, branch, chance, dance,
+     mast, vast, gasp, quaff, craft, staff, chant, grass, mass.
+
+   ạ as in all, talk, squall, dawn, warp, hawk, laurel, haughty, halt.
+
+   a obscure, in final medial syllables, unaccented, and closed by n,
+     l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan,
+     vacancy, mortal, loyal, valiant, guidance, husband, breakfast,
+     gallant, ballad, etc.
+
+   Ä“ as in me, seem, reap, weed, lean, evil, redeem.
+
+   Ä• as in met, end, spell, debt, text, jest, when, merry, America,
+     ceremony.
+
+   ẽ (coalescent) as in her, fern, earth, mercy, verse, stern, earl,
+     pearl, term, verge, prefer, serge, earn, early.
+
+   Ä« as in time, tide, mile, wine, high, size.
+
+   Ä­ as in pin, grim, king, gift, this, grip.
+
+   Ä© (coalescent) as in bird, girl, fir, stir, girdle, circle, virgin,
+     first.
+
+   � as in note, old, spoke, pole, wrote, joke.
+
+   � as in not, shot, top, odd, honest, comic, on, gone, off, often,
+     dog, (not "dawg"), God, soft, long, song, strong, coral, orange,
+     foreign, torrid, coronet, corridor, correlate.
+
+   ô as in corn, lord, stork, orb, form, forlorn, morn, short, adorn.
+
+   o as in word, work, worm, worry.
+
+   ȯ as in love, done, some, cover, brother, another, month, company,
+     Monday, front, covet, wonder, sponge, smother.
+
+   ö as in do, move, who, whose, lose, prove, too, bosom.
+
+   Å« as in use, pure, duke, tune, tube, blue, duty, flew, new,
+     student, subdue, pursue, absolute, illumine, tumult, suit, during,
+     pursuit, presume, lunacy, Tuesday, numeral.
+
+   Å­ as in us, up, but, drum, dusk, trust.
+
+   á¹³ as in rude, brute, fruit, sure, true, construe, recruit.
+
+   ụ as in full, pull, put, push, cushion, bushel, pulpit, bullet.
+
+   û as in hurt, burr, cur, fur, furl, burst, purr, recur, curfew,
+     furlong, surge, urn.
+
+Note that ä in far and ȧ in ask are called long Italian
+_a_ and short Italian _a_ respectively. The quality of
+the sound is the same in each, but they differ in
+quantity, the latter being shorter.
+
+The following vowels have the same sound:
+
+   ẽ (coalescent) and ĩ (coalescent);
+
+   ö as in do, ṳ as in rude, and �� as in food;
+
+   o as in word and û as in hurt;
+
+   o as in love and û as in us.
+
+After marking the vowels diacritically read the following passages,
+paying special attention to the vowel sounds:
+
+
+  So Lord Howard passed away with five ships of war that day.
+
+  That desperate grasp thy frame might feel
+  Through bars of brass and triple steel.
+
+  The guide, abating of his pace,
+  Led slowly through the pass's jaws,
+  And asked Fitz-James by what strange cause
+  He sought these wilds, traversed by few
+  Without a pass from Roderick Dhu.
+
+  The hand cannot clasp the whole of his alms,
+  The heart outstretches its eager palms.
+
+  O listen, ladies, ladies gay!
+  No haughty feat of arms I tell;
+  Soft is the note, and sad the lay
+  That mourns the lovely Rosabelle.
+
+  And when the Angel met him on his way,
+  And half in earnest, half in jest, would say,
+  Sternly, though tenderly, that he might feel
+  The velvet scabbard held a sword of steel,
+  "Art thou the King?" the passion of his woe
+  Burst from him in resistless overflow,
+  And, lifting high his forehead, he would fling
+  The haughty answer back, "I am, I am the King!"
+
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward,
+  Till past Clan-Alpine's outmost guard,
+  'As far as Coilantogle's ford;
+  From thence thy warrant is thy sword.
+
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+
+2. Distinguish the sound of _Å«_ in use, pure, duke, etc.,
+
+  from the sound of _oo_ in
+    food, hoof, mood, rood, roof, soot, aloof,
+  and from the sound of _oo_ in
+    book, good, nook, hood, rook, look, foot, crook.
+
+Read the following with special reference to these sounds:
+
+  Flew flashing under the blinding blue.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+  She look'd down to Camelot.
+
+  Singing the bridal of sap and shoot,
+  The tree's slow life between root and fruit.
+
+  ... helter-skelter through the blue
+  Like a crowd of frightened porpoises a shoal of sharks pursue.
+
+  While on dreary moorlands lonely curlew pipe.
+
+  My Lords, you have that true image of the primitive Church in
+      its ancient form, in its ancient ordinances, purified from
+      the superstitions and vices which a long succession of
+      ages will bring upon the best institutions.
+
+3. Double and triple consonant endings present difficulties of
+articulation:--Robbed, bragged, divulged, mends, breathed, gossips,
+casques, barracks, depths, heights, lengths, breadths, lists, aspects,
+seethes, thirsteth, breathest, sheath'st, melt'st, search'st, sixths,
+twelfths, tests.
+
+Read with special reference to the articulation of the final
+consonants:
+
+  You blocks, you stones, you worse than senseless things!
+
+  Scattering down the snow-flakes off the curdled sky.
+
+  With throats unslaked, with black lips baked.
+
+  The guests are met, the feast is set
+  May'st hear the merry din.
+
+  Who forgiveth all thine iniquities; who healeth all thy diseases;
+  Who satisfieth thy mouth with good things; so that thy youth
+      is renewed like the eagle's.
+
+  Spirit that breathest through my lattice,
+  Thou that cool'st the twilight of the sultry day.
+
+  He groped toward the door, but it was locked,
+  He cried aloud, and listened, and then knocked,
+  And uttered awful threatenings and complaints,
+  And imprecations upon men and saints.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from caverned Hawthornden.
+
+  Skilful artists thou employest,
+  And in chastest beauty joyest,
+  Forms most delicate, pure, and clear,
+  Frost-caught star-beams, fallen sheer
+  In the night, and woven here
+  In jewel-fretted tapestries.
+
+4. Sound distinctly the ending _ing_ in: Languishing, blackening,
+threatening, rushing, ascending, flashing, throbbing.
+
+  Roughening their crests and scattering high their spray,
+  And swelling the white sail.
+
+  Blazing with light and breathing with perfume.
+
+   . . . . a revolting shape
+  Shivering and chattering sat the wretched ape.
+  Lakelets' lisping wavelets lapping,
+  Round a flock of wild ducks napping,
+  And the rapturous-noted wooings,
+  And the molten-throated cooings
+  Of the amorous multitudes
+  Flashing through the dusky woods,
+  When a veering wind hath blown
+  A glare of sudden daylight down.
+
+  5. Sound final _d_ in "and":
+
+  Rest and a guide, and food and fire.
+
+  Away from the world, and its toils and its cares.
+
+  And the sun went down and the stars came out.
+
+  Peace, and order, and beauty draw
+  Round thy symbol of light and law.
+
+  East and west, and south and north
+    The messengers ride fast,
+  And tower, and town, and cottage,
+    Have heard the trumpet's blast.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!
+
+
+6. Articulate distinctly words in which the same or similar sounds
+immediately succeed each other:
+
+  Spanish ships of war at sea.
+
+  At Flores, in the Azores, Sir Richard Grenville lay.
+
+        Come Roderick Dhu,
+  And of his clan the boldest two.
+
+  Saint Fanny, my patroness sweet I declare.
+
+  Cast off earth's sorrows and know what I know,
+
+  When into the glad deep woods I go.
+
+  The silver vessels sparkle clean.
+
+  From the sails the dew did drip.
+
+  The sweetest songs are those that tell of saddest thought.
+
+  Thousands of their seamen looked down from their decks and laughed.
+
+
+7. Sound the letter _h_ in what, while, where, when, which, whether,
+white, whiten, whine, whist, etc.
+
+
+8. Avoid the sound of _u_ in:
+
+  for, from, was, because, when, what, etc.
+
+  for coalescent _e_ in:
+  her, earn, verse, mercy, verge, serge, prefer, ermine, etc.
+
+  for _Ä•_ in:
+  enemy, events, poem, etc.
+
+  for _Ä­_ in:
+  spirit, family, credible, visible, charity, unity, sanity,
+  humanity, ruin, promise, divide, divisible, dissolve, languid,
+  negative, similar, abominable, imitate, inimitable,
+  purity, native, etc.
+
+  for _i_ (coalescent) in:
+  sir, bird, girl, first, virgin, etc.
+
+  Vanity of vanities, saith the preacher; all is vanity.
+
+  Ruin seize thee, ruthless King!
+
+  A wind from the lands they had ruin'd.
+
+  Who was her father?
+  Who was her mother?
+  Had she a sister?
+  Had she a brother?
+  Or was there a dearer one
+  Still, and a nearer one
+  Yet, than all other?
+
+  Alas! for the rarity
+  Of Christian charity
+  Under the sun!
+  Oh! it was pitiful!
+  Near a whole city full
+  Home she had none.
+
+9. Avoid the sound of _ch_ for _t_ in: fortune, fortunate, future,
+futurity, nature, natural, picture, feature, etc.
+
+  King Robert's self in features, form and height.
+
+  For this man so vile and bent of stature
+  Rasped harshly against his dainty nature.
+
+  One more unfortunate
+  Weary of breath,
+  Rashly importunate
+  Gone to her death.
+
+
+
+
+B
+
+PHYSICAL EXERCISES
+
+
+(_These exercises form a course by themselves and should not be
+introduced into the regular reading lesson._)
+
+
+BREATHING.--The proper management of the breath is of the
+greatest importance in speaking and reading. Inhalation and exhalation
+should be gradual and natural, not spasmodic. The
+reader should never allow his supply of breath to be wholly exhausted,
+but should replenish it at regular intervals. Inhalation
+should be through the nostrils, not the mouth. This prevents
+gasping, and promotes and preserves a healthy condition of the
+vocal organs. It is not necessary to keep the mouth closed in
+order that the breath be inhaled through the nostrils. Inhalation
+may be effected when the mouth is open by allowing the tip of
+the tongue to touch the upper palate. All breathing exercises
+should be deep, commencing with the abdomen, and should expand
+the chest to the fullest capacity.
+
+
+_Exercise I._ Stand erect in a well ventilated room. Inhale
+slowly from the abdomen while counting five, hold the breath
+while counting five, and exhale while counting five.
+
+Repeat this exercise, gradually increasing the count by one
+until the maximum of ten or fifteen is reached.
+
+
+_Exercise II._ Practise the preceding exercise in the open air
+while walking, taking five steps while inhaling, holding the breath,
+and exhaling respectively. The count may be increased as in the
+preceding.
+
+
+_Exercise III._ Stand erect, arms akimbo, fingers pressing the
+abdominal muscles in front, thumbs on the dorsal muscles on each
+side of the spine. Rise slowly on the toes while inhaling, hold the
+breath while standing on tiptoe, and exhale while gradually resuming
+the original position. In each case regulate the count as
+in the preceding exercises.
+
+
+_Exercise IV._ Stand erect, arms hanging loosely at the sides.
+Inhale slowly, rising on the toes, clenching the fists with gradually
+increased intensity, and raising them to the arm-pits. Expel
+the breath suddenly, dropping back to the original position.
+
+
+CHEST AND LUNGS.--Gymnastic exercises, such as develop the
+chest and lungs, are of great importance, since they regulate the
+breathing capacity.
+
+_Exercise I._ Stand erect, arms hanging loosely at the sides.
+Raise the arms slowly to the vertical position over the head, making
+the hands meet with palms outward, the thumb of the left
+hand over the right, rising on the toes at the same time; then let
+the arms fall apart slowly to their original position, while coming
+down on the heels.
+
+_Exercise II._ Stand erect as in the preceding. Bring the
+arms slowly forward until the hands meet on a level with the
+mouth, bending forward slightly and rising on the toes; then
+throw back the arms in a circular movement, allowing them to
+fall to their original position, coming down on the heels at the
+same time.
+
+_Exercise III._ Raise the hands above the head; bring down
+the elbows to the sides; shoot out the hands in front; bring in
+the elbows to the sides; shoot down the hands toward the floor;
+firing up the elbows to the sides. Repeat. This exercise may
+be practised with hands clenched.
+
+THROAT AND NECK.--Exercises of the throat and neck develop
+and keep flexible the vocal cords, which are of prime importance
+in producing pure tones.
+
+_Exercise I._ Stand erect. Look at the ceiling; allow the head
+to drop backward as far as possible; then bring the head slowly
+forward until the chin rests on the chest. Repeat.
+
+_Exercise II._ Stand erect. Twist the head slowly to the
+left, without moving the shoulders, until the chin is parallel to the
+left shoulder; then slowly twist the head to the right, without
+moving the shoulders, until the chin is parallel to the right
+shoulder. Repeat.
+
+_Exercise III._ Press the head to the left until the left ear
+rests almost on the left shoulder, raising the right arm above the
+head at the same time. Practise this exercise, pressing the head
+to the right and raising the left arm. Repeat.
+
+MOUTH.--To produce the finest tones of the voice, three conditions
+of the mouth are necessary:
+
+(1) The mouth must be well opened.
+(2) The vocal aperture must be large.
+(3) The jaws must be flexible.
+
+If the mouth is well opened the tones are full; if partially
+closed they are muffled. The vocal aperture is the opening in the
+rear of the mouth produced by the elevation of the uvula, and
+the depression of the root of the tongue and the larynx. The
+purity and richness of the voice depend, to a great extent, upon
+the capacity of the vocal aperture. If it is of small capacity, or
+contracted, the tones are impure and nasal.
+
+The mode of producing pure tones can be studied best before
+a mirror placed so that the light falls upon the back part of the
+mouth.
+
+_Exercise I._ Open the mouth to the fullest extent and close
+rapidly. Repeat.
+
+_Exercise II._ Open the mouth to the fullest extent, so that
+the uvula rises and almost disappears, and the root of the tongue
+and larynx are depressed. The action is similar to yawning, and
+to accomplish it "think a yawn", if necessary.
+
+
+
+
+C
+
+LIST OF REFERENCE BOOKS.
+
+
+How to Teach Reading in the Public Schools. S. H. Clark.
+(Scott, Foresman & Co.)
+
+The Voice and Spiritual Education. Hiram Corson. (Macmillan
+& Co.)
+
+The Aims of Literary Study. Hiram Corson. (Macmillan
+& Co.)
+
+Practical Elocution. Fulton and Trueblood. (Ginn & Co.)
+
+Elementary Phonetics. A.W. Burt. (The Copp, Clark
+Co., Limited.)
+
+Enunciation and Articulation. Ella M. Boyce. (Ginn & Co.)
+
+Clear Speaking and Good Reading. Arthur Burrell. (Longmans,
+Green & Co.)
+
+Reading as a Fine Art. Ernest Legouvé. (Penn Publishing
+Co., Philadelphia.)
+
+Lessons in Vocal Expression. S. S. Curry. (The Expression
+Co., Boston.)
+
+
+
+
+
+End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+***** This file should be named 22795-0.txt or 22795-0.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/7/9/22795/
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/22795-0.zip b/22795-0.zip
new file mode 100644
index 0000000..a479277
--- /dev/null
+++ b/22795-0.zip
diff --git a/22795-8.txt b/22795-8.txt
new file mode 100644
index 0000000..71c7e86
--- /dev/null
+++ b/22795-8.txt
@@ -0,0 +1,12153 @@
+The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Ontario High School Reader
+
+Author: A.E. Marty
+
+Release Date: September 28, 2007 [EBook #22795]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+
+
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+THE ONTARIO
+
+HIGH SCHOOL READER
+
+BY
+
+A. E. MARTY, M.A.
+
+COLLEGIATE INSTITUTE, OTTAWA
+
+[Illustration]
+
+Authorized by the Minister of Education for Ontario
+For Use In
+Continuation and High Schools and Collegiate Institutes
+
+THE CANADA PUBLISHING COMPANY, LIMITED
+TORONTO
+
+Copyright, Canada, 1911, by
+
+The Canada Publishing Company, Limited.
+
+  +-------------------------------------------------+
+  | Transcriber's note: Words with bold font style  |
+  | are enclosed in equal to (=) signs.             |
+  | UTF-8 characters:                               |
+  | [~x] = x with a tilde                           |
+  | [x:] = x with two dots below (diaresis, umlaut) |
+  | [)x] = x with x with breve (u-shaped symbol)    |
+  | [=x] = x with macron (straight line)            |
+  | [.x] = x with a dot above                       |
+  | [x.] = x with a dot below                       |
+  +-------------------------------------------------+
+
+
+
+
+PREFACE
+
+
+After communication with many of the teachers who have
+been using the Principles and Practice of Oral Reading in their
+classes, the author has made a number of important additions and
+changes. In its amended form the book is published under the
+title of the "Ontario High School Reader."
+
+As the book is intended for the teaching of oral reading it
+contains an introductory chapter on the Principles of Reading, and
+selections for practice, with appended notes. An effort has also
+been made to grade the selections in the order of their difficulty.
+Accordingly, a number of selections, each illustrating in a marked
+degree only one, or at most two, of the various elements of Vocal
+Expression, have been placed at the beginning; these should, of
+course, be taught before the more complex selections are attempted.
+
+It is not intended that the pupil shall master the chapter on
+the principles before beginning to read the selections; he should
+become familiar with each topic as it is illustrated in the lesson.
+In dealing with each lesson the teacher should first ascertain the
+elements of vocal expression that it best exemplifies. He should
+then discuss these elements with the pupils, using the necessary
+paragraphs of the Introduction, and such black-board exercises as
+he may deem necessary, until he is satisfied that the pupils are
+ready to undertake the study of the selection. At the oral reading
+the pupils should be able to show their mastery of the principles
+thus taught. Toward the close of the course, they will naturally
+read connectedly the various sections of the Introduction, in order
+to obtain a comprehensive and systematic view of the principles.
+
+To secure good reading, systematic drill on the exercises in
+Vowel Sounds and in Articulation is also necessary.
+
+
+
+
+TABLE OF CONTENTS
+
+PRINCIPLES OF READING                                               1-35
+
+Importance of Oral Reading                                             1
+
+Mechanical Side of Oral Reading                                        2
+    Correct Pronunciation, Distinct Articulation.
+
+Expression                                                             3
+    Concrete Thinking, Abstract Thinking, Emotion.
+
+Elements of Vocal Expression                                           7
+    Pause, Grouping, Time, Inflection, Pitch, Force,
+    Stress, Emphasis, Shading, Perspective, Quality.
+
+
+SELECTIONS 36-305
+
+_The Banner of St. George_        Shapcott Wensley                    36
+
+Jean Valjean and the Bishop       Victor Hugo                         38
+
+_The Well of St. Keyne_           Robert Southey                      43
+
+Faith, Hope and Charity           Bible                               46
+
+_The Legend Beautiful_            Henry W. Longfellow                 47
+
+The Vicar's Family Use Art        Oliver Goldsmith                    52
+
+_The Soldier's Dream_             Thomas Campbell                     58
+
+_Van Elsen_ Frederick             George Scott                        60
+
+_Pibroch of Donuil Dhu_           Sir Walter Scott                    61
+
+_The Day is Done_                 Henry W. Longfellow                 63
+
+The Schoolmaster and the Boys     Charles Dickens                     65
+
+_The Knights' Chorus_             Alfred, Lord Tennyson               70
+
+_The Northern Star_               Unknown                             71
+
+_The Indigo Bird_                 Ethelwyn Wetherald                  72
+
+_The Pasture Field_               Ethelwyn Wetherald                  73
+
+Shipwrecked                       Robert Louis Stevenson              75
+
+_On His Blindness_                John Milton                         80
+
+Briggs in Luck                    William M. Thackeray                81
+
+_The Laughing Sally_              Charles G. D. Roberts               84
+
+The Prodigal Son                  Bible                               88
+
+_Christmas at Sea_                Robert Louis Stevenson              90
+
+_The Evening Wind_                William Cullen Bryant               93
+
+_Paradise and the Peri_           Thomas Moore                        95
+
+_The Lady of Shalott_             Alfred, Lord Tennyson              100
+
+_Home they brought her
+   Warrior dead_                  Alfred, Lord Tennyson              107
+
+The Sky                           John Ruskin                        108
+
+_The Return of the Swallows_      Edmund W. Gosse                    111
+
+_Barbara Frietchie_               John Greenleaf Whittier            113
+
+Bless the Lord, O My Soul         Bible                              116
+
+_The Eternal Goodness_            John Greenleaf Whittier            118
+
+The King of Glory                 Bible                              119
+
+The Four-Horse Race               "Ralph Connor"                     121
+
+_Mrs. Malaprop's Views_           Richard B. Sheridan                126
+
+_The Glove and the Lions_         Leigh Hunt                         131
+
+_The Fickleness of a Roman Mob_   William Shakespeare                133
+
+_Sir Peter and Lady Teazle_       Richard B. Sheridan                136
+
+_The Parting of Marmion
+   and Douglas_                   Sir Walter Scott                   140
+
+_Columbus_                        Joaquin Miller                     143
+
+From the "Apology" of Socrates    Benjamin Jowett                    145
+
+_Highland Hospitality_            Sir Walter Scott                   151
+
+_The Outlaw_                      Sir Walter Scott                   154
+
+Of Studies Francis,               Lord Bacon                         157
+
+The Influence of Athens           Thomas Babington,
+                                    Lord Macaulay                    159
+
+National Morality                 John Bright                        161
+
+_Hamlet's Advice to the Players_  William Shakespeare                164
+
+_Rosabelle_                       Sir Walter Scott                   166
+
+_The Island of the Scots_         William E. Aytoun                  168
+
+Cranford Society                  Mrs. Gaskell                       178
+
+_Sir Galahad_                     Alfred, Lord Tennyson              182
+
+_Song for Saint Cecilia's Day_    John Dryden                        186
+
+_The Day was Lingering_           Charles Heavysege                  189
+
+_On First Looking into
+   Chapman's  Homer_              John Keats                         189
+
+_Great Things Were Ne'er
+   Begotten in an Hour_           Sir Daniel Wilson                  190
+
+_A Wood Lyric_                    William Wilfred Campbell           191
+
+_To Night_                        Percy Bysshe Shelley               193
+
+The Opening Scene at the Trial    Thomas Babington, Lord
+  of Warren Hastings                Macaulay                         194
+
+Peroration of Opening Speech
+  against Edmund Burke            Warren Hastings                    201
+
+_The Song My Paddle Sings_        E. Pauline Johnson                 203
+
+_The Defence of the Bridge_       Thomas Babington, Lord
+                                    Macaulay                         206
+
+On the Death of King Edward VII   Sir Herbert Henry
+                                    Asquith                          217
+
+The Heroes of Magersfontein      _The London Daily News_             221
+
+_Funeral of Julius Cæsar_         William Shakespeare                225
+
+_The Revenge_                     Alfred, Lord Tennyson              234
+
+_Hervé Riel_                      Robert Browning                    241
+
+The Handwriting on the Wall       Bible                              248
+
+Paul's Defence before King
+   Agrippa                        Bible                              251
+
+_The Stranded Ship_               Charles G. D. Roberts              254
+
+_Sir Patrick Spens_               Old Ballad                         258
+
+_King John and the Abbot of
+  Canterbury_                     Old Ballad                         262
+
+The Key to Human Happiness        George Eliot                       266
+
+_The Vision of Sir Launfal_       James Russell Lowell               271
+
+On the Death of Gladstone         Sir Wilfrid Laurier                278
+
+_The Downfall of Wolsey_          William Shakespeare                286
+
+_The Italian in England_          Robert Browning                    290
+
+Advantages of Imperial
+   Federation                     George Monro Grant                 296
+
+_Collect for Dominion Day_        Charles G. D. Roberts              305
+
+       *       *       *       *       *
+
+APPENDIX A. Exercises in Vocalization and Articulation 306
+
+         B. Physical Exercises                                       312
+
+         C. List of Reference Books                                  314
+
+       *       *       *       *       *
+
+
+
+PRINCIPLES OF READING
+
+=Importance of Oral Reading=
+
+
+There are several reasons why every boy or girl should strive to
+become a good reader. In the first place, good oral reading is an
+accomplishment in itself. It affords a great deal of pleasure to
+others as well as to ourselves. In the second place, it improves our
+everyday speech and is also a preparation for public speaking; for the
+one who reads with distinctness and an accent of refinement is likely
+to speak in the same way, whether in private conversation or on the
+public platform. Moreover, it is only one step from reading aloud
+before the class to recitation, and another step from recitation to
+public speaking. Lastly, oral reading is the best method of bringing
+out and conveying to others and to oneself all that a piece of
+literature expresses. For example, the voice is needed to bring out
+the musical effects of poetry. The following lines will illustrate
+this point:
+
+  But the sea-caves rung, and the wild winds sung
+  The dirge of lovely Rosabelle.
+
+Here the music of the rhythm and the harmony between sound and sense
+would be almost entirely lost in silent reading.
+
+The voice, too, is often the surest and most effective means of
+conveying differences of meaning and feeling in both prose and poetry.
+The following words from _Hervé Riel_ (pp. 241-247) may be made to
+convey different meanings according to the intonation of the voice:
+
+  Burn the fleet and ruin France?
+
+This may be read to express hesitation and deliberation, or, as is
+the evident intention, shewn by the context as well as by the
+punctuation, to express Hervé Riel's surprise and indignation that
+such a thought should be entertained.
+
+
+=Mechanical Side of Oral Reading=
+
+Now in what does oral reading consist? It consists, first of all, in
+recognizing the words, pronouncing them correctly, and articulating
+them distinctly. The pupil in the First Book, who is learning to read,
+is trying to master this side of reading, which is the mechanical
+side. He cannot be too careful as to the habits of speech he forms;
+for correct position of the organs of speech and proper control of the
+breath make for correct pronunciation and distinct articulation, which
+are two of the foundation stones of good reading.
+
+By =Correct Pronunciation=, we mean the pronunciation approved by a
+standard dictionary. Elegance and refinement of speech depend largely
+on the correct pronunciation of the vowel sounds. The vowel _a_, which
+is sounded in seven different ways in the English language, presents
+the greatest difficulty. Many people recognize at most, only the sound
+of a in _at_, _ate_, _all_, _far_, and _mortal_ respectively. They
+ignore the sound as in _air_, and the shorter quantity of the Italian
+_a_ in _ask_, giving the sound of a in _ate_ to the former and of _a_
+in _at_ or _a_ in _all_ or _a_ in _far_ to the latter. Another
+difficulty is that of distinguishing the sound of _oo_ in _roof,
+food_, etc., from the sound of _oo_ in _book_ and _good_, and from the
+sound of _u_ in such words as _pure_ and _duke_.
+
+Pronunciation, when perfectly pure, should be free from what we call
+provincialisms; that is, from any peculiarity of tone, accent, or
+vowel sound, which would mark the speaker as coming from any
+particular locality. If our pronunciation is perfectly pure, it does
+not indicate, in the slightest degree, the part of the country in
+which we have lived.
+
+=Distinct articulation= requires that each syllable should receive its
+full value, and that the end of a word should be enunciated as
+distinctly as the beginning. It depends largely on the way in which we
+utter the consonants, just as correct pronunciation depends on the
+enunciation of the vowels. Final consonants are easily slurred,
+especially in the case of words ending in two or more consonants,
+which present special difficulties of articulation. Such words are
+_mends_, _seethes_, _thirsteth_, _breathed_, etc. Sometimes, too, the
+careless reader fails to articulate two consonants separately when the
+first word ends with the consonant or consonant sound with which the
+second begins; for example, _Sir Richard Grenville lay_, _Spanish
+ships_; or when the first word ends with a consonant and the second
+begins with a vowel, as in _eats apples_, _not at all_, _an ox_, etc.
+On the other hand, too evident an effort to secure the proper
+enunciation of the sound elements should be avoided, since a stilted
+mode of utterance is thus produced.
+
+Exercises for drill in the vowel sounds and in articulation are
+provided in Appendix A.
+
+
+=Expression=
+
+Oral reading, however, even in its earliest stages, consists in more
+than recognizing words, pronouncing them correctly, and articulating
+them distinctly. It includes thinking thoughts, seeing mental
+pictures, (which is only another form of thinking) and feeling varied
+emotions--all while the mechanical act of reading is going on. To
+illustrate, let us take a line from _The Island of the Scots_:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+If we wish to read this line well, what must we do besides pronouncing
+the words correctly and articulating them distinctly? We must think
+about the meaning of what we read. This includes two kinds of
+thinking. In the example we first think the picture presented by the
+words; that is, we make a mental image of the little band of Scots,
+hand in hand, trying to ford the swiftly flowing waters of the swollen
+river. This is called concrete thinking. At the same time we form some
+judgment based on the picture. We think of the great determination and
+courage these men showed in struggling forward in spite of the danger.
+This is called =abstract thinking=. But, as we have said, a reader
+does more than think in these two ways--he feels; and feeling, or
+=emotion=, comes of itself, if the reader thinks in the two ways
+described, for emotion is the result of thinking. Especially is it the
+result of concrete thinking; for what we see, even if only with the
+mind's eye, stirs our emotions more than that of which we think in the
+abstract.
+
+While reading the line just quoted, there are three emotions which
+spring from the thinking. As we see these men struggling against the
+strong current we have an emotion of fear for them; then as we think
+of their determination and courage in the face of such great danger,
+an emotion of determination comes to us, for we identify ourselves
+with their fortunes; and lastly we are filled with admiration for
+their heroism. Thus we experience the three emotions of fear,
+determination, and admiration, while performing the mechanical act of
+reading the words. These emotions, together with the two kinds of
+thinking mentioned, affect the voice and the manner of reading, and
+determine what we call =expression=. If the words were simply repeated
+mechanically there would be no expression. Since expression involves
+the employment of so many different powers at one time, a mastery of
+the art of expression is much harder to acquire, than a mastery of
+merely the mechanical side of reading.
+
+Accordingly, good vocal expression springs primarily from something
+within ourselves--that is, from our mental and emotional state. It
+cannot be acquired by mechanical imitation, whether of the reading of
+another, or of the movements, sounds, and gestures indicated in the
+subject matter of what we read. Nevertheless it is very stimulating
+to hear a selection well read, not because a model is thus supplied
+for our imitation, but because we get a grasp of the selection as a
+whole, and because the voice, which possesses great power in stirring
+the imagination and the feelings, thus prepares within us the mental
+and emotional state necessary for the correct expression.
+
+In the same way, imitation of the movements, sounds, and gestures,
+suggested by the subject matter may be a stimulus to thought and
+feeling when preparing a selection, since what we have actually
+reproduced is more real to us than what we have only imagined. After
+such preparation, imitation, if it enters into the reading at all,
+will be spontaneous, and not intentional and forced. In reading _The
+Charge of the Light Brigade_ or _The Ride from Ghent to Aix_, we do
+not designedly hurry along to imitate rapidity of movement; but,
+rather, the imagination having been kindled by the picture, our pulse
+is quickened, and the voice moves rapidly in sympathy with the
+feelings aroused.
+
+In the following extract (p. 216) the atmosphere is one of joy. The
+reader is moved through sympathy with Horatius, and his voice
+indicates the joy of the Romans, but he does not attempt to imitate
+vocally, or by gesture, the "shouts," "clapping," and "weeping":
+
+  Now round him throng the Fathers
+  To press his gory hands;
+  And now, with shouts and clapping,
+  And noise of weeping loud,
+  He enters through the River-Gate,
+  Borne by the joyous crowd.
+
+Sometimes, as already stated, we imitate spontaneously:
+
+  Back darted Spurius Lartius;
+  Herminius darted back:
+  And, as they passed, beneath their feet
+  They felt the timbers crack.
+
+Here we imitate spontaneously the movement expressive of sudden fear.
+Our action is prompted by our own fears for their safety.
+
+Sometimes the feeling is still more complex. In reading the following
+we spontaneously reproduce Sextus' alternate hate and fear which,
+moreover, we tinge with our own contempt:
+
+  Thrice looked he at the city;
+  Thrice looked he at the dead;
+  And thrice came on in fury,
+  And thrice turned back in dread:
+  And, white with fear and hatred,
+  Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+  The bravest Tuscans lay.
+
+In reading the little poem from _The Princess_, (page 107) note how we
+are influenced by the tense emotion of the attendants who speak. We do
+not try to imitate them; but having made the scene stand out before
+us, we speak as we in imagination hear them, in an aspirated tone of
+voice:
+
+  She must weep or she will die.
+
+In the last line it would savour of melodrama to try to impersonate
+the lady as she says:
+
+  Sweet my child, I live for thee.
+
+The important point is to show intelligent sympathy with her speech,
+not to imitate her manner of uttering it.
+
+On the other hand we must not make the mistake of supposing that if we
+get the thought and the emotion, the true vocal expression will
+follow. One who has a fine appreciation of a piece of literature may,
+notwithstanding, read it very indifferently. Even in conversation
+where we are interpreting vocally our own thoughts and feelings, we
+sometimes misplace emphasis or employ the wrong inflection. How much
+more likely we are to fall into such errors when we attempt to
+interpret vocally from a book the thoughts of another.
+
+
+=Elements Of Vocal Expression=
+
+In order to criticise ourselves or understand intelligent criticism,
+we must have a knowledge of the laws that govern speech--that is, we
+must know what properties of tone or what acts of the voice correspond
+to certain mental and emotional states. For example, the amount and
+character of thinking done while we read determines the rate of
+utterance; the purpose or motive of the thought and its completeness
+or incompleteness are indicated by an upward or downward slide of the
+voice; the nervous tension expresses itself in a certain key; the
+physical and mental energy, in a certain power or volume of the voice;
+and the character of the emotion is reflected in the quality. These
+principles of vocal expression are known technically as the =elements=
+of =time=, =inflection=, =pitch=, =force=, and =quality=. Closely
+connected with these elements are =pause=, =grouping=, =stress=,
+=emphasis=, =shading=, and =perspective=.
+
+=Pause.= It must be quite clear that when we are reading silently, for
+the purpose of getting the thought for ourselves, our minds are at
+work as has been described. We shall now examine how this work done by
+the mind affects the voice and produces what we call good expression
+when we are reading aloud for the purpose of conveying thought to
+others. As an illustration we shall take an example from _The Glove
+and the Lions_:
+
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make his bride.
+
+In these lines there are certain words or phrases which stand out
+prominently, since they call up mental pictures, namely: "nobles,"
+"benches round," "Count de Lorge," and "one." In order to give time
+to make these mental pictures, we naturally pause after each one. At
+the end of the first line we combine the details, making a larger
+mental image, with the result that we make a long pause after "side."
+In reading the second line, the eye and the mind run ahead of the
+voice, and the reader, wishing to impress the listener with the new
+and important idea "Count de Lorge," pauses before it as well as after
+it. In the same way he pauses before the phrase, "he hoped to make his
+bride," to prepare the mind of the listener to receive the impression.
+Thus we see that, if the mind is working, a pause occurs after a word
+while we are making a mental image or trying to realize the idea more
+fully, and also often before we express an important idea, in order to
+prepare the mind of the listener for what is to come.
+
+A very useful exercise in the study of pause is to image the pictures
+in selections such as the following:
+
+  Come from deep glen (picture) and
+    From mountain so rocky; (picture)
+  The war pipe and pennon (picture)
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one; (picture)
+  Come every steel blade, (picture) and
+    Strong hand that bears one. (picture)
+
+  Leave untended the herd, (picture)
+    The flock without shelter; (picture)
+  Leave the corpse uninterred, (picture)
+    The bride at the altar; (picture)
+  Leave the deer, (picture) leave the steer, (picture)
+    Leave nets and barges: (picture)
+  Come with your fighting gear,
+    Broadswords and targes, (picture)
+
+Then, too, in passing from one idea or thought to another, the mind
+requires time to make the transition:
+
+  Stout Lartius hurled down Aunus
+    Into the stream beneath:
+  Herminius struck at Seius,
+    And clove him to the teeth:
+  At Picus brave Horatius
+    Darted one fiery thrust;
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+Here the mind passes in succession from the action of Lartius to that
+of Herminius and that of Horatius. A long pause is required after
+"beneath," "teeth," and "dust," with a shorter pause after "Seius" and
+after "thrust." Further, if the thoughts concern actions far apart,
+more time is required to make the transition, and hence a longer
+pause:
+
+  All day long that free flag toss'd
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And through the hill-gaps, sunset light
+  Shone over it with a warm good-night.
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+Note the transition in thought from the day on which these stirring
+events are supposed to have taken place to the present time. This is
+indicated by a long pause after "warm good-night."
+
+Sometimes the mind requires time to fill in ideas suggested but not
+expressed:
+
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon look'd down and saw not one.
+
+Here, the tearing down of the flags between the morning and noon, is
+suggested to the mind; hence a long pause after "wind."
+
+Where an ellipsis occurs and the meaning is not obvious, there is a
+pause to give time to realize the logical connection:
+
+  I'd rather rove with Edmund there
+  Than reign our English queen.
+
+  Here's the English can and will!
+
+Note the pauses after "reign," and "English" (second example).
+
+In such examples as the following where the meaning is obvious, the
+pauses after "them," "one," "weary," and "wounded," make prominent the
+important idea following:
+
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride.
+
+  The weary to sleep and the wounded to die.
+
+When preparing to read a selection, it is of great importance to make
+the leading thoughts stand out clearly in the mind so that we may be
+able to present them one by one. The poem _Barbara Frietchie_ (p. 113)
+could be divided into paragraphs with some such titles as the
+following: (1) the town of Frederick and its surroundings, (2) the
+approach of the army, (3) the tearing down of the flags, (4) the
+raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his
+men, and so on. Each of the paragraphs is a complete section of the
+poem, and requires a well-marked pause before passing on to the next
+one.
+
+=Grouping.= In the extract from _The Glove and the Lions_, used above
+to illustrate pause, the mental pictures and important ideas are
+suggested in nearly every ease by a single word. Ideas are, however,
+suggested as often by groups of words as by single words. These groups
+are treated as single words, and may take pauses before or after them
+as the case may be. The reader, who is thinking as he reads, will
+group together words that express one idea, or symbolize one picture,
+presenting these ideas and pictures to himself and to the listener one
+by one, and separating by a pause, of greater or less length, those
+not closely connected.
+
+  A slouched leather cap|| half hid his face| bronzed
+  by the sun and wind| and dripping with sweat.|| He
+  wore a cravat twisted like a rope|| coarse blue
+  trousers| worn and shabby| white on one knee| and
+  with holes in the other;|| an old ragged gray blouse|
+  patched on one side with a piece of green cloth|
+  sewed with twine;|| upon his back| was a well-filled
+  knapsack,|| in his hand| he carried an enormous
+  knotted stick;|| his stockingless feet| were in hobnailed
+  shoes;|| his hair was cropped|| and his beard
+  long.
+
+Here the double vertical lines mark off groups of words which express
+one idea or symbolize one picture, and which are therefore each
+separated from the other by a well-marked pause. The single vertical
+lines indicate a shorter pause between the subdivisions of each group.
+The phrase "an old ragged gray blouse patched on one side with a piece
+of green cloth sewed with twine" presents one picture by itself, and
+is separated from the context by a long pause, but each detail in this
+picture is presented in turn to the mind's eye, hence the shorter
+pauses after "blouse," "cloth," and "twine."
+
+The reader should be careful not to allow pause and grouping to
+produce a jerky effect, thus interfering with the rhythm. This applies
+especially to poetry, which demands, in order to preserve the rhythm,
+that the caesural pause should not be slighted, and that there should
+be a more or less marked pause at the end of each line:
+
+  And they had trod the Pass once more, and stoop'd on either side
+  To pluck the heather from the spot where he had dropped and died.
+
+In the second line, the caesural pause occurs after "spot," but the
+phrase "from the spot where he had dropped and died" expresses one
+idea and must be given as a whole. The rhythm and the grouping appear
+to be at variance; but the difficulty is easily overcome by making the
+caesural pause shorter than the pause after "heather" which introduces
+the group, and at the same time, by not allowing the voice to fall on
+the word "spot."
+
+The following affords another instance where the grouping appears to
+interfere with the rhythm:
+
+  If the husband of this gifted well
+  Shall drink before his wife,
+  A happy man thenceforth is he,
+  For he shall be master for life.
+
+"Of this gifted well" is evidently not connected in thought with
+"husband." It must be separated from "husband" by a pause and attached
+to "shall drink" at the beginning of the next line. To do this, it is
+not, however, necessary to omit the pause at the end of the line; for
+this would mar the effect of the rhythm. The difficulty is again
+overcome by making the pause at the end of the line shorter than the
+pauses which mark the grouping, and by not allowing the voice to fall
+on "well."
+
+=Time= is the rate at which we read. It is fast or slow according to
+the number and the length of the pauses between words and phrases, and
+also according to the length of time the reader dwells on the words
+themselves. There is perhaps no more frequent criticism made on
+reading than that it is too fast. What does this mean? It means that
+the reader is not doing enough thinking as he repeats the words.
+Consequently, he does not dwell on words that are full of meaning, nor
+pause before and after words and phrases to make the mental picture
+and to grasp the thought more fully. Moreover, for the benefit of the
+listener, the reading should be slower than is required by the reader
+for himself. The reader, with his eye on the page, can allow his eye
+and mind to run ahead of his voice, and can thus realize the thought
+in less time than the listener. The following line calls for a
+comparatively small amount of thinking:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+Here, there is little except what is on the surface, and the thoughts
+suggested by the words are of the kind to make the mind think rapidly.
+Hence the line is read in faster time than the average rate. Reading
+may, accordingly, be fast from one or both of two causes. First, when
+there is no background of thought for the mind to dwell upon, and
+second when the nature of the thoughts themselves, such as the
+narration of the rapid succession of events, impels to quick mental
+action. The following lines from _Pibroch of Donuil Dhu_ (p. 61) will
+serve as an illustration:
+
+  Faster come, faster come,
+    Faster and faster,
+  Chief, vassal, page and groom,
+    Tenant and master.
+  Fast they come, fast they come;
+    See how they gather! etc.
+
+So, too, reading may be slow from the exact opposite of these two
+reasons. First, when there is a great back-ground of thought suggested
+by the words, and second, when the reflective and meditative nature of
+the thought leads to slow action on the part of the mind. In some
+selections both of these conditions are present; in others only one of
+them. In _The Day is Done_ (p. 63) there is little thought below the
+surface; but the reading is slow because the quiet, meditative nature
+of the thought tends to slow mental action:
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+Both conditions, however, exist in the lines from _Barbara Frietchie_
+which describe the effect produced on Stonewall Jackson by Barbara
+Frietchie's heroic action and daring speech:
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came.
+
+A great many thoughts are suggested by these two lines. The heart of
+the gallant Southerner is touched at the sight of this weak, decrepit
+old woman with the courage and boldness of youth, ready to die for her
+principles. His stern features relax and a look of sadness passes over
+his face. The taunting words "spare your country's flag" have struck
+home. The tragic side of civil war is forced upon him--father fighting
+against son, and brother against brother, the sons of freedom firing
+at their own star-spangled banner. The sorrow and the shame of it all
+rise before him, and the crimson flush mounts to his brow. With this
+undercurrent of thought in the mind, it is impossible to read rapidly.
+Besides, the reflective nature of the thoughts themselves tends to
+make one repeat the words slowly.
+
+Sometimes, again, reading is faster than the moderate rate because of
+the unimportance of the events or facts:
+
+  He spoke of the grass, the flowers and the trees,
+  Of the singing birds and the humming bees;
+  Then talked of the haying, and wondered whether
+  The cloud in the west would bring foul weather.
+
+Note the lightness with which the unimportant details of conversation
+are skimmed over.
+
+
+=Inflection.= If we listen to the speech of the people around us, we
+can easily detect an upward slide of the voice on some words, a
+downward slide on others, and on others again a combination of the
+two. This slide of the voice on words--generally on the accented
+syllable of an emphatic word--is called =inflection=, and the various
+inflections are known as _rising_ (/), _falling_ (\), _rising
+circumflex_ (\/), and _falling_ circumflex (/\).
+
+Each inflection has a definite and fixed meaning recognized by every
+one, and it is because of the laws of inflection that we can tell what
+meaning a speaker intends to convey when he uses certain words; for
+often the same words may carry two or three different meanings
+according to the inflection. The simple word "Yes," with an abrupt
+downward slide, expresses decided affirmation. When spoken with an
+upward slide, it expresses interrogation and is equivalent to "Is that
+really so?" When it has a combination of the downward and upward slide
+or a rising circumflex inflection, the meaning is no longer simple but
+complex. There is an assertion combined with doubt. It is equivalent
+to saying: "I think so but I am not really sure." In such a sentence
+as: "Do not say 'yes,'" where the idea "but say 'no,'" is merely
+implied, but not formally expressed, the word "yes" has a combination
+of the upward and downward slide or a falling circumflex inflection.
+
+If we take an idea for its own sake, if it is independent and complete
+in itself, the voice has the downward slide or falling inflection on
+the words which stand for the central idea:
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel.
+
+Each statement is complete in itself and has the falling inflection.
+
+Sometimes there is a slight downward slide before the statement is
+completed, because the mind feels that the ideas already expressed
+are of sufficient force to give them the value of completeness:
+
+  My strength is as the strength of tèn,
+    Because my heart is pure.
+
+  And the sick men down in the hold were most of them stark and còld,
+  And the pikes were all broken or bènt, and the powder was all of it
+    spènt;
+  And the masts and the rigging were lying over the side.
+
+Note the momentary completeness on "ten," "cold," "bent," and "spent,"
+requiring the falling inflection.
+
+If on the other hand an idea is incomplete, either pointing forward to
+some other idea or being subordinate, the voice has the upward slide
+or rising inflection. The rising inflection, like the falling, may be
+long or short, more or less abrupt, according to the importance of the
+thought:
+
+  Shé, with all a monarch's príde,
+  Felt them in her bosom glow.
+
+"She" points forward to the predicate "felt" and because of the
+importance of the idea it takes a long rising inflection; "with all a
+monarch's pride" being subordinate and incomplete also requires the
+voice to be kept up, but takes a shorter rising inflection.
+
+It is of the greatest importance to know the exact purpose of the
+thought, so that the voice may, of itself, give the corresponding
+inflection:
+
+  And you may gather garlánds thére
+  Would grace a summer quèen.
+
+The sense is evidently not complete in the first line, the intention
+being to emphasize the beauty of the garlands to be gathered, and not
+merely to state that they may be gathered there. When the reader
+understands the exact meaning he will convey it by keeping the rising
+inflection on "garlands."
+
+Similar to the foregoing is the following:
+
+  There is not a wífe in the wést cóuntry
+  But has heard of the Wèll of St. Kèyne.
+
+The sense is not complete until we read the second line. The rising
+inflection on "country" indicates this and connects the first line
+with the second, bringing out the meaning, that every wife in the west
+country has heard of the Well of St. Keyne.
+
+Sometimes we have a series of rising inflections, all pointing forward
+to the leading statement which is to follow and which is necessary to
+complete the sense, for example:
+
+  Of man's first disobédience and the frúit
+  Of that forbidden trée, whose mortal táste
+  Brought déath into the wórld, and all our wóe,
+  With loss of Éden, till one greater mán
+  Restóre us, and regáin the blissful séat,
+  Sing, heàvenly Mùse.
+
+Incompleteness may be suggested by a negative statement or its
+equivalent:
+
+  Nót from the grand old másters,
+    Nót from the bárds sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.
+
+  I do not know what I was pláying,
+    Or what I was dréaming thén,
+  But I struck one chord of music
+    Like the sound of a great Amen.
+
+Note the rising inflection on these negative clauses.
+
+On the same principle the rising inflection is used on the negative
+statements of persuasive argument as in the _Apology of Socrates_ (p.
+145).
+
+  But I thought that I ought not to do anything
+  common or mean, in the hour of danger: nor do I
+  now repent of the manner of my defence.
+
+  For neither in war nor yet at law ought any man
+  to use every way of escaping death.
+
+  Not so; the deficiency which led to my conviction
+  was not of words--certainly not.
+
+Doubt and hesitation also imply incompleteness:
+
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wondrous fine;
+  I'll drop my glove to prove his love; great glory will be mine!
+
+Note the rising inflection on the first two lines where the lady is
+still in doubt as to what shall be the test of De Lorge's love, and
+the falling inflection on the last one when she has reached a
+decision.
+
+Pleading and entreaty also convey a sense of incompleteness and take
+the rising inflection:
+
+  Good friends, sweet friends, let me not stir you up
+  To such a sudden flood of mutiny.
+
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+
+A direct interrogation, that is, one that can be answered by "Yes" or
+"No", implies incompleteness in the mind of the questioner and
+requires a decided rising inflection:
+
+  Is your name Shýlock?
+
+  May you stéad me? Will you pléasure me? Shall I knów your ánswer?
+
+Questions that require an explanatory answer and cannot be answered by
+"Yes" or "No," do not convey an idea of incompleteness, being merely
+equivalent to the statement of a desire for certain information.
+Consequently they take the falling inflection:
+
+  _Flav._ Speàk, whàt tràde art thòu?
+  _1st Cit._ Why, sir, a carpenter.
+  _Mar._ Where is thy leather àpron, and thy rùle?
+  What dost thou with thy best appàrel òn?--
+  You, sir, whàt tràde are yoù?
+
+The purpose or motive of a question must be considered. We must know
+whether the question is asked for information, or whether its purpose
+is to give information; that is, whether it is only another way of
+making an assertion--what is sometimes called a question of appeal.
+When Shylock asks Portia: "Shall I not have barely my principal?" he
+does so with the direct purpose of learning his sentence. His question
+can be answered by "Yes" or "No" and the rising inflection is used.
+But when he asks: "On what compulsion must I?" he means simply to give
+the information that there is no power on earth to compel him. This is
+a complete thought, hence the falling inflection. Other examples are:
+
+  Have you e'er heard of gallant like young Lochinvar?
+
+  God of battles, was ever a battle like this in the world before?
+
+  What conquest brings he home?
+  What tributaries follow him to Rome,
+  To grace in captive bonds his chariot wheels?
+
+The opposite inflections on antithetical words or phrases are also due
+to this law of completeness and incompleteness. The first part of the
+antithesis usually has the rising inflection marking incompleteness,
+and the second, the falling, marking completeness.
+
+  Hís blast is heard at merry mórn,
+  And mìne at dèad of nìght.
+
+  For this thy brother was déad, and is àlive again;
+  and was lóst, and is foùnd.
+
+Similarly, in a series of words or phrases parallel in construction,
+all have the rising inflection but the last:
+
+  As Cæsar lóved me, I wéep for him; as he was
+  fortúnate, I rejóice at it; as he was válíant, I hónour
+  him; but as he was ambìtious, I slèw him! There is
+  teárs for his lóve; jóy for his fórtune; hónour for
+  his válour; and deàth for his ambìtion.
+
+  Cráfty men contémn studies; símple men admíre
+  them; and wìse men ùse them.
+
+If one part of the antithesis is a negation, it takes the rising
+inflection, whether it comes first or second. This is owing
+to the fact that, as illustrated above, a negation implies
+incompleteness. The other part then takes the falling inflection:
+
+  Fall into the hands of Gòd, not into the hands of Spáin.
+
+  I come to bùry Cæsar, not to práise him.
+
+  I said an èlder soldier, not a bétter.
+
+Often only one part of the antithesis is expressed, the contrast being
+implied. In such a case, the voice brings out the contrast by placing
+a combination of the two inflections of the regularly expressed
+antithesis on the one word which does duty for both parts: Cassius
+says: "I said an elder soldier, not a better" in reply to Brutus'
+speech--"You say you are a better soldier." The antithesis is fully
+expressed, and the voice places the falling inflection on "elder" and
+the rising inflection on "better." If Cassius had omitted the words
+"not a better," the very same meaning could have been conveyed by
+placing a combination of the rising and the falling inflection or a
+falling circumflex on the word "elder," thus--"I said an êlder
+soldier." In the next line he goes on to say "Did I say b[)e]tter?"
+Here, there is an implied contrast with "elder," which is expressed by
+a combination of the falling and the rising inflection or a rising
+circumflex. From these two examples, we can see that the law of
+completeness and incompleteness holds good with the compound or
+circumflex inflection, just as it does with the simple inflection, and
+determines whether the circumflex shall be rising or falling.
+
+A very common mistake in reading is to use the circumflex inflection
+in emphasizing a word, thus making a contrast where none is intended.
+"Ramped and roared the lions" with a falling circumflex inflection on
+"lions," instead of a simple falling inflection, suggests that the
+tigers or some other animals did not ramp and roar. For similar
+reasons, avoid the circumflex when emphasizing "hand" and "feet" in
+"put a ring on his hand and shoes on his feet."
+
+As has already been stated, it is necessary to know the motive behind
+the words. When Shylock says: "O wise and upright judge," his
+intention is evidently to bestow sincere praise. The reader, knowing
+this, instinctively gives a straight slide. Later, when Gratiano says:
+"O upright judge, O learned judge!" his intention is to taunt and hold
+up to ridicule; there is a double meaning conveyed, which finds its
+natural expression in a curved inflection.
+
+Compare the curved inflections in the cobbler's speeches in Act I.
+Scene I, of _Julius Cæsar_ (p. 133) when he is fencing with Marullus,
+with the straight inflections of his final speech when he has thrown
+aside his raillery and speaks with sincerity:
+
+    ~     ~       ~               ~
+  Truly, sir, to wear out their shoes, to get myself
+      ~    ~
+  in more work. But, indeèd, sir, we make hòliday to
+
+  see C`æsar, and to rejoìce in his triùmph.
+
+One writer has said: "Where there is simple and genuine thought, deep
+and sincere feeling, wherever the eye is single, the inflections of
+the voice are straight; a crook in the mind however is indicated by a
+crook in the voice."
+
+=Pitch= is the key of the voice. A change of pitch is a leap from one
+key to another during silence. Inflection, as we have seen, is a
+gradual change in the key while the voice is speaking. The pitch or
+key depends upon the muscular tension of the vocal chords, which act
+like the strings of a musical instrument: the greater the tension, the
+higher the key. Muscular tension implies nervous tension and this is
+dependent upon the mental state. If the mind is calm, the nervous and
+muscular tension is normal, and the speaker uses the key habitual to
+him in his ordinary speech. If the mental state is one of excitement,
+the key is higher because of greater nervous and muscular tension. If,
+on the other hand, the mental state is one of depression, the key is
+lower because of relaxed muscular tension.
+
+In _The Defence of the Bridge_ (p. 206) the Romans, seeing the danger
+of the heroes, are wrought up to a high state of nervous tension which
+finds its natural expression in the high-pitched voice:
+
+  "Come back, come back Horatius!"
+    Loud cried the Fathers all.
+  "Back, Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+Contrast with this the lower key of Horatius, who is calm and
+self-controlled:
+
+  "O Tiber! Father Tiber!
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+
+Observe the gradual rise in pitch with the increase of tension or
+excitement in the following:
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+In the following lines, where the Douglas holds communion with
+himself, the tension is low chiefly because of his great mental
+depression, and, consequently, he speaks in a low key:
+
+  Yes! all is true my fears could frame;
+  A prisoner lies the noble Graeme,
+  And fiery Roderick soon will feel
+  The vengeance of the royal steel.
+  I, only I, can ward their fate,--
+  God grant the ransom come not late.
+  The abbess hath her promise given.
+  My child shall be the bride of Heaven:--
+  Be pardoned one repining tear!
+  For he, who gave her, knows how dear,
+  How excellent! but that is by,
+  And now my business is--to die.
+
+The low pitch is also partly due to the fact that the Douglas is
+speaking to himself, and has no desire to communicate his thoughts to
+another; for the effort to communicate thought causes increased
+tension.
+
+Again, it requires greater effort to address a person who is at a
+distance than one close at hand, or to address a large audience than
+a small one. Observe the comparatively high pitch in which Antony (p.
+225) begins his oration:
+
+  Friends, Romans, countrymen, lend me your ears;
+  I come to bury Cæsar, not to praise him.
+
+If the reader wishes to give prominence to a thought, the effort put
+forth causes muscular tension, resulting in a higher pitch. On the
+other hand, a thought, which the reader regards as not of special
+importance to the listener, finds expression in lower pitch, more as
+if he were addressing himself:
+
+  Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+
+Observe the lower pitch of the subordinate clauses in the first four
+lines, and the higher pitch in the last two lines which project the
+leading thought.
+
+  "I think, boys," said the schoolmaster, when the
+  clock struck twelve, "that I shall give an extra half-holiday
+  this afternoon."
+
+Similarly, the narrative clause "said the schoolmaster" which
+interrupts the direct speech is read in lower pitch and is separated
+by a marked pause before and after.
+
+Parenthetical expressions, also for the same reason, are read in lower
+pitch.
+
+  She had not perceived--how could she until she
+  had lived longer?--the inmost truth of the old
+  monk's outpourings, that renunciation remains sorrow,
+  though a sorrow borne willingly.
+
+  He (Mr. Pickwick) would not deny that he was
+  influenced by human passions, and human feelings,
+  (cheers)--possibly by human weaknesses--(loud
+  cries of "No"); but this he would say, that if ever
+  the fire of self-importance broke out in his bosom,
+  the desire to benefit the human race in preference,
+  effectually quenched it.
+
+Passages which are collateral or co-ordinate in construction, and
+equally balanced, will find their natural vocal expression in the same
+pitch and, of course, the pitch varies as the attitude of the mind
+changes:
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon looked down and saw not one.
+
+The first two lines have the same pitch, because there is no
+difference in intensity of feeling or in the mental conception. There
+is, however, an entire change of thought beginning with "the sun."
+This is accompanied by a change of pitch.
+
+=Force.= Force is vocal energy; in other words, it is the power or
+volume of the voice, and is determined by the amount of physical and
+mental energy exerted by the speaker.
+
+The language of everyday conversation, when not marked by intensity of
+feeling or purpose, requires only a moderate amount of physical and
+mental energy and is expressed by _moderate force_. Intensity of
+feeling or purpose, on the other hand, is accompanied by a great
+expenditure of energy, and finds its natural outlet in _strong force_.
+In the following lines, (p. 132) the king's emphatic approval of De
+Lorge's action and his vehement condemnation of the lady's vanity find
+expression in strong force:
+
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+Compare the moderate amount of energy expended in uttering the
+narrative clauses "cried Francis," "and he rose from where he sat,"
+and "quoth he," which should be read with moderate force.
+
+More physical energy is expended in making one's self understood at a
+distance than near at hand, and in addressing a large audience than a
+small one; hence strong force is used in the following where it is
+accompanied by a loud tone of voice:
+
+  "Come back, come back Horatius!"
+  Loud cried the Fathers all.
+
+But strong force does not necessarily imply a loud tone of voice:
+
+  "Curse on him!" quoth false Sextus;
+    "Will not the villain drown?
+  But for this stay, ere close of day
+    We should have sacked the town!"
+
+Here Sextus gives vent to his concentrated hate for Horatius and
+speaks with strong force, but not in a loud tone of voice.
+
+The effort to influence the mind and action of others draws on a great
+fund of mental energy; hence commands, persuasion, and argument, all
+find their vocal expression in strong force. Hervé Riel, urging the
+captains to allow him to pilot the ships, speaks with strong force:
+
+  Sirs, they know I speak the truth! Sirs, believe me there's a way!
+  Only let me lead the line,
+
+  When the mental or physical energy is at a low ebb we
+  speak with _weak force_:
+
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+  Take me out, sink me deep in the green profound,
+  To sway with the long-weed, swing with the drowned,
+  Where the change of the soft tide makes no sound,
+  Far below the keels of the outward bound.
+
+For the same reason such poems as _The Day is Done_, (p. 63) and Part
+IV, of _The Lady of Shalott_, (p. 200) are read with gentle force.
+
+A change in force often accompanies a change in pitch. The lower pitch
+of parenthetical expressions, and narrative clauses which interrupt
+direct discourse, is accompanied by weaker force, and the higher pitch
+resulting from the efforts to make one's self heard at a distance is
+accompanied by stronger force.
+
+=Stress= is force applied to the vowel sound. When we are taken by
+surprise and give expression to it by means of the one word "Oh," we
+apply the force or volume of the voice to the beginning of the vowel
+sound. This is called _initial or radical stress_ (>). When we wish to
+give a very emphatic denial to a statement, or to insist on a refusal
+to some persistent request we say "No," gradually increasing the force
+of the voice to the last part of the vowel sound. This is called
+_final_ or _vanishing stress_ (<). Again, if our minds are uplifted
+with wonder and delight at something we have heard or seen, we exclaim
+"Oh" applying the force to the middle of the vowel sound. This swell
+of the vowel sound is called _median stress_ (<>).
+
+It has already been pointed out that force depends upon the _amount_
+of energy. The above examples show that stress or the location of
+force depends upon the _kind_ of mental energy, or the attitude of
+mind, whether it be that of abruptness, of insistence, or of uplift.
+
+All speech has a slight tendency toward initial stress, because the
+effort made by the vocal chords to articulate sound is characterized
+by abruptness. If, in addition, the mental energy of the speaker
+possesses abruptness through sudden impulse or emotion, or through
+unconscious imitation of sound or movement, the initial stress is
+very prominent:
+
+  _Where_ is thy leather apron, and thy rule?
+  _What_ dost thou with thy best apparel on?--
+  _You_, sir, _what trade_ are _you_?
+
+  _Quick_, as it fell, from the broken staff
+  Dame Barbara _snatched_ the silken scarf.
+
+  She leaned far out on the window-sill,
+  And _shook_ it forth with a royal will.
+
+  While I nodded, nearly napping, suddenly there came a tapping,
+  As of some one gently rapping, rapping at my chamber door.
+
+If the speaker desires to impress on others his own feelings or
+convictions, the final stress is the result. Such insistence is found
+in the expression of anger, scorn, indignation, and determination:
+
+  _Burn_ the fleet and _ruin_ France?
+  That were _worse_ than _fifty_ Hogues!
+  Sirs, they _know_ I speak the truth!
+  Sirs, _believe_ me, _there's a way_!
+
+In the first two lines Hervé Riel wishes to make others feel his own
+indignation at the thought of burning the fleet. In the last two, he
+tries to impress them with his conviction that there is a way out of
+the difficulty. Hence the final stress in each case.
+
+Sometimes the speaker tries to enforce his own opinion by peevishness,
+whining, or complaining, with the result that he uses the final
+stress:
+
+_Lady Teazle._ Then _why_ will you _endeavour_ to
+make yourself so _disagreeable_ to me, and _thwart_ me
+in _every little elegant expense_?
+
+_Sir Peter._ Madam, I say, had you any of these
+little elegant expenses when you married me?
+
+_Lady Teazle._ _Sir Peter!_ would you have me be
+_out of the fashion_?
+
+If the mental energy or mental attitude is one of uplift or
+exaltation, expressing itself in adoration of the Deity, or in
+admiration and love of the beautiful, or in sympathy and tenderness
+toward mankind, the median stress is used:
+
+  Bless the Lord, O my soul: and all that is within me, bless his
+    holy name.
+
+  _Roll on_, thou _deep_ and _dark_ blue ocean--_roll_!
+
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries.
+
+Determination and settled conviction in the speaker's
+mind, especially when accompanied by a marked degree of
+dignity, calmness, and self-control, cause equal stress on
+every part of the vowel sound. This is called _thorough stress_:
+
+  If every ducat in six thousand ducats
+  Were in six parts, and every part a ducat,
+  I would not draw them; I would have my bond.
+
+It is the stress of quiet strength and great reserve force:
+
+Though the water flashed around them,
+  _Not an eye was seen to quiver_;
+Though the shot flew sharp and deadly,
+  _Not a man relax'd his hold_.
+
+In a more marked degree, it is also the stress used in calling:
+
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them in
+    the Rhine!"
+
+If the speaker's attitude of mind is not straightforward and sincere,
+if he speaks with a double meaning, in irony or sarcasm, the stress is
+a combination of the radical and final, known as _compound stress_
+(><). This is analogous to the compound inflection. See page 21.
+
+  Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?
+    Here lies the road to Rome.
+
+Accordingly, the compound stress is used when the intention is to
+taunt or to ridicule:
+
+_Sir Peter._ Ay--there again--taste! Zounds!
+Madam, you had no taste when you married me!
+
+_Lady Teazle._ _That's very true_, indeed, Sir Peter!
+and after having married _you_, I should _never pretend
+to taste again_, I allow.
+
+=Emphasis=--The importance of an idea, whether this idea is expressed
+by a single word, or by a phrase or clause, is indicated by a
+variation of pitch, force, or time. This change in pitch, force, or
+time, by attracting attention to that idea, is a means of emphasis. It
+is the new idea, or the idea which is important through contrast
+either expressed or implied, which will attract the reader's attention
+and which he will make prominent in this way:
+
+  _Brutus._ You say you are a _better soldier_:
+  Let it _appear_ so; make your vaunting _true_,
+  And it shall _please me well_: for mine own part,
+  I shall be _glad_ to learn of noble men.
+
+  _Cassius._ You _wrong_ me every way; you _wrong_ me, Brutus;
+  I said, an _elder_ soldier, not a _better_:
+
+"better soldier," "appear," and "true" are central ideas; they express
+important ideas not mentioned before. When Cassius replies he at once
+throws the idea of "soldier" in the back-ground and emphasizes
+"better" by contrasting it with "elder." He also introduces the new
+idea "wrong" which he makes still more emphatic by repetition. Brutus
+also introduces the new idea "please me well" which he makes emphatic
+by repeating it in the word "glad." Other examples of words and
+phrases becoming more emphatic through repetition are:
+
+  Faster come, faster come;
+    Faster and faster,
+       *       *       *       *       *
+  Fast they come, fast they come;
+
+  "_Jump_--far--out boy into the wave,
+    JUMP, or I fire," he said,
+  "This chance alone your life can save:
+    JUMP, JUMP."
+
+In the case of a climax, the emphasis grows stronger on each member of
+the series:
+
+  "Take the helm, lead the line, save the squadron!" cried its chief.
+
+  It is enthronéd in the hearts of Kings,
+  It is an attribute to God himself.
+
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,
+  Till it smote on their hulls and their sails and their masts and
+    their flags.
+
+However, if a word is repeated, it is not necessarily emphatic each
+time:
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armèd foemen throng.
+
+In the phrase "The German heart" the chief emphasis is on "heart,"
+with a slighter emphasis on German. The emphasis is then transferred
+to "arm" and "foot" through contrast with "heart." To emphasize
+"German" again would weaken the effect.
+
+Compare the repetition, in the following, of the syllable "un," also
+of the phrase "this year":
+
+  Unwatched along Clitumnus
+    Grazes the milk-white steer;
+  Unharmed the water-fowl may dip
+    In the Volsinian mere.
+
+  The harvests of Arretium,
+    This year, old men shall reap,
+  This year young boys in Umbro
+    Shall plunge the struggling sheep;
+  And in the vats of Luna,
+    This year, the must shall foam
+  Round the white feet of laughing girls
+    Whose sires have marched to Rome.
+
+Words and phrases are emphatic quite as often through contrast implied
+as through contrast expressed. It is evident that such a sentence as:
+"Will you ride to town to-day?" may have a number of different meanings
+according to the words emphasized. This difference of meaning is due
+to an implied contrast. If "you" is emphatic, it is because there is a
+mental contrast between "you" and some other person. If "ride" is
+emphatic, it is because riding is being contrasted with walking or
+driving and so on. The following contain examples of emphasis through
+implied contrast:
+
+  _Great_ things were ne'er begotten in an hour.
+
+  But _now_ no sound of laughter was heard among the foes.
+
+As already shown on page 21, the emphasis, in the case of implied
+contrast, is brought out by the circumflex inflection.
+
+=Shading= and =Perspective=. These deal with the relative importance
+of words, phrases, or clauses. According as an idea suggested by a
+word or group of words is regarded as principal or subordinate, the
+voice either projects it or holds it in the back-ground as an artist
+shades his picture:
+
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep and
+    dangerous ford
+  The Passage of the Scot.
+
+The principal statement, "The peasant still calls that deep and
+dangerous ford the Passage of the Scot," is projected or emphasized by
+higher pitch and stronger force, the thought being sustained, and the
+connection made between "The peasant" and "still calls" by means of
+the rising inflection. The subordinate statements, "though the legend
+does not live" and "as he sees the stream in winter rolling by ...
+sword," are kept in the back-ground by slightly lower pitch and
+moderate force. The parenthetical clause, "for legends lightly die,"
+is subordinate to the subordinate statement and is thrown still more
+into the back-ground in the same way as the preceding.
+
+Strictly speaking, the term "shading" is used to indicate the value of
+individual phrases or clauses; "perspective," to indicate the values
+of several phrases or clauses viewed relatively.
+
+The =quality=, or timbre, of the voice reveals the speaker's emotions,
+their character, number, and intensity. The voice is affected by the
+muscular texture of the throat, just as the tone of an instrument is
+affected by the texture of the material of which it is made. This
+muscular texture is affected by nerve and muscular vibrations which
+are caused by emotion, the result of mental impressions. Whatever be
+the quality of voice peculiar to the individual, it is greatly
+modified by his emotions. The man of few emotions has few vocal
+vibrations; hence his monotonous voice. The man whose emotions are
+habitually cruel, has a harsh, hard muscular texture through
+contraction of the muscles; hence the hard voice. It is plain that the
+natural voice is an index to the character. If the imagination and
+soul are cultivated, the voice will gain in richness and fulness. If,
+in reading that which expresses the sublime, noble, and grand, the
+imagination is kindled, the voice will express by its vibrations the
+largeness of our conception. This full, rich voice is called the
+_orotund_:
+
+  These are the gardens of the Desert, these
+  The unshorn fields, boundless and beautiful,
+  For which the speech of England has no name--
+  The prairies.
+
+  For as the heaven is high above the earth, so great is his mercy
+    toward them that fear him.
+  As far as the east is from the west, so far hath he removed our
+    transgressions from us.
+
+In thinking of what is stern, severe, harsh, cruel, or base, the
+muscles of the throat contract and produce the rigid, throaty tone
+known as the _guttural_:
+
+  On what compulsion must I? Tell me that.
+
+  "Curse on him!" quoth false Sextus
+    "Will not the villain drown?
+  But for this stay, ere close of day,
+    We should have sacked the town!"
+
+Certain states of mind, such as awe, caution, secrecy, fear, etc.,
+produce in greater or less degree an aspirated or "breathy" quality,
+called the _whisper_ or _aspirate_:
+
+  When Jubal struck the chorded shell,
+    His listening brethren stood around,
+  And, wondering, on their faces fell
+    To worship that celestial sound.
+
+  The red rose cries, "She is near, she is near;"
+    And the white rose weeps, "She is late;"
+  The larkspur listens, "I hear, I hear;"
+    And the lily whispers, "I wait."
+
+The atmosphere of hush and repose expresses itself by a partial
+whisper:
+
+  Ne'er saw I, never felt, a calm so deep!
+    The river glideth at his own sweet will:
+  Dear God! the very houses seem asleep;
+    And all that mighty heart is lying still!
+
+It must not be supposed that the whisper is always associated with
+moderate or with weak force as in the preceding examples. Strong force
+is used with the whisper to express intensity of feeling or vehemence:
+
+  Whispering with white lips: the foe! they come! they come!
+
+  Hush, I say, hush!
+
+Other emotional states have their corresponding qualities of voice,
+such, for example, as the quality of oppressed feeling and the quality
+expressing agitation.
+
+To conclude: it must be carefully borne in mind that the reader should
+never strive to produce a certain quality apart from the emotion which
+should precede. By force alone, for example, he will succeed in
+producing mere sound without the quality. Nor are any of the examples
+given above, in dealing with the various elements of vocal expression,
+intended for practice in voice gymnastics apart from the preliminary
+state of which they are the vocal expression. They are intended merely
+as illustrations of the laws which govern correct speech.
+
+       *       *       *       *       *
+
+THE HIGH SCHOOL READER
+
+THE BANNER OF ST. GEORGE
+
+Words by Shapcott Wensley: music by Sir Edward Elgar
+
+
+  It comes from the misty ages,
+  The banner of England's might,
+  The blood-red cross of the brave St. George,
+  That burns on a field of white!
+  It speaks of the deathless heroes                                    5
+  On fame's bright page inscrolled,
+  And bids great England ne'er forget
+  The glorious deeds of old!
+
+  O'er many a cloud of battle
+  The banner has floated wide;                                        10
+  It shone like a star o'er the valiant hearts
+  That dashed the Armada's pride!
+  For ever amid the thunders
+  The sailor could do or die,
+  While tongues of flame leaped forth below,                          15
+  And the flag of St. George was high!
+
+  O ne'er may the flag beloved
+  Unfurl in a strife unblest,
+  But ever give strength to the righteous arm,
+  And hope to the hearts oppressed!                                   20
+  It says to the passing ages:
+  "Be brave if your cause be right,
+  Like the soldier saint whose cross of red
+  Still burns on your banner white!"
+
+  Great race, whose empire of splendour                               25
+  Has dazzled the wondering world!
+  May the flag that floats o'er thy wide domains
+  Be long to all winds unfurled!
+  Three crosses in concord blended,
+  The banner of Britain's might!                                      30
+  But the central gem of the ensign fair
+  Is the cross of the dauntless Knight!
+
+      --_By permission of the publishers, Novello & Co._
+
+
+  PREPARATORY--Divide the poem into two parts, giving to
+  each part a descriptive title.
+
+  What feelings are aroused by this poem?
+
+  What lines in stanzas i and iv call up a mental picture
+  of the flag?
+
+  What three phrases in stanza i suggest the important
+  ideas to be associated with the flag? How does the voice
+  indicate the importance of these ideas? (Introduction,
+  p. 8.)
+
+  Of what phrases in stanza i is stanza ii only an
+  elaboration?
+
+  What wish is contained in stanza iii? What sentences
+  express it?
+
+  What additional idea does stanza iv add to this wish?
+
+  STAR, VALIANT, ARMADA, CENTRAL. Make a distinction in
+  the sound of the letter _a_ in these words, and
+  elsewhere in the poem. (Appendix A, 1.)
+
+  GEORGE, CROSS, FORGET, FORTH, CONCORD. What sound has
+  the letter _o_ in each word? (Appendix A, 1.)
+
+  Articulate with energy the final consonantal
+  combinations of all such words as: ENGLAND'S, BURNS,
+  SPEAKS, INSCROLLED, FLOATED, HEARTS, DASHED, LEAPED,
+  UNBLEST, STRENGTH, DAZZLED, UNFURLED, BLENDED. (Appendix
+  A, 3.)
+
+       *       *       *       *       *
+
+
+JEAN VALJEAN AND THE BISHOP
+
+From "Les Misérables"
+
+
+At the bishop's house, his housekeeper, Mme. Magloire was saying:
+
+"We say that this house is not safe at all; and, if Monseigneur will
+permit me, I will go on and tell the locksmith to come and put the old
+bolts in the door again. I say, than a door which opens by a latch on
+the outside to the first comer, nothing could be more horrible; and
+then Monseigneur has the habit of always saying: 'Come in,' even at
+midnight. But, my goodness, there is no need to even ask leave----"
+
+At this moment there was a violent knock on the door.
+
+"Come in!" said the bishop.
+
+The door opened.
+
+It opened quickly, quite wide, as if pushed by some one boldly and
+with energy.
+
+A man entered.
+
+That man we know already; it was the traveller we have seen wandering
+about in search of a lodging.
+
+He came in, took one step, and paused, leaving the door open behind
+him. He had his knapsack on his back, his stick in his hand, and a
+rough, hard, and fierce look in his eyes. He was hideous.
+
+The bishop looked upon the man with a tranquil eye. As he was opening
+his mouth to speak, doubtless to ask the stranger what he wanted, the
+man, leaning with both hands on his club, glanced from one to another
+in turn, and, without waiting for the bishop to speak, said, in a
+loud voice:
+
+"See here! my name is Jean Valjean. I am a convict; I have been
+nineteen years in the galleys. Four days ago I was set free, and
+started for Pontarlier; during these four days I have walked from
+Toulon. To-day I have walked twelve leagues. When I reached this place
+this evening I went to an inn, and they sent me away on account of my
+yellow passport, which I had shown at the Mayor's office, as was
+necessary. I went to another inn; they said, 'Get out!' It was the
+same with one as with another; nobody would have me. I went to the
+prison and the turnkey would not let me in. I crept into a dog kennel,
+the dog bit me, and drove me away as if he had been a man; you would
+have said that he knew who I was. I went into the fields to sleep
+beneath the stars, there were no stars. I thought it would rain, and
+there was no good God to stop the drops, so I came back to the town to
+get the shelter of some doorway. There in the square I laid down upon
+a stone; a good woman showed me your house, and said: 'Knock there!' I
+have knocked. What is this place? Are you an inn? I have money; my
+savings, one hundred and nine francs and fifteen sous, which I have
+earned in the galleys by my work for nineteen years. I will pay. What
+do I care? I have money, I am very tired--twelve leagues on foot--and
+I am so hungry. Can I stay?"
+
+"Mme. Magloire," said the bishop, "put on another plate."
+
+The man took three steps and came near the lamp which stood on the
+table. "Stop," he exclaimed; as if he had not been understood; "not
+that, did you understand me? I am a galley slave--a convict--I am just
+from the galleys." He drew from his pocket a large sheet of yellow
+paper, which he unfolded. "There is my passport, yellow, as you see.
+That is enough to have me kicked out wherever I go. Will you read it?
+See, here is what they have put on my passport: Jean Valjean, a
+liberated convict; has been nineteen years in the galleys; five years
+for burglary; fourteen years for having attempted four times to
+escape. This man is very dangerous. There you have it! Everybody has
+thrust me out; will you receive me? Is this an inn? Can you give me
+something to eat and a place to sleep? Have you a stable?"
+
+"Mme. Magloire," said the bishop, "put some sheets on the bed in the
+alcove."
+
+The bishop turned to the man:
+
+"Monsieur, sit down and warm yourself; we are going to take supper
+presently, and your bed will be made ready while you sup."
+
+At last the man quite understood; his face, the expression of which
+till then had been gloomy, and hard, now expressed stupefaction, doubt
+and joy, and became absolutely wonderful. He began to stutter like a
+madman.
+
+"True? What? You will keep me? you won't drive me away--a convict? You
+call me monsieur and don't say, 'Get out, dog!' as everybody else
+does. I shall have a supper! a bed like other people, with mattress
+and sheets--a bed! It is nineteen years that I have not slept on a
+bed. You are good people! Besides, I have money; I will pay well. I
+beg your pardon, M. Innkeeper, what is your name? I will pay all you
+say. You are a fine man. You are an innkeeper, is it not so?"
+
+"I am a priest who lives here," said the bishop.
+
+"A priest," said the man. "Oh, noble priest! Then you do not ask any
+money?"
+
+"No," said the bishop, "keep your money. How much have you?"
+
+"One hundred and nine francs and fifteen sous," said the man.
+
+"One hundred and nine francs and fifteen sous. And how long did it
+take you to earn that?"
+
+"Nineteen years."
+
+"Nineteen years!"
+
+The bishop sighed deeply, and shut the door, which had been left wide
+open.
+
+Mme. Magloire brought in a plate and set it on the table.
+
+"Mme Magloire," said the bishop, "put this plate as near the fire as
+you can." Then turning toward his guest he added: "The night wind is
+raw in the Alps; you must be cold, monsieur."
+
+Every time he said the word _monsieur_ with his gentle, solemn and
+heartily hospitable voice, the man's countenance lighted up.
+_Monsieur_ to a convict is a glass of water to a man dying of thirst
+at sea.
+
+"The lamp," said the bishop, "gives a very poor light."
+
+Mme. Magloire understood him, and, going to his bedchamber, took from
+the mantel the two silver candlesticks, lighted the candles and placed
+them on the table.
+
+"M. le Curé," said the man, you are good; "you don't despise me. You
+take me into your house; you light your candles for me, and I haven't
+hid from you where I come from, and how miserable I am."
+
+The bishop touched his hand gently and said: "You need not tell me who
+you are. This is not my house; it is the house of Christ. It does not
+ask any comer whether he has a name, but whether he has an affliction.
+You are suffering; you are hungry and thirsty; be welcome. And do not
+thank me; do not tell me that I take you into my house. This is the
+home of no man except him who needs an asylum. I tell you, who are a
+traveller, that you are more at home here than I; whatever is here is
+yours. What need have I to know your name? Besides, before you told
+me, I knew it."
+
+The man opened his eyes in astonishment.
+
+"Really? You knew my name?"
+
+"Yes," answered the bishop, "your name is my brother."
+
+"Stop, stop, M. le Curé," exclaimed the man, "I was famished when I
+came in, but you are so kind that now I don't know what I am; that is
+all gone."
+
+The bishop looked at him again and said:
+
+"You have seen much suffering?"
+
+"Oh, the red blouse, the ball and chain, the plank you sleep on, the
+heat, the cold, the galley's screw, the lash, the double chain for
+nothing, the dungeon for a word--even when sick in bed, the chain. The
+dogs, the dogs are happier! nineteen years! and I am forty-six, and
+now a yellow passport. That is all."
+
+"Yes," answered the bishop, "you have left a place of suffering. But
+listen, there will be more joy in heaven over the tears of a repentant
+sinner than over the white robes of a hundred good men. If you are
+leaving that sorrowful place with hate and anger against men, you are
+worthy of compassion; if you leave it with good-will, gentleness, and
+peace, you are better than any of us."
+
+      --_Victor Hugo_
+
+
+  This lesson can be used as an exercise on Pause
+  springing from (1) Visualization and Grouping,
+  (Introduction, pp. 7 and 8); (2) Narrative which breaks
+  in upon the direct discourse. (Introduction, p. 24.)
+
+  THAT MAN WE KNOW ALREADY. (Introduction, p. 11.)
+
+  "SEE HERE ... CAN I STAY?" This paragraph is an exercise
+  on Emphasis. Make a list of the words which are emphatic
+  (1) because they express new and important ideas, (2)
+  because of contrast. Why is GALLEYS not emphatic? Where
+  is the emphasis placed in that sentence?
+
+       *       *       *       *       *
+
+
+THE WELL OF ST. KEYNE
+
+
+  A well there is in the west country,
+    And a clearer one never was seen;
+  There is not a wife in the west country
+    But has heard of the well of St. Keyne.
+
+  An oak and an elm-tree stand beside,                                 5
+    And behind doth an ash-tree grow,
+  And a willow from the bank above
+    Droops to the water below.
+
+  A traveller came to the well of St. Keyne;
+    Joyfully he drew nigh,                                            10
+  For from cock-crow he had been travelling,
+    And there was not a cloud in the sky.
+
+  He drank of the water so cool and clear,
+    For thirsty and hot was he;
+  And he sat down upon the bank,                                      15
+    Under the willow-tree.
+
+  There came a man from the house hard by,
+    At the well to fill his pail;
+  On the well-side he rested it,
+    And he bade the stranger hail.                                    20
+
+  "Now, art thou a bachelor, stranger?" quoth he;
+    "For, an if thou hast a wife,
+  The happiest draught thou hast drank this day
+    That ever thou didst in thy life.
+
+  "Or has thy good woman, if one thou hast,                           25
+    Ever here in Cornwall been?
+  For, an if she have, I'll venture my life
+    She has drank of the well of St. Keyne."
+
+  "I have left a good woman who never was here,"
+    The stranger he made reply;                                       30
+  "But that my draught should be the better for that,
+    I pray you answer me why."
+
+  "St. Keyne," quoth the Cornish-man, many a time
+    Drank of this crystal well;
+  And before the angel summoned her,                                  35
+    She laid on the water a spell,--
+
+  "If the husband of this gifted well
+    Shall drink before his wife,
+  A happy man thenceforth is he,
+    For he shall be master for life;                                  40
+
+  "But, if the wife should drink of it first,
+    God help the husband then!"--
+  The stranger stooped to the well of St. Keyne,
+    And drank of the water again.
+
+  "You drank of the well, I warrant, betimes?"                        45
+    He to the Cornish-man said;
+  But the Cornish-man smiled as the stranger spake,
+    And sheepishly shook his head:--
+
+  "I hastened, as soon as the wedding was done,
+    And left my wife in the porch;                                    50
+  But i' faith she had been wiser than me,
+    For she took a bottle to church."
+
+      --_Robert Southey_
+
+
+  PREPARATORY.--Select the lines that (_a_) describe the
+  scene, (_b_) indicate the action, (_c_) give the
+  dialogue.
+
+  Show by recasting this ballad into dramatic form that it
+  is a miniature drama.
+
+  Give examples of Pause springing from (_a_)
+  Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (_b_)
+  narrative which interrupts direct discourse, in ll. 21,
+  29, 33, 45.
+
+  Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14,
+  21, 29, 31, 38, 45, 46? Give your reasons and show how
+  they are made emphatic. (Introduction, p. 30.)
+
+  l. 3. What is the Inflection on 'country,' l. 3?
+  (Introduction, p. 17.)
+
+  ll. 37-38. Note the Grouping and Pause. (Introduction,
+  p. 12.)
+
+       *       *       *       *       *
+
+
+FAITH, HOPE AND CHARITY
+
+1 Corinthians xiii
+
+
+Though I speak with the tongues of men and of angels, and have not
+charity, I am become as sounding brass, or a tinkling cymbal. And
+though I have the gift of prophecy, and understand all mysteries, and
+all knowledge; and though I have all faith, so that I could remove
+mountains, and have not charity, I am nothing. And though I bestow all
+my goods to feed the poor, and though I give my body to be burned, and
+have not charity, it profiteth me nothing.
+
+Charity suffereth long, and is kind; charity envieth not; charity
+vaunteth not itself, is not puffed up, doth not behave itself
+unseemly, seeketh not her own, is not easily provoked, thinketh no
+evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth
+all things, believeth all things, hopeth all things, endureth all
+things.
+
+Charity never faileth: but whether there be prophecies, they shall
+fail; whether there be tongues, they shall cease; whether there be
+knowledge, it shall vanish away. For we know in part, and we prophesy
+in part. But when that which is perfect is come, then that which is in
+part shall be done away. When I was a child, I spake as a child, I
+understood as a child, I thought as a child: but when I became a man I
+put away childish things. For now we see through a glass, darkly; but
+then face to face: now I know in part; but then shall I know even as
+also I am known.
+
+And now abideth faith, hope and charity, these three;
+but the greatest of these is charity.
+
+
+  CHARITY, SUFFERETH, PROFITETH. (Appendix A, 8 and 3.)
+
+  Show by examples from this selection how completeness
+  and incompleteness of thought affect the Inflection.
+  (Introduction, pp. 15 and 16.)
+
+  What Inflection does a negative statement usually
+  require? Give examples from the second paragraph.
+  (Introduction, p. 17.)
+
+  Give examples, from the second paragraph, of momentary
+  completeness. (Introduction, pp. 15 and 16.)
+
+  Select the words which are emphatic because they express
+  (_a_) new and important ideas. (_b_) contrast.
+
+  BEARETH ALL THINGS, ETC. How may the repetition of a
+  word or phrase affect the Emphasis? (Introduction, pp.
+  31 and 32.)
+
+  How are the principal clauses in the first three
+  sentences made prominent? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+THE LEGEND BEAUTIFUL
+
+From "Tales of a Wayside Inn"
+
+
+  "Hadst thou stayed, I must have fled!"
+  That is what the Vision said.
+
+  In his chamber all alone,
+  Kneeling on the floor of stone,
+  Prayed the Monk in deep contrition                                   5
+  For his sins of indecision,
+  Prayed for greater self-denial
+  In temptation and in trial;
+  It was noonday by the dial,
+  And the Monk was all alone.                                         10
+
+  Suddenly, as if it lightened,
+  An unwonted splendour brightened
+  All within him and without him
+  In that narrow cell of stone;
+  And he saw the Blessed Vision                                       15
+  Of our Lord, with light Elysian
+  Like a vesture wrapped about Him,
+  Like a garment round Him thrown.
+  Not as crucified and slain,
+  Not in agonies of pain,                                             20
+  Not with bleeding hands and feet,
+  Did the Monk his Master see;
+  But as in the village street,
+  In the house or harvest-field,
+  Halt and lame and blind He healed,                                  25
+  When He walked in Galilee.
+
+  In an attitude imploring,
+  Hands upon his bosom crossed,
+  Wondering, worshipping, adoring,
+  Knelt the Monk in rapture lost.                                     30
+  Lord, he thought, in heaven that reignest,
+  Who am I, that thus Thou deignest
+  To reveal Thyself to me?
+  Who am I, that from the centre
+  Of Thy glory Thou shouldst enter                                    35
+  This poor cell, my guest to be?
+
+  Then amid his exaltation,
+  Loud the convent bell appalling,
+  From its belfry calling, calling,
+  Rang through court and corridor                                     40
+  With persistent iteration
+  He had never heard before.
+  It was now the appointed hour
+  When alike in shine or shower,
+  Winter's cold or summer's heat,                                     45
+  To the convent portals came
+  All the blind and halt and lame,
+  All the beggars of the street,
+  For their daily dole of food
+  Dealt them by the brotherhood;                                      50
+  And their almoner was he
+  Who upon his bended knee,
+  Rapt in silent ecstasy
+  Of divinest self-surrender,
+  Saw the Vision and the Splendour.                                   55
+
+  Deep distress and hesitation
+  Mingled with his adoration;
+  Should he go or should he stay?
+  Should he leave the poor to wait
+  Hungry at the convent gate,                                         60
+  Till the Vision passed away?
+  Should he slight his radiant guest,
+  Slight this visitant celestial,
+  For a crowd of ragged, bestial
+  Beggars at the convent gate?                                        65
+  Would the Vision there remain?
+  Would the Vision come again?
+  Then a voice within his breast
+  Whispered, audible and clear
+  As if to the outward ear:                                           70
+  "Do thy duty; that is best;
+  Leave unto thy Lord the rest!"
+
+  Straightway to his feet he started,
+  And with longing look intent
+  On the Blessed Vision bent,                                         75
+  Slowly from his cell departed,
+  Slowly on his errand went.
+
+  At the gate the poor were waiting,
+  Looking through the iron grating,
+  With that terror in the eye                                         80
+  That is only seen in those
+  Who amid their wants and woes
+  Hear the sound of doors that close,
+  And of feet that pass them by;
+  Grown familiar with disfavour,                                      85
+  Grown familiar with the savour
+  Of the bread by which men die!
+  But to-day, they knew not why,
+  Like the gate of Paradise
+  Seemed the convent gate to rise,                                    90
+  Like a sacrament divine
+  Seemed to them the bread and wine.
+  In his heart the Monk was praying,
+  Thinking of the homeless poor,
+  What they suffer and endure;                                        95
+  What we see not, what we see;
+  And the inward voice was saying:
+  "Whatsoever thing thou doest
+  To the least of Mine and lowest,
+  That thou doest unto Me!"                                          100
+
+  Unto Me! but had the Vision
+  Come to him in beggar's clothing,
+  Come a mendicant imploring,
+  Would he then have knelt adoring,
+  Or have listened with derision,                                    105
+  And have turned away with loathing?
+  Thus his conscience put the question,
+  Full of troublesome suggestion,
+  As at length, with hurried pace,
+  Toward his cell he turned his face,                                110
+  And beheld the convent bright
+  With a supernatural light,
+  Like a luminous cloud expanding
+  Over floor and wall and ceiling.
+  But he paused with awestruck feeling                               115
+  At the threshold of his door,
+  For the Vision still was standing
+  As he left it there before,
+  When the convent bell appalling,
+  From its belfry calling, calling,                                  120
+  Summoned him to feed the poor.
+  Through the long hour intervening
+  It had waited his return,
+  And he felt his bosom burn,
+  Comprehending all the meaning,                                     125
+  When the Blessed Vision said,
+  "Hadst thou stayed, I must have fled!"
+
+      --_Henry Wadsworth Longfellow_
+
+
+  HADST, LIGHTENED, BRIGHTENED, REIGNEST, DEIGNEST,
+  DIVINEST (Appendix, A, 3.)
+
+  ll. 29, 38-39, 78-79. (Appendix, A, 4.)
+
+  How can the reader show that the first two lines are
+  merely introductory?
+
+  Divide the poem proper into five parts, giving to each
+  part a suggestive title. How can the reader make each
+  part stand out by itself? (Introduction, p. 10.)
+
+  Select the principal statement in each stanza and show
+  how the voice may make it prominent. (Introduction, p.
+  33.)
+
+  What Inflection is placed on the principal statement?
+  What Inflection on the subordinate phrases and clauses?
+  (Introduction, p. 15.)
+
+  Select examples of momentary completeness from the poem.
+
+  ll. 19-22. What is the Inflection on these negative
+  phrases? (Introduction, pp. 17 and 18.)
+
+  What is the Inflection on the various questions
+  throughout the poem? (Introduction, p. 18.)
+
+       *       *       *       *       *
+
+
+THE VICAR'S FAMILY USE ART
+
+From "The Vicar of Wakefield"
+
+
+1. Whatever might have been Sophia's sensations, the rest of the
+family was easily consoled for Mr. Burchell's absence by the company
+of our landlord, whose visits now became more frequent, and longer.
+Though he had been disappointed in procuring my daughters the
+amusements of the town, as he designed, he took every opportunity of
+supplying them with those little recreations which our retirement
+would admit of. He usually came in the morning; and while my son and I
+followed our occupations abroad, he sat with the family at home, and
+amused them by describing the town, with every part of which he was
+particularly acquainted. He could repeat all the observations that
+were retailed in the atmosphere of the play-houses, and had all the
+good things of the high wits by rote, long before they made their way
+into the jest-books. The intervals between conversation were employed
+in teaching my daughters piquet, or sometimes in setting my two little
+ones to box, to make them _sharp_, as he called it; but the hopes of
+having him for a son-in-law, in some measure blinded us to all his
+imperfections. It must be owned, that my wife laid a thousand schemes
+to entrap him; or, to speak it more tenderly, used every art to
+magnify the merit of her daughter. If the cakes at tea ate short and
+crisp, they were made by Olivia; if the gooseberry wine was well knit,
+the gooseberries were of her gathering; it was her fingers that gave
+the pickles their peculiar green; and in the composition of a pudding,
+it was her judgment that mixed the ingredients. Then the poor woman
+would sometimes tell the Squire that she thought him and Olivia
+extremely of a size, and would bid both stand up to see which was
+tallest. These instances of cunning, which she thought impenetrable,
+yet which everybody saw through, were very pleasing to our benefactor,
+who gave every day some new proofs of his passion, which, though they
+had not risen to proposals of marriage, yet we thought fell but little
+short of it; and his slowness was attributed sometimes to native
+bashfulness, and sometimes to his fear of offending his uncle. An
+occurrence, however, which happened soon after, put it beyond a doubt
+that he designed to become one of our family; my wife even regarded it
+as an absolute promise.
+
+2. My wife and daughters happening to return a visit at neighbour
+Flamborough's, found that family had lately got their pictures drawn
+by a limner, who travelled the country, and took likenesses for
+fifteen shillings a head. As this family and ours had long a sort of
+rivalry in point of taste, our spirit took the alarm at this stolen
+march upon us; and notwithstanding all I could say, and I said much,
+it was resolved that we should have our pictures done too. Having,
+therefore, engaged the limner--for what could I do?--our next
+deliberation was to shew the superiority of our taste in the
+attitudes. As for our neighbour's family, there were seven of them,
+and they were drawn with seven oranges--a thing quite out of taste, no
+variety in life, no composition in the world. We desired to have
+something in a brighter style; and after many debates, at length came
+to an unanimous resolution of being drawn together, in one large
+historical family piece. This would be cheaper, since one frame would
+serve for all, and it would be infinitely more genteel; for all
+families of any taste were now drawn in the same manner. As we did not
+immediately recollect an historical subject to hit us, we were
+contented each with being drawn as independent historical figures. My
+wife desired to be represented as Venus, and the painter was desired
+not to be too frugal of his diamonds in her stomacher and hair. Her
+two little ones were to be as Cupids by her side; while I, in my gown
+and band, was to present her with my books on the Whistonian
+controversy. Olivia would be drawn as an Amazon, sitting upon a bank
+of flowers, dressed in a green joseph richly laced with gold, and a
+whip in her hand. Sophia was to be a shepherdess, with as many sheep
+as the painter could put in for nothing; and Moses was to be dressed
+out with an hat and white feather. Our taste so much pleased the
+Squire that he insisted on being put in as one of the family, in the
+character of Alexander the Great, at Olivia's feet. This was
+considered by us all as an indication of his desire to be introduced
+into the family, nor could we refuse his request. The painter was
+therefore set to work, and as he wrought with assiduity and
+expedition, in less than four days the whole was completed. The piece
+was large, and it must be owned he did not spare his colours; for
+which my wife gave him great encomiums. We were all perfectly
+satisfied with his performance; but an unfortunate circumstance which
+had not occurred till the picture was finished, now struck us with
+dismay. It was so very large that we had no place in the house to fix
+it. How we all came to disregard so material a point is inconceivable;
+but certain it is, we had been all greatly remiss. The picture,
+therefore, instead of gratifying our vanity, as we hoped, leaned, in a
+most mortifying manner, against the kitchen wall, where the canvas was
+stretched and painted, much too large to be got through any of the
+doors, and the jest of all our neighbours. One compared it to Robinson
+Crusoe's long-boat, too large to be removed; another thought it more
+resembled a reel in a bottle; some wondered how it could be got out.
+but still more were amazed how it ever got in.
+
+3. But though it excited the ridicule of some, it effectually raised
+more malicious suggestions in many. The Squire's portrait being found
+united with ours, was an honour too great to escape envy. Scandalous
+whispers began to circulate at our expense, and our tranquillity was
+continually disturbed by persons, who came as friends, to tell us what
+was said of us by enemies. These reports we always resented with
+becoming spirit; but scandal ever improves by opposition.
+
+4. We once again, therefore, entered into a consultation upon
+obviating the malice of our enemies, and at last came to a resolution
+which had too much cunning to give me entire satisfaction. It was
+this: as our principal object was to discover the honour of Mr.
+Thornhill's addresses, my wife undertook to sound him, by pretending
+to ask his advice in the choice of an husband for her eldest daughter.
+If this was not found sufficient to induce him to a declaration, it
+was then resolved to terrify him with a rival. To this last step,
+however, I would by no means give my consent, till Olivia gave me the
+most solemn assurances that she would marry the person provided to
+rival him upon this occasion, if he did not prevent it by taking her
+himself. Such was the scheme laid, which, though I did not strenuously
+oppose, I did not entirely approve.
+
+5. The next time, therefore, that Mr. Thornhill came to see us, my
+girls took care to be out of the way, in order to give their mamma an
+opportunity of putting her scheme in execution; but they only retired
+to the next room, whence they could overhear the whole conversation.
+My wife artfully introduced it, by observing, that one of the Miss
+Flamboroughs was like to have a very good match of it in Mr. Spanker.
+To this the Squire assenting, she proceeded to remark, that they who
+had warm fortunes were always sure of getting good husbands: "But
+heaven help," continued she, "the girls that have none! What signifies
+beauty, Mr. Thornhill? or what signifies all the virtue, and all the
+qualifications in the world, in this age of self-interest? It is not,
+What is she? but, What has she? is all the cry."
+
+6. "Madam," returned he, "I highly approve the justice, as well as the
+novelty, of your remarks, and if I were a king, it should be
+otherwise. It should then, indeed, be fine times for the girls without
+fortunes: our two young ladies should be the first for whom I would
+provide."
+
+7. "Ah, sir," returned my wife, "you are pleased to be facetious: but
+I wish I were a queen, and then I know where my eldest daughter
+should look for an husband. But now that you have put it into my head,
+seriously, Mr. Thornhill, can't you recommend me a proper husband for
+her? She is now nineteen years old, well grown and well educated, and,
+in my humble opinion, does not want for parts."
+
+8. "Madam," replied he, "if I were to choose, I would find out a
+person possessed of every accomplishment that can make an angel happy.
+One with prudence, fortune, taste, and sincerity; such, madam, would
+be, in my opinion, the proper husband."--"Ay, sir," said she, "but do
+you know of any such person?"--"No, Madam," returned he, "it is
+impossible to know any person that deserves to be her husband: she's
+too great a treasure for one man's possession: she's a goddess! Upon
+my soul, I speak what I think, she's an angel!"--"Ah, Mr. Thornhill,
+you only flatter my poor girl: but we have been thinking of marrying
+her to one of your tenants, whose mother is lately dead, and who wants
+a manager; you know whom I mean, Farmer Williams; a warm man, Mr.
+Thornhill, able to give her good bread; and who has several times made
+her proposals" (which was actually the case); "but, sir," concluded
+she, "I should be glad to have your approbation of our choice."--"How,
+Madam," replied he, "my approbation!--my approbation of such a choice!
+Never. What! Sacrifice so much beauty, and sense, and goodness, to a
+creature insensible of the blessing! Excuse me, I can never approve of
+such a piece of injustice. And I have my reasons."--"Indeed, sir,"
+cried Deborah, "If you have your reasons, that's another affair; but I
+should be glad to know those reasons."--"Excuse me, Madam," returned
+he, "they lie too deep for discovery" (laying his hand upon his
+bosom); "they remain buried, rivetted here."
+
+9. After he was gone, upon a general consultation, we could not tell
+what to make of these fine sentiments. Olivia considered them as
+instances of the most exalted passion; but I was not quite so
+sanguine; yet, whatever they might portend, it was resolved to
+prosecute the scheme of Farmer Williams, who, from my daughter's first
+appearance in the country, had paid her his addresses.
+
+      --_Oliver Goldsmith_
+
+
+  ABSOLUTE, RESOLUTION, INTRODUCED, (Appendix, A, 2.)
+  VISITS, NATIVE, INFINITELY, CUPIDS, VANITY, GRATIFYING,
+  MORTIFYING, SANGUINE. (Appendix, A, 8.) UNFORTUNATE,
+  FORTUNE, VIRTUE. (Appendix, A, 9.)
+
+  Show by numerous examples from this selection that the
+  dependent clause of a sentence takes the rising
+  Inflection--whilst the principal clause takes the
+  falling. Which of the two has the heavier shading?
+  (Introduction, p. 33.)
+
+  How are such parenthetical clauses as AS HE DESIGNED, in
+  the second sentence, kept in the background?
+  (Introduction, pp. 24 and 27.) Give similar examples
+  from this selection.
+
+  What Inflection is placed on the rhetorical questions in
+  par. v? (Introduction, p. 19.)
+
+  How is the effect of the climax in par. viii brought
+  out? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SOLDIER'S DREAM
+
+
+  Our bugles sang truce--for the night-cloud had lowered
+    And the sentinel stars set their watch in the sky;
+  And thousands had sunk on the ground overpowered,
+    The weary to sleep, and the wounded to die.
+
+  When reposing that night on my pallet of straw,                      5
+    By the wolf-scaring faggot that guarded the slain,
+  At the dead of the night a sweet vision I saw,
+    And thrice ere the morning I dreamt it again.
+
+  Methought from the battlefield's dreadful array,
+    Far, far I had roamed on a desolate track;                        10
+  'Twas autumn--and sunshine arose on the way
+    To the home of my fathers, that welcomed me back.
+
+  I flew to the pleasant fields traversed so oft
+    In life's morning march, when my bosom was young;
+  I heard my own mountain-goats bleating aloft,                       15
+    And knew the sweet strain that the corn-reapers sung.
+
+  Then pledged we the wine-cup, and fondly I swore
+    From my home and my weeping friends never to part;
+  My little ones kissed me a thousand times o'er,
+    And my wife sobbed aloud in her fulness of heart.                 20
+
+  "Stay, stay with us--rest, thou art weary and worn;"
+    And fain was their war-broken soldier to stay;
+  But sorrow returned with the dawning of morn,
+    And the voice in my dreaming ear melted away.
+
+      --_Thomas Campbell_
+
+
+  PREPARATORY.--Describe the picture suggested by this
+  poem.
+
+  Compare the soldier's dream with the vision of _The
+  Private of the Buffs_ in the hour of danger, or with
+  _The Slave's Dream_ in Longfellow's poem.
+
+  Divide the poem into three distinct parts, giving to
+  each a descriptive title.
+
+  Expand the thoughts contained in the last two lines of
+  the poem, using, if possible, illustrations from
+  literature or real life. What feelings do these lines
+  arouse?
+
+  Observe the difficulties of Articulation in ll. 1, 2, 13
+  and 16. (Appendix A, 6 and 3.)
+
+  How can each part of the poem be made to stand out by
+  itself? (Introduction, p. 10.)
+
+  2. SENTINEL STARS. Select other phrases which call up
+  mental images.
+
+  How does the process of mental imagery affect the Time?
+  (Introduction, p. 12.)
+
+  3. How can it be shown that OVERPOWERED and GROUND are
+  disconnected? (Introduction, p. 7.)
+
+  4. Why do we pause after WEARY AND WOUNDED?
+  (Introduction, p. 10.)
+
+  6. Why is there no pause after FAGGOT? (Introduction, p.
+  11.)
+
+  What lines of stanza ii contain the leading thought? How
+  does the voice indicate this? (Introduction, p. 33.)
+
+  9. How is the mind prepared for the description of the
+  dream?
+
+  21. What feeling does the voice express? Does Imitation
+  play any part here? (Introduction, pp. 5 and 6.)
+
+  22. Expand the thought of this line, and show how your
+  thinking affects the Time. (Introduction, p. 14.)
+  Compare with the Time of l. 21, and explain the
+  difference.
+
+       *       *       *       *       *
+
+
+VAN ELSEN
+
+
+  God spake three times and saved Van Elsen's soul;
+  He spake by sickness first, and made him whole;
+          Van Elsen heard him not,
+          Or soon forgot.
+
+  God spake to him by wealth; the world outpoured                      5
+  Its treasures at his feet, and called him lord;
+          Van Elsen's heart grew fat
+          And proud thereat.
+
+  God spake the third time when the great world smiled,
+  And in the sunshine slew his little child;                          10
+          Van Elsen like a tree
+          Fell hopelessly.
+
+  Then in the darkness came a voice which said,
+  "As thy heart bleedeth, so My heart hath bled;
+          As I have need of thee                                      15
+          Thou needest Me."
+
+  That night Van Elsen kissed the baby feet,
+  And kneeling by the narrow winding-sheet
+          Praised him with fervent breath
+          Who conquered death.                                        20
+
+      _-Frederick George Scott_ (_By permission_)
+
+
+  By what means is the introductory line kept distinct
+  from the rest of the poem? (Introduction, p. 10.)
+
+  How does the reader indicate the comparatively long
+  space of time which elapses between the events of the
+  first, second, and third stanzas respectively?
+  (Introduction, p. 9.)
+
+  Show that each of the first three stanzas falls
+  according to meaning, into two parts. How does the
+  reader indicate this division?
+
+  Why should the last two stanzas, in this respect, be
+  together treated as one of the preceding? Illustrate by
+  means of Pause.
+
+       *       *       *       *       *
+
+
+PIBROCH OF DONUIL DHU
+
+
+  Pibroch of Donuil Dhu,
+    Pibroch of Donuil,
+  Wake thy wild voice anew,
+    Summon Clan Conuil.
+  Come away, come away,                                                5
+    Hark to the summons!
+  Come in your war array,
+    Gentles and commons.
+
+  Come from deep glen, and
+    From mountains so rocky,                                          10
+  The war-pipe and pennon
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one,
+  Come every steel blade, and                                         15
+    Strong hand that bears one.
+
+  Leave untended the herd,
+    The flock without shelter;
+  Leave the corpse uninterr'd
+    The bride at the altar;                                           20
+  Leave the deer, leave the steer,
+    Leave nets and barges:
+  Come with your fighting gear,
+    Broadswords and targes.
+
+  Come as the winds come, when                                        25
+    Forests are rended,
+  Come as the waves come, when
+    Navies are stranded;
+  Faster come, faster come,
+    Faster and faster,                                                30
+  Chief, vassal, page and groom,
+    Tenant and master.
+
+  Fast they come, fast they come;
+    See how they gather!
+  Wide waves the eagle plume,                                         35
+    Blended with heather.
+  Cast your plaids, draw your blades,
+    Forward each man set!
+  Pibroch of Donuil Dhu
+    Knell for the onset!                                              40
+
+      --_Sir Walter Scott_
+
+
+  HERD, UNINTERR'D. What sound has the vowel _e_?
+  (Appendix A, 1.)
+
+  GENTLES AND COMMONS; NETS AND BARGES; FIGHTING GEAR;
+  BROADSWORDS AND TARGES; FORESTS ARE RENDED; NAVIES ARE
+  STRANDED. (Appendix A, 3 and 6.)
+
+  For Pause read (Introduction, pp. 7 and 8.)
+
+  How is the gradually increasing excitement and energy
+  indicated in Time, Pitch, and Force? (Introduction, pp.
+  13, 23, and 27.)
+
+       *       *       *       *       *
+
+
+THE DAY IS DONE
+
+
+  The day is done, and the darkness
+    Falls from the wings of Night,
+  As a feather is wafted downwards
+    From an eagle in its flight.
+
+  I see the lights of the village                                      5
+    Gleam through the rain and the mist,
+  And a feeling of sadness comes o'er me,
+    That my soul cannot resist:
+
+  A feeling of sadness and longing,
+    That is not akin to pain,                                         10
+  And resembles sorrow only
+    As the mist resembles the rain.
+
+  Come, read to me some poem,
+    Some simple and heartfelt lay,
+  That shall soothe this restless feeling,                            15
+    And banish the thoughts of day.
+
+  Not from the grand old masters,
+    Not from the bards sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.                                    20
+
+  For, like strains of martial music,
+    Their mighty thoughts suggest
+  Life's endless toil and endeavour;
+    And to-night I long for rest.
+
+  Read from some humbler poet,                                        25
+    Whose songs gushed from his heart,
+  As showers from the clouds of summer,
+    Or tears from the eyelids start;
+
+  Who, through long days of labour,
+    And nights devoid of ease,                                        30
+  Still heard in his soul the music
+    Of wonderful melodies.
+
+  Such songs have power to quiet
+    The restless pulse of care,
+  And come like the benediction                                       35
+    That follows after prayer.
+
+  Then read from the treasured volume
+    The poem of thy choice,
+  And lend to the rhyme of the poet
+    The beauty of thy voice.                                          40
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+      --_Henry Wadsworth Longfellow_
+
+
+  What is the atmosphere of this poem? Compare it in this
+  respect with _Pibroch of Donuil Dhu_.
+
+  How does it differ from the latter in expression, so far
+  as Time, Pitch, and Force are concerned? (Introduction,
+  pp. 13, 22 and 26.)
+
+  WAFTED, AFTER, MASTERS, POEM, CORRIDORS, SORROW.
+  (Appendix A, 1.)
+
+  Observe the difficulties of Articulation in ll. 3, 11,
+  15, 18, 22, 26, 28 and 31. (Appendix A, 3 and 6.)
+
+       *       *       *       *       *
+
+
+THE SCHOOLMASTER AND THE BOYS
+
+From "The Old Curiosity Shop"
+
+
+1. The schoolmaster had scarcely arranged the room in due order, and
+taken his seat behind his desk, when a white-headed boy with a
+sunburnt face appeared at the door, and stopping there to make a
+rustic bow, came in and took his seat upon one of the forms. The
+white-headed boy then put an open book, astonishingly dog-eared, upon
+his knees, and thrusting his hands into his pockets, began counting
+the marbles with which they were filled. Soon afterwards another
+white-headed little boy came straggling in, and after him a red-headed
+lad, and after him two more with white heads, and then one with a
+flaxen poll, and so on until there were about a dozen boys in all,
+with heads of every colour but gray, and ranging in their ages from
+four years old to fourteen years or more; for the legs of the youngest
+were a long way from the floor when he sat upon the form, and the
+eldest was a heavy, good-tempered, foolish fellow, about half a head
+taller than the schoolmaster.
+
+2. At the top of the first form--the post of honour in the school--was
+the vacant place of the little sick scholar, and at the head of the
+row of pegs on which the hats and caps were hung, one peg was left
+empty. No boy attempted to violate the sanctity of seat or peg, but
+many a one looked from the empty spaces to the schoolmaster, and
+whispered to his idle neighbour behind his hand.
+
+3. Then began the hum of conning over lessons and getting them by
+heart, the whispered jest and stealthy game, and all the noise and
+drawl of school; and in the midst of the din sat the poor
+schoolmaster, the very image of meekness and simplicity, vainly
+attempting to fix his mind upon the duties of the day, and to forget
+his little sick friend. But the tedium of his office reminded him more
+strongly of the willing scholar, and his thoughts were rambling from
+his pupils--it was plain. None knew this better than the idlest boys,
+who, growing bolder with impunity, waxed louder and more
+daring--eating apples under the master's eye, pinching each other in
+sport or malice, and cutting their autographs in the very legs of his
+desk. The puzzled dunce, who stood beside it to say his lesson out of
+book, looked no longer at the ceiling for forgotten words, but drew
+closer to the master's elbow and boldly cast his eyes upon the page.
+If the master did chance to rouse himself and seem alive to what was
+going on, the noise subsided for a moment, and no eyes met his but
+wore a studious and deeply humble look; but, the instant he relapsed
+again, it broke out afresh, and ten times louder than before.
+
+4. Oh, how some of those idle fellows longed to be outside, and how
+they looked at the open door and window, as if they half meditated
+rushing violently out, plunging into the woods, and being wild boys
+and savages from that time forth. What rebellious thoughts of the cool
+river, and some shady bathing-place beneath willow-trees with branches
+dipping in the water, kept tempting and urging that sturdy boy, who
+sat fanning his flushed face with a spelling-book wishing himself a
+whale, or a fly, or anything but a boy at school on that hot, broiling
+day!
+
+5. Heat! Ask that other boy, whose seat being nearest the door gave
+him opportunities of gliding out into the garden and driving his
+companions to madness by dipping his face into the bucket of the well
+and then rolling on the grass--ask him if there were ever such a day
+as that, when even the bees were diving deep down into the cups of
+flowers and stopping there, as if they had made up their minds to
+retire from business and be manufacturers of honey no more. The day
+was made for laziness, and lying on one's back in green places, and
+staring at the sky till its brightness forced one to shut one's eyes
+and go to sleep; and was this a time to be poring over musty books in
+a dark room, slighted by the very sun itself? Monstrous!
+
+6. The lessons over, writing-time began; and there being but one desk
+and that the master's, each boy sat at it in turn and laboured at his
+crooked copy, while the master walked about. This was a quieter time;
+for he would come and look over the writer's shoulder, and tell him
+mildly to observe how such a letter was turned in such a copy on the
+wall, and bid him take it for his model. Then he would stop and tell
+them what the sick child had said last night, and how he had longed to
+be among them once again; and such was the schoolmaster's gentle and
+affectionate manner that the boys seemed quite remorseful that they
+had worried him so much, and were absolutely quiet; eating no apples,
+cutting no names, inflicting no pinches, for full two minutes
+afterwards.
+
+7. "I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this afternoon."
+
+8. At this intelligence the boys, led on and headed by the tall boy,
+raised a great shout, in the midst of which the master was seen to
+speak, but could not be heard. As he held up his hand, however, in
+token of his wish that they should be silent, they were considerate
+enough to leave off, as soon as the longest-winded among them were
+quite out of breath.
+
+9. "You must promise me first," said the schoolmaster, "that you 'll
+not be noisy, or, at least, if you are, that you'll go away and be
+so--away out of the village, I mean. I'm sure you wouldn't disturb
+your old playmate and companion."
+
+10. There was a general murmur in the negative.
+
+11. "Then, pray, don't forget--there's my dear scholars," said the
+schoolmaster--"what I have asked you, and do it as a favour to me. Be
+as happy as you can, and likewise be mindful that you are blessed with
+health. Good-bye, all!"
+
+12. "Thank you, sir," and "Good-bye, sir," were said a great many
+times in a variety of voices, and the boys went out very slowly and
+softly.
+
+13. But there was the sun shining and there were the birds singing, as
+the sun only shines and the birds only sing on holidays and
+half-holidays; there were the trees waving to all free boys to climb
+and nestle among their leafy branches; the hay, entreating them to
+come and scatter it in the pure air; the green corn, gently beckoning
+toward wood and stream; the smooth ground rendered smoother still by
+blending lights and shadows, inviting to runs and leaps, and long
+walks no one knows whither. It was more than boy could bear, and with
+a joyous whoop the whole company took to their heels and spread
+themselves about, shouting and laughing as they went.
+
+14. "It's natural, thank heaven!" said the poor schoolmaster, looking
+after them. "I'm very glad they didn't mind me!"
+
+      --_Charles Dickens_
+
+
+  Par. 1. DUE. (Appendix A 2.)
+
+  Indicate the pauses required to allow time for the
+  Imaging process. Discriminate between the short and the
+  long pauses. (Introduction, pp. 8 and 11.)
+
+  ORDER, DESK, DOOR. Account for the Inflection on each of
+  these words. (Introduction, pp. 15 and 16.)
+
+  What clause in the first sentence should be made most
+  prominent? Indicate the relative value of each part of
+  this sentence by the Shading. (Introduction, p. 33.)
+
+  Par. 2. What two phrases suggest the central idea of
+  this paragraph?
+
+  How does the voice indicate that the parenthetical
+  clause is subordinate in thought? (Introduction, pp. 24
+  and 33.)
+
+  Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8
+  and 2.)
+
+  DID CHANCE. What is the emphatic word? Why?
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+  NO EYES MET HIS ... How does the Inflection on HIS
+  indicate the exact meaning? (Introduction, p. 16.)
+
+  Par. 4. Give examples of Grouping in the last sentence
+  and show how Grouping affects the Pause. (Introduction,
+  p. 11.)
+
+  Par. 5. WHOSE SEAT--GRASS. What is the Shading? Indicate
+  the pauses in this group of words giving your reason in
+  each case.
+
+  What Inflection is placed on the question in the last
+  sentence? Account for it. (Introduction, p. 19.)
+
+  Par. 6. WRITER'S SHOULDER, BOYS SEEMED, ABSOLUTELY.
+  (Appendix A, 6, 2.)
+
+  Give examples of Grouping in the second sentence.
+
+  BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic
+  word? Why?
+
+  Par. 7. How is I THINK, BOYS connected with the rest of
+  the speech? Apply this principle to other examples of
+  direct speech interrupted by narrative. (Introduction,
+  p. 24.)
+
+  Par. 9. IF YOU ARE ... BE SO. Select the two emphatic
+  Words and give your reason for emphasizing them,
+  (Introduction, p. 30.)
+
+       *       *       *       *       *
+
+
+THE KNIGHTS' CHORUS
+
+From "Idylls of the King"
+
+
+    Blow trumpet, for the world is white with May;
+  Blow trumpet, the long night hath roll'd away!
+  Blow thro' the living world--Let the King reign.
+
+    Shall Rome or Heathen rule in Arthur's realm?
+  Flash brand and lance, fall battleaxe upon helm,                     5
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Strike for the King and live! his knights have heard
+  That God hath told the King a secret word.
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Blow trumpet! he will lift us from the dust!                      10
+  Blow trumpet! live the strength, and die the lust!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    Strike for the King and die! and if thou diest,
+  The King is King, and ever wills the highest.
+  Clang battleaxe, and clash brand! Let the king reign.               15
+
+    Blow, for our Sun is mighty in his May!
+  Blow, for our Sun is mightier day by day!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    The King will follow Christ, and we the King
+  In whom high God hath breathed a secret thing.                      20
+  Fall battleaxe, and flash brand! Let the King reign.
+
+      --_Alfred Tennyson_
+
+
+  How do you describe this poem from the standpoint of;
+  (1) the amount of energy, (2) excitement or nervous
+  tension? With what Force and in what Pitch should it be
+  read? (Introduction, pp. 22 and 25.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 13.)
+
+  What is the purpose of the question in stanza ii? How is
+  this purpose indicated by the Inflection? (Introduction,
+  p. 19.)
+
+       *       *       *       *       *
+
+
+THE NORTHERN STAR
+
+A Tynemouth Ship
+
+
+      The Northern Star
+      Sail'd over the bar
+  Bound to the Baltic Sea;
+      In the morning gray
+      She stretched away:--                                            5
+  'Twas a weary day to me!
+
+      For many an hour
+      In sleet and shower
+  By the lighthouse rock I stray;
+      And watch till dark                                             10
+      For the wingéd bark
+  Of him that is far away.
+
+      The castle's bound
+      I wander round
+  Amidst the grassy graves:                                           15
+      But all I hear
+      Is the north-wind drear,
+  And all I see are the waves.
+
+      The Northern Star
+      Is set afar!                                                    20
+  Set in the Baltic Sea:
+      And the waves have spread
+      The sandy bed
+  That holds my Love from me.
+
+      --_Unknown_
+
+
+  PREPARATORY.--Tell the story of the poem, making as
+  vivid as possible the scenes depicted. Compare
+  Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah
+  binding Shoes_.
+
+  Compare this poem with _The Knights' Chorus_ from the
+  standpoint of the amount of energy. How is the
+  difference between the two indicated vocally by the
+  Force? (Introduction, p. 26.)
+
+  What is the difference in nervous tension between the
+  last stanza and the preceding ones? What difference in
+  Pitch? (Introduction, p. 23.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 14.)
+
+  11. WINGÉD, with sails
+
+  15. TYNEMOUTH CASTLE used as a graveyard.
+
+       *       *       *       *       *
+
+
+THE INDIGO BIRD
+
+
+                    When I see,
+  High on the tip-top twig of a tree,
+  Something blue by the breezes stirred,
+  But so far up that the blue is blurred,
+  So far up no green leaf flies.                                       5
+  Twixt its blue and the blue of the skies,
+  Then I know, ere a note be heard,
+  That is naught but the Indigo bird.
+
+      Blue on the branch and blue in the sky,
+      And naught between but the breezes high,                        10
+      And naught so blue by the breezes stirred
+      As the deep, deep blue of the Indigo bird.
+
+                    When I hear
+  A song like a bird laugh, blithe and clear,
+  As though of some airy jest he had heard                            15
+  The last and the most delightful word,
+  A laugh as fresh in the August haze
+  As it was in the full-voiced April days,
+  Then I know that my heart is stirred
+  By the laugh-like song of the Indigo bird.                          20
+
+      Joy in the branch and joy in the sky,
+      And naught between but the breezes high;
+      And naught so glad on the breezes heard
+      As the gay, gay note of the Indigo bird.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Suggest a picture which would serve as an
+  illustration for this poem.
+
+  How does the Imaging affect the Pitch in the first two
+  stanzas?
+
+  What feelings does the poem arouse? Where do these
+  feelings reach a Climax? What is the effect on the
+  Pitch?
+
+  What other Climax is found in the poem besides the
+  Climax of feeling?
+
+  FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.)
+
+  BREEZES STIRRED. (Appendix A, 6.)
+
+  What is the Inflection on ll. 1-6 of stanza i and iii?
+  (Introduction, p. 17.) How does the Pitch of these lines
+  differ from that of ll. 7 and 8 of these stanzas?
+  Account for the change. (Introduction, p. 23.)
+
+  What are the contrasting words in l. 6, stanza i?
+
+  Note the Grouping and Pause in ll. 3 and 4, stanza iii.
+
+       *       *       *       *       *
+
+
+THE PASTURE FIELD
+
+
+  When spring has burned
+    The ragged robe of winter, stitch by stitch,
+  And deftly turned
+    To moving melody the wayside ditch,
+  The pale-green pasture field behind the bars                         5
+  Is goldened o'er with dandelion stars.
+
+  When summer keeps
+    Quick pace with sinewy white-shirted arms,
+  And daily steeps
+    In sunny splendour all her spreading farms,                       10
+  The pasture field is flooded foamy white
+  With daisy faces looking at the light.
+
+  When autumn lays
+    Her golden wealth upon the forest floor,
+  And all the days                                                    15
+    Look backward at the days that went before,
+  A pensive company, the asters, stand,
+  Their blue eyes brightening the pasture land.
+
+  When winter lifts
+    A sounding trumpet to his strenuous lips,                         20
+  And shapes the drifts
+    To curves of transient loveliness, he slips
+  Upon the pasture's ineffectual brown
+  A swan-soft vestment delicate as down.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Select the phrases which call into play
+  the Imaging process.
+
+  Describe four typical Canadian scenes suggested by this
+  poem.
+
+  Distinguish the sound of _a_ in PASTURE, RAGGED, BARS,
+  etc. (Appendix A, 1.)
+
+  What words express the central ideas in each stanza, and
+  at the same time form a contrast with one another?
+
+  What Inflection is used in the first four lines of each
+  stanza? (Introduction, p. 16.)
+
+  How does the Shading of these lines compare with that of
+  the last two of each stanza? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+SHIPWRECKED
+
+From "Kidnapped"
+
+
+1. The time I spent upon the island is still so horrible a thought to
+me that I must pass it lightly over. In all the books I have read of
+people cast away, either they had their pockets full of tools, or a
+chest of things would be thrown upon the beach along with them, as if
+on purpose. My case was very much different. I had nothing in my
+pockets but money and Alan's silver button; and being inland bred, I
+was as much short of knowledge as of means.
+
+2. I knew indeed that shellfish were counted good to eat; and among
+the rocks of the isle I found a great plenty of limpets, which at
+first I could scarcely strike from their places, not knowing quickness
+to be needful. There were, besides, some of the little shells that we
+call buckies; I think periwinkle is the English name. Of these two I
+made my whole diet, devouring them cold and raw as I found them; and
+so hungry was I that at first they seemed to me delicious.
+
+3. Perhaps they were out of season, or perhaps there was something
+wrong in the sea about my island. But at least I had no sooner eaten
+my first meal than I was seized with giddiness and retching, and lay
+for a long time no better than dead. A second trial of the same food
+(indeed, I had no other) did better with me and revived my strength.
+
+4. But as long as I was on the island, I never knew what to expect
+when I had eaten; sometimes all was well, and sometimes I was thrown
+into a miserable sickness; nor could I ever distinguish what
+particular fish it was that hurt me. All day it streamed rain; there
+was no dry spot to be found; and when I lay down that night, between
+two boulders that made a kind of roof, my feet were in a bog.
+
+5. From a little up the hillside over the bay I could catch a sight of
+the great ancient church and the roofs of the people's houses in Iona.
+And on the other hand, over the low country of the Ross, I saw smoke
+go up, morning and evening, as if from a homestead in a hollow of the
+land.
+
+6. I used to watch this smoke, when I was wet and cold and had my head
+half-turned with loneliness, and think of the fireside and of the
+company till my heart burned. Altogether, this sight I had of men's
+homes and comfortable lives, although it put a point on my own
+sufferings, yet it kept hope alive, and helped me to eat my raw
+shellfish (which had soon grown to be a disgust), and saved me from
+the sense of horror I had whenever I was quite alone with dead rocks,
+and fowls, and the rain, and the cold sea.
+
+7. Charles the Second declared a man could stay outdoors more days in
+the year in the climate of England than in any other. That was very
+like a king with a palace at his back and changes of dry clothes. But
+he must have had better luck on his flight from Worcester than I had
+on that miserable isle. It was the height of summer; yet it rained for
+more than twenty-four hours, and did not clear until the afternoon of
+the third day.
+
+8. There is a pretty high rock on the north-west of Earraid, which
+(because it had a flat top and overlooked the Sound) I was much in the
+habit of frequenting; not that I ever stayed in one place, save when
+asleep, my misery giving me no rest. Indeed, I wore myself down with
+continual and aimless goings and comings in the rain.
+
+9. As soon, however, as the sun came out, I lay down on the top of
+that rock to dry myself. The comfort of the sunshine is a thing I
+cannot tell. It set me thinking hopefully of my deliverance, of which
+I had begun to despair; and I scanned the sea and the Ross with a
+fresh interest. On the south of my rock a part of the island jutted
+out and hid the open ocean so that a boat could thus come quite near
+me upon that side and I be none the wiser.
+
+10. Well, all of a sudden, a coble, with a brown sail and a pair of
+fishers aboard of it, came flying round that corner of the isle, bound
+for Iona. I shouted out, and then fell on my knees on the rock and
+prayed to them. They were near enough to hear--I could even see the
+colour of their hair--and there was no doubt but they observed me, for
+they cried out in the Gaelic tongue, and laughed. But the boat never
+turned aside, and flew right on, before my eyes, for Iona.
+
+11. I could not believe such wickedness, and ran along the shore from
+rock to rock, crying on them piteously; even after they were out of
+reach of my voice I still cried and waved to them; and when they were
+quite gone I thought my heart would burst.
+
+12. The next day (which was the fourth of this horrible life of mine)
+I found my bodily strength run very low. But the sun shone, the air
+was sweet, and what I managed to eat of the shellfish agreed well with
+me and revived my courage.
+
+13. I was scarce back on my rock (where I went always the first thing
+after I had eaten) before I observed a boat coming down the Sound, and
+with her head, as I thought, in my direction.
+
+14. I began at once to hope and fear exceedingly; for I thought these
+men might have thought better of their cruelty and be coming back to
+my assistance. But another disappointment, such as yesterday's, was
+more than I could bear. I turned my back accordingly upon the sea, and
+did not look again till I had counted many hundreds.
+
+15. The boat was still heading for the island. The next time I counted
+the full thousand, as slowly as I could, my heart beating so as to
+hurt me. And then it was out of all question. She was coming straight
+to Earraid. I could no longer hold myself back, but ran to the seaside
+and out, from one rock to another, as far as I could go. It is a
+marvel I was not drowned; for when I was brought to a stand at last my
+legs shook under me, and my mouth was so dry I must wet it with the
+sea water before I was able to shout.
+
+16. All this time the boat was coming on; and now I was able to
+perceive it was the same boat and the same two men as yesterday. This
+I knew by their hair, which the one had of bright yellow and the other
+black. But now there was a third man along with them, who looked to be
+of a better class.
+
+17. As soon as they were come within easy speech, they let down their
+sail and lay quiet. In spite of my supplications, they drew no nearer
+in, and what frightened me most of all, the new man tee-heed with
+laughter as he talked and looked at me.
+
+18. Then he stood up in the boat and addressed me a long while,
+speaking fast and with many wavings of his hand. I told him I had no
+Gaelic; and at this he became very angry, and I began to suspect he
+thought he was talking English. Listening very close, I caught the
+word "whateffer" several times; but all the rest was Gaelic, and might
+have been Greek and Hebrew for me.
+
+19. "Whatever," said I, to show him I had caught a word. "Yes,
+yes--yes, yes," said he; and then he looked at the other men as much
+as to say, "I told you I spoke English," and began again as hard as
+ever in the Gaelic.
+
+20. This time I picked out another word, "tide." Then I had a flash of
+hope. I remembered he was always waving his hand toward the mainland
+of the Ross.
+
+21. "Do you mean when the tide is out?"--I cried, and could not
+finish.
+
+22. "Yes, yes," said he. "Tide."
+
+23. At that I turned tail upon their boat (where my adviser had once
+more begun to tee-hee with laughter), leaped back the way I had come,
+from one stone to another, and set off running across the isle as I
+had never run before. In about half an hour I came upon the shores of
+the creek, and, sure enough, it was shrunk into a little trickle of
+water, through which I dashed, not above my knees, and landed with a
+shout on the main island.
+
+24. A sea-bred boy would not have stayed a day on Earraid, which is
+only what they call a tidal islet, and, except, in the bottom of the
+neaps, can be entered and left twice in every twenty-four hours,
+either dry-shod, or, at the most, by wading. Even I, who had seen the
+tide going out and in before me in the bay, and even watched for the
+ebbs, the better to get my shellfish--even I (I say), if I had sat
+down to think, instead of raging at my fate, must have soon guessed
+the secret and got free.
+
+25. It was no wonder the fishers had not understood me. The wonder was
+rather that they had ever guessed my pitiful illusion, and taken the
+trouble to come back. I had starved with cold and hunger on that
+island for close upon one hundred hours. But for the fishers, I might
+have left my bones there, in pure folly. And even as it was, I had
+paid for it pretty dear, not only in past sufferings but in my present
+case, being clothed like a beggar man, scarce able to walk, and in
+great pain of my sore throat.
+
+26. I have seen wicked men and fools--a great many of both--and I
+believe they both get paid in the end; but the fools first.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  How are the parenthetical clauses in this selection kept
+  in the back-ground? (Introduction, p. 24.)
+
+  11. I could not believe such wickedness ... heart would
+  burst. Observe the Climax. (Introduction, p. 31.)
+
+  19. Whatever, said I, ... How is the direct speech made
+  to stand out from the narration which interrupts it?
+  (Introduction, p. 24.)
+
+       *       *       *       *       *
+
+
+ON HIS BLINDNESS
+
+
+  When I consider how my light is spent
+    Ere half my days, in this dark world and wide,
+    And that one talent which is death to hide,
+  Lodged with me useless, though my soul more bent
+  To serve therewith my Maker, and present
+    My true account, lest He, returning, chide;
+    "Doth God exact day labour, light denied?"
+
+  I fondly ask. But Patience, to prevent
+  That murmur, soon replies, "God doth not need
+    Either man's work, or His own gifts. Who best
+    Bear His mild yoke, they serve Him best: His state
+  Is kingly; thousands at His bidding speed,
+    And post o'er land and ocean without rest:
+    They also serve who only stand and wait."
+
+      --_Milton_
+
+
+  PREPARATORY.--Divide the sonnet into two parts, giving
+  each part a title.
+
+  Read the first part in prose order, supplying the
+  ellipses.
+
+  How many distinct statements are there in the second
+  part?
+
+  Select the clauses of the first part that are equal in
+  rank and have the same Shading. Show which should be
+  made prominent, and which held in the background.
+
+  Read the first part of this sonnet, with a view to
+  Perspective. (Introduction, p. 33.)
+
+  1-4. With what do you connect WHEN ... SPENT, and
+  LODGED? How?
+
+  How do you make the statements of the second part stand
+  out singly? (Introduction, pp. 8 and 10.)
+
+       *       *       *       *       *
+
+
+BRIGGS IN LUCK
+
+From "Doctor Birch and his Young Friends"
+
+
+_Enter the Knife-boy._ Hamper for Briggses!
+_Master Brown._ Hurray, Tom Briggs! I'll lend you my knife.
+
+If this story does not carry its own moral, what fable does, I wonder?
+Before the arrival of that hamper, Master Briggs was in no better
+repute than any other young gentleman of the lower school; and in fact
+I had occasion myself, only lately, to correct Master Brown for
+kicking his friend's shins during the writing-lesson. But how this
+basket, directed by his mother's house-keeper, and marked "GLASS WITH
+CARE," whence I concluded that it contained some jam and some bottles
+of wine probably, as well as the usual cake and game-pie, and half a
+sovereign for the elder Master B., and five new shillings for Master
+Decimus Briggs--how, I say, the arrival of this basket alters all
+Master Briggs's circumstances in life, and the estimation in which
+many persons regard him!
+
+If he is a good-hearted boy, as I have reason to think, the very first
+thing he will do, before inspecting the contents of the hamper, or
+cutting into them with the knife which Master Brown has so
+considerately lent him, will be to read over the letter from home
+which lies on top of the parcel. He does so, as I remarked to Miss
+Raby (for whom I happened to be mending pens when the little
+circumstance arose), with a flushed face and winking eyes. Look how
+the other boys are peering into the basket as he reads--I say to her,
+"Isn't it a pretty picture?" Part of the letter is in a very large
+hand. That is from his little sister. And I would wager that she
+netted the little purse which he has just taken out of it, and which
+Master Lynx is eyeing.
+
+"You are a droll man, and remark all sorts of queer things," Miss Raby
+says, smiling, and plying her swift needle and fingers as quick as
+possible.
+
+"I am glad we were both on the spot, and that the little fellow lies
+under our guns as it were, and so is protected from some such brutal
+school-pirate as young Duval for instance, who would rob him,
+probably, of some of those good things; good in themselves, and better
+because fresh from home. See, there is a pie as I said, and which I
+daresay is better than those which are served at our table (but you
+never take any notice of these kind of things, Miss Raby), a cake, of
+course, a bottle of currant wine, jam-pots, and no end of pears in
+the straw. With this money little Briggs will be able to pay the tick
+which that impudent child has run up with Mrs. Ruggles; and I shall
+let Briggs Major pay for the pencil-case which Bullock sold to
+him.--It will be a lesson to the young prodigal for the future.
+
+"But, I say, what a change there will be in his life for some time to
+come, and at least until his present wealth is spent! The boys who
+bully him will mollify toward him and accept his pie and sweetmeats.
+They will have feasts in the bedroom; and that wine will taste more
+deliciously to them than the best out of the Doctor's cellar. The
+cronies will be invited. Young Master Wagg will tell his most dreadful
+story and sing his best song for a slice of that pie. What a jolly
+night they will have! When we go the rounds at night, Mr. Prince and I
+will take care to make a noise before we come to Briggs's room, so
+that the boys may have time to put the light out, to push the things
+away, and to scud into bed. Doctor Spry may be put in requisition the
+next morning."
+
+"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I
+lay down the twelfth pen very nicely mended.
+
+"Yes; after luxury comes the doctor, I say; after extravagance, a hole
+in the breeches pocket. To judge from his disposition, Briggs Major
+will not be much better off a couple of days hence than he is now,
+and, if I am not mistaken, will end life a poor man. Brown will be
+kicking his shins before a week is over, depend upon it. There are
+boys and men of all sorts, Miss R.--there are selfish sneaks who hoard
+until the store they daren't use grows mouldy--there are spendthrifts
+who fling away, parasites who flatter and lick its shoes, and
+snarling curs who hate and envy good fortune."
+
+I put down the last of the pens, brushing away with it the quill chips
+from her desk first, and she looked at me with a kind, wondering face.
+I brushed them away, clicked the pen-knife into my pocket, made her a
+bow, and walked off--for the bell was ringing for school.
+
+      --_William Makepeace Thackeray_
+
+
+  MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.)
+
+  FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix
+  A, 3 and 6.)
+
+  Make an analysis from the standpoint of Perspective of
+  the following sentences: BUT HOW THIS BASKET ... REGARD
+  HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO
+  ... WINKING EYES; SEE THERE IS A PIE ... STRAW.
+
+       *       *       *       *       *
+
+
+THE LAUGHING SALLY
+
+
+  A wind blew up from Pernambuco,
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  A wind blew out of the east-sou'-east
+    And boomed at the break of day.                                    5
+
+  The _Laughing Sally_ sped for her life,
+    And a speedy craft was she.
+  The black flag flew at her top to tell
+    How she took toll of the sea.
+
+  The wind blew up from Pernambuco;                                   10
+    And in the breast of the blast
+  Came the King's black ship like a hound let slip
+    On the trail of the _Sally_ at last.
+
+  For a day and a night, a night and a day;
+    Over the blue, blue round,                                        15
+  Went on the chase of the pirate quarry,
+    The hunt of the tireless hound.
+
+  "Land on the port bow!" came the cry;
+    And the _Sally_ raced for shore,
+  Till she reached the bar at the river-mouth                         20
+    Where the shallow breakers roar.
+
+  She passed the bar by a secret channel
+    With clear tide under her keel,--
+  For he knew the shoals like an open book,
+    The captain at the wheel.                                         25
+
+  She passed the bar, she sped like a ghost,
+    Till her sails were hid from view
+  By the tall, liana'd, unsunned boughs
+    O'erbrooding the dark bayou.
+
+  At moonrise up to the river-mouth                                   30
+    Came the King's black ship of war,
+  The red cross flapped in wrath at her peak,
+    But she could not cross the bar.
+
+  And while she lay in the run of the seas,
+    By the grimmest whim of chance,                                   35
+  Out of the bay to the north came forth
+    Two battle-ships of France.
+
+  On the English ship the twain bore down
+    Like wolves that range by night;
+  And the breakers' roar was heard no more                            40
+    In the thunder of the fight.
+
+  The crash of the broadsides rolled and stormed
+    To the _Sally_ hid from view
+  Under the tall liana'd boughs
+    Of the moonless dark bayou.                                       45
+
+  A boat ran out for news of the fight,
+    And this was the word she brought--
+  "The King's ship fights the ships of France
+    As the King's ships all have fought!"
+
+  Then muttered the mate, "I'm a man of Devon!"                       50
+    And the captain thundered then--
+  "There's English rope that bides for our necks,
+    But we all be Englishmen!"
+
+  The _Sally_ glided out of the gloom
+    And down the moon-white river.                                    55
+  She stole like a gray shark over the bar
+    Where the long surf seethes for ever.
+
+  She hove to under a high French hull,
+    And the red cross rose to her peak.
+  The French were looking for fight that night,                       60
+    And they hadn't far to seek.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!                                      65
+
+  And when the stars paled out of heaven
+    And the red dawn-rays uprushed,
+  The oaths of battle, the crash of timbers,
+    The roar of the guns was hushed.
+
+  With one foe beaten under his bow,                                  70
+    The other far in flight,
+  The English captain turned to look
+    For his fellow in the fight.
+
+  The English captain turned and stared;--
+    For where the _Sally_ had been                                    75
+  Was a single spar upthrust from the sea
+    With the red cross flag serene!
+
+  A wind blew up from Pernambuco
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  And boomed for the doom of the _Laughing Sally_!
+    Gone down at the break of day.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+
+  PREPARATORY.--Divide the poem into sections giving to
+  each part a descriptive title. (Introduction, p. 10.)
+  How is each section made to stand out?
+
+  In what Time is the section which describes the flight
+  of the _Laughing Sally_ read? Give your reason.
+  (Introduction, pp. 5 and 13.)
+
+  Contrast the first and last stanzas from the standpoint
+  of feeling. How does the voice express the difference?
+
+  BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
+  A, 2, 3, 5, and 6.)
+
+  Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
+  LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
+  (Appendix A, 1.)
+
+  8-9. Note the Grouping and Pause. (Introduction, p. 11.)
+
+  11-13. Observe the Grouping. Which phrases have the
+  heaviest Shading? (Introduction, p. 33.)
+
+  16. Where is the Pause? Why?
+
+  18. LAND ON THE PORT BOW. What change is made in Pitch
+  and Force? Account for it. (Introduction, pp. 22 and
+  25.)
+
+  24. What is the Inflection on this line?
+
+  30-37. Observe the Grouping and Shading throughout these
+  stanzas.
+
+  38-45. What sense is appealed to in these stanzas? How
+  is the Time affected?
+
+  46-53. How are the transitions to direct discourse
+  indicated? (Introduction, p. 24.)
+
+  What is the difference in Pitch between the mate's and
+  the captain's speech? (Introduction, p. 23.)
+
+  66-67. Note the contrast with the preceding stanza and
+  with the two following lines.
+
+       *       *       *       *       *
+
+
+THE PRODIGAL SON
+
+Luke xv 11-32
+
+
+A certain man had two sons: And the younger of them said to his
+father, Father, give me the portion of goods that falleth to me. And
+he divided unto them his living.
+
+And not many days after the younger son gathered all together, and
+took his journey into a far country, and there wasted his substance
+with riotous living. And when he had spent all, there arose a mighty
+famine in that land; and he began to be in want. And he went and
+joined himself to a citizen of that country; and he sent him into his
+fields to feed swine. And he would fain have filled his belly with the
+husks that the swine did eat: and no man gave unto him. And when he
+came to himself, he said, How many hired servants of my father's have
+bread enough and to spare, and I perish with hunger! I will arise and
+go to my father, and will say unto him, Father, I have sinned against
+heaven, and before thee, and am no more worthy to be called thy son:
+make me as one of thy hired servants.
+
+And he arose, and came to his father. But when he was yet a great way
+off, his father saw him, and had compassion, and ran, and fell on his
+neck, and kissed him. And the son said unto him, Father, I have sinned
+against heaven, and in thy sight, and am no more worthy to be called
+thy son. But the father said to his servants, Bring forth the best
+robe, and put it on him; and put a ring on his hand, and shoes on his
+feet: And bring hither the fatted calf, and kill it; and let us eat,
+and be merry; For this my son was dead, and is alive again; he was
+lost, and is found. And they began to be merry.
+
+Now his elder son was in the field: and as he came and drew nigh to
+the house, he heard musick and dancing. And he called one of the
+servants, and asked what these things meant. And he said unto him, Thy
+brother is come; and thy father hath killed the fatted calf, because
+he hath received him safe and sound. And he was angry, and would not
+go in: therefore came his father out, and intreated him. And he
+answering said to his father, Lo, these many years do I serve thee,
+neither transgressed I at any time thy commandment; and yet thou never
+gavest me a kid, that I might make merry with my friends: But as soon
+as this thy son was come, which hath devoured thy living with harlots,
+thou hast killed for him the fatted calf. And he said unto him, Son,
+thou art ever with me, and all that I have is thine. It was meet that
+we should make merry, and be glad, for this thy brother was dead, and
+is alive again; and was lost, and is found.
+
+
+  PREPARATORY.--Divide this parable into four parts,
+  giving each part a descriptive title.
+
+  Describe pictures to illustrate each part.
+
+  Connect the parable with any similar story drawn from
+  modern life. Fill in details to account for (_a_) the
+  prodigal's desire to leave home, (_b_) the father's
+  great joy at his return, (_c_) the elder brother's
+  jealousy.
+
+  HOW MANY HIRED SERVANTS, ETC. What are the prodigal's
+  feelings? What new feeling is introduced with (_a_) I
+  WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.?
+
+  In what Time and Pitch do you read the passages which
+  describe the father's joy? (Introduction, pp. 12 and
+  22.)
+
+  What feeling pervades the speech of the elder son? What
+  is the motive of the father's reply?
+
+  Explain the Emphasis in the following; (_a_) AND HE SENT
+  HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_)
+  THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST
+  ME A KID. (Introduction, pp. 30 and 31.)
+
+  Explain the Inflection on DEAD, ALIVE, LOST, FOUND.
+
+       *       *       *       *       *
+
+
+CHRISTMAS AT SEA
+
+
+  The sheets were frozen hard, and they cut the naked hand;
+  The decks were like a slide, where a seaman scarce could stand;
+  The wind was a nor'-wester, blowing squally off the sea;
+  And cliffs and spouting breakers were the only things a-lee.
+
+  They heard the surf a-roaring before the break of day;               5
+  But 'twas only with the peep of light we saw how ill we lay.
+  We tumbled every hand on deck instanter, with a shout,
+  And we gave her the maintops'l, and stood by to go about.
+
+  All day we tacked and tacked between the South Head and the North;
+  All day we hauled the frozen sheets, and got no further forth;      10
+  All day as cold as charity, in bitter pain and dread,
+  For very life and nature we tacked from Head to Head.
+
+  We gave the South a wider berth, for there the tide-race roared,
+  But every tack we made we brought the North Head close aboard;
+  So's we saw cliffs and houses, and the breakers running high,       15
+  And the coast-guard in his garden, with his glass against his eye.
+
+  The frost was on the village roofs as white as ocean foam;
+  The good red fires were burning bright in every 'longshore home;
+  The windows sparkled clear, and the chimneys volleyed out;
+  And I vow we sniffed the victuals, as the vessel went about.        20
+
+  The bells upon the church were rung with a mighty jovial cheer;
+  For it's just that I should tell you how (of all days in the year)
+  This day of our adversity was blessèd Christmas morn,
+  And the house above the coast-guard's was the house where I was born.
+
+  O well I saw the pleasant room, the pleasant faces there,           25
+  My mother's silver spectacles, my father's silver hair;
+  And well I saw the firelight, like a flight of homely elves,
+  Go dancing round the china plates that stand upon the shelves.
+
+  And well I knew the talk they had, the talk that was of me,
+  Of the shadow on the household and the son that went to sea;        30
+  And O the wicked fool I seemed, in every kind of way,
+  To be here and hauling frozen ropes on blessèd Christmas day.
+
+  They lit the high sea-light, and the dark began to fall.
+  "All hands to loose topgallant sails," I heard the captain call.
+  "Captain, she'll never stand it," our first mate, Jackson, cried. 35
+  "It's the one way or the other, Mr. Jackson," he replied.
+
+  She staggered to her bearings, but the sails were new and good,
+  And the ship smelt up to windward just as though she understood.
+  As the winter's day was ending, in the entry of the night,
+  We cleared the weary headland, and passed below the light.          40
+
+  And they heaved a mighty breath, every soul on board but me,
+  As they saw her nose again pointing handsome out to sea;
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  PREPARATORY.--Supply an introduction and a conclusion
+  for the story suggested by this poem.
+
+  Indicate the pauses which should be made in this poem
+  after words and phrases: (_a_) because of the Imaging
+  process, (_b_) in order to conceive the thought more
+  fully, (_c_) in passing from the narration of one action
+  to that of another, (_d_) because of direct speech
+  interrupted by narrative. (Introduction, pp. 7, 24, and
+  27.)
+
+  20 and 22. Indicate the Pause before phrases to prepare
+  the mind for what is coming. (Introduction, p. 8.) What
+  Inflection is used as a connecting link? (Introduction,
+  p. 16.)
+
+  27. FIRELIGHT. With what should it be connected? How?
+  (Introduction, p. 24.)
+
+  34. ALL HANDS ... SAILS. What change in Pitch and Force?
+  (Introduction, pp. 22 and 26.)
+
+  40. What is the Shading? (Introduction, p. 33.)
+
+  Compare the mental state of the captain with that of the
+  first mate. How is the difference indicated in the Pitch
+  of their respective speeches? (Introduction, p. 22.)
+
+  Connect stanzas vii and viii with the last two lines of
+  the poem. What background of thought is suggested? How
+  is the rate of reading affected by the thoughts
+  suggested? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+THE EVENING WIND
+
+
+  Spirit that breathest through my lattice, thou
+    That cool'st the twilight of the sultry day,
+  Gratefully flows thy freshness round my brow:
+    Thou hast been out upon the deep at play,
+  Riding all day the wild blue waves till now,                         5
+    Roughening their crests, and scattering high their spray,
+  And swelling the white sail. I welcome thee
+  To the scorched land, thou wanderer of the sea!
+
+  Nor I alone;--a thousand bosoms round
+    Inhale thee in the fulness of delight;                            10
+  And languid forms rise up, and pulses bound
+    Livelier at coming of the wind of night;
+  And, languishing to hear thy grateful sound,
+    Lies the vast inland stretched beyond the sight.
+  Go forth into the gathering shade; go forth,                        15
+  God's blessing breathed upon the fainting earth!
+
+  Go, rock the little wood-bird in his nest,
+    Curl the still waters, bright with stars, and rouse
+  The wide old wood from his majestic rest,
+    Summoning from the innumerable boughs                             20
+  The strange deep harmonies that haunt his breast:
+    Pleasant shall be thy way, where meekly bows
+  The shutting flower and darkling waters pass,
+  And where the o'ershadowing branches sweep the grass.
+
+  The faint old man shall lean his silver head                        25
+    To feel thee; thou shalt kiss the child asleep,
+  And dry the moistened curls that overspread
+    His temples, while his breathing grows more deep;
+  And they who stand about the sick man's bed
+    Shall joy to listen to thy distant sweep,                         30
+  And softly part his curtains to allow
+  Thy visit, grateful to his burning brow.
+
+  Go,--but the circle of eternal change,
+    Which is the life of nature, shall restore,
+  With sounds and scents from all thy mighty range,                   35
+    Thee to thy birthplace of the deep once more;
+  Sweet odours in the sea-air, sweet and strange,
+    Shall tell the home-sick manner of the shore;
+  And, listening to thy murmur, he shall dream
+  He hears the rustling leaf and running stream.                      40
+
+      --_William Cullen Bryant_
+
+
+  PREPARATORY.--Describe fully the picture suggested by
+  (_a_) the first three lines of stanza i, (_b_) the last
+  four lines of stanza i, (_c_) stanza ii. Give to each a
+  suitable title.
+
+  1, 2, and 6. (Appendix A, 3, 4, and 8.)
+
+  1. THOU. What is the Inflection?
+
+  6. How does the sound accord with the sense?
+
+  15. GO FORTH ... GO FORTH. Where is the Emphasis?
+  (Introduction, p. 31.)
+
+  19-21. What feeling is aroused? How is the Quality of
+  voice affected? (Introduction, p. 34.)
+
+  25-32. What change in Time? Account for it.
+  (Introduction, p. 13.)
+
+  31. What atmosphere is created in this line? What
+  Quality of voice is the result? What lines in the last
+  stanza have the same atmosphere? (Introduction, p. 34.)
+
+  36. With what should THEE be connected? In what way?
+
+  33-36. What portions are read in lighter Shading?
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+PARADISE AND THE PERI
+
+From "Lalla Rookh"
+
+
+    One morn a Peri at the gate
+    Of Eden stood, disconsolate;
+  And as she listened to the Springs
+    Of Life within, like music flowing,
+  And caught the light upon her wings                                  5
+    Through the half-open portal glowing,
+  She wept to think her recreant race
+  Should e'er have lost that glorious place!
+  "How happy," exclaimed this child of air,
+  "Are the holy spirits who wander there,                             10
+    'Mid flowers that never shall fade or fall;
+  Though mine are the gardens of earth and sea,
+  And the stars themselves have flowers for me,
+    One blossom of Heaven out-blooms them all!"
+
+  The glorious Angel, who was keeping                                 15
+  The Gates of Light, beheld her weeping;
+  And, as he nearer drew and listened
+  To her sad song, a tear-drop glistened
+  Within his eyelids, like the spray
+    From Eden's fountain, when it lies                                20
+  On the blue flower, which--Brahmins say--
+    Blooms nowhere but in Paradise.
+  "Nymph of a fair, but erring line!"
+  Gently he said,--"One hope is thine.
+    'Tis written in the Book of Fate,                                 25
+    _The Peri yet may be forgiven
+  Who brings to this Eternal Gate
+    The Gift that is most dear to Heaven!_
+  Go, seek it, and redeem thy sin:
+  'Tis sweet to let the Pardoned in!"                                 30
+
+  Downward the Peri turns her gaze,
+  And, through the war-field's bloody haze,
+  Beholds a youthful warrior stand
+    Alone, beside his native river,--
+  The red blade broken in his hand,                                   35
+    And the last arrow in his quiver.
+  "Live," said the conqueror, "live to share
+  The trophies and the crowns I bear!"
+  Silent that youthful warrior stood--
+  Silent he pointed to the flood                                      40
+  All crimson with his country's blood,
+  Then sent his last remaining dart,
+  For answer, to th' invader's heart.
+
+  False flew the shaft, though pointed well;
+  The tyrant lived, the hero fell!                                    45
+  Yet marked the Peri where he lay,
+    And when the rush of war was past,
+  Swiftly descending on a ray
+    Of morning light, she caught the last,
+  Last glorious drop his heart had shed,                              50
+  Before its free-born spirit fled!
+
+  "Be this," she cried, as she winged her flight,
+  "My welcome gift at the Gates of Light."
+  "Sweet," said the Angel, as she gave
+    The gift into his radiant hand,                                   55
+  "Sweet is our welcome of the brave
+    Who die thus for their native land.--
+  But see--alas!--the crystal bar
+  Of Eden moves not--holier far
+  Than e'en this drop the boon must be,                               60
+  That opes the Gates of Heaven for thee!"
+
+  But nought can charm the luckless Peri;
+  Her soul is sad, her wings are weary.
+    When, o'er the vale of Balbec winging
+  Slowly, she sees a child at play,                                   65
+  Among the rosy wild-flowers singing,
+    As rosy and as wild as they;
+  Chasing, with eager hands and eyes,
+  The beautiful blue damsel-flies
+  That fluttered round the jasmine stems,                             70
+  Like-wingèd flowers or flying gems:
+  And, near the boy, who, tired with play,
+  Now nestling 'mid the roses lay,
+  She saw a wearied man dismount
+    From his hot steed, and on the brink                              75
+  Of a small imaret's rustic fount
+    Impatient fling him down to drink.
+  Then swift his haggard brow he turned
+    To the fair child, who fearless sat,
+  Though never yet hath daybeam burned                                80
+    Upon a brow more fierce than that.
+
+  But hark! the vesper call to prayer,
+    As slow the orb of daylight sets,
+  Is rising sweetly on the air,
+    From Syria's thousand minarets!                                   85
+  The boy has started from the bed
+  Of flowers, where he had laid his head,
+  And down upon the fragrant sod
+    Kneels, with his forehead to the south,
+  Lisping th' eternal name of God                                     90
+    From purity's own cherub mouth.
+
+  And how felt he, the wretched man,
+  Reclining there--while memory ran
+  O'er many a year of guilt and strife,
+  Flew o'er the dark flood of his life,                               95
+  Nor found one sunny resting-place,
+  Nor brought him back one branch of grace?
+  "There was a time," he said, in mild,
+  Heart-humbled tones, "thou blessed child!
+    When, young and haply pure as thou,                              100
+    I looked and prayed like thee--but now--"
+  He hung his head--each nobler aim,
+    And hope, and feeling, which had slept
+  From boyhood's hour, that instant came
+    Fresh o'er him, and he wept--he wept!                            105
+
+  And now, behold him kneeling there
+  By the child's side, in humble prayer,
+  While the same sunbeam shines upon
+  The guilty and the guiltless one,
+  And hymns of joy proclaim through Heaven                           110
+  The triumph of a soul forgiven!
+
+  'Twas when the golden orb had set,
+  While on their knees they lingered yet,
+  There fell a light, more lovely far
+  Than ever came from sun or star,                                   115
+  Upon the tear that, warm and meek,
+  Dewed that repentant sinner's cheek:
+  To mortal eye that light might seem
+  A northern flash or meteor beam--
+  But well th' enraptured Peri knew                                  120
+  'Twas a bright smile the Angel threw
+  From Heaven's gate, to hail that tear--
+  Her harbinger of glory near!
+  "Joy, joy for ever! my task is done:
+  The Gates are passed, and Heaven is won!"                          125
+
+      --_Thomas Moore_
+
+
+  PREPARATORY.--Divide this selection into four scenes,
+  describing minutely each scene, and pointing out what
+  part of the poem it covers. (Introduction, p. 10.)
+
+  What feelings are aroused by each scene?
+
+  SPIRIT, NATIVE, PURITY. (Appendix A, 8.)
+
+  1-4. Give two examples of Grouping from these lines.
+  Give numerous other examples throughout the selection,
+  and show how Grouping affects the Inflection and Pause.
+  (Introduction, pp. 10-12.)
+
+  3-7. Read with a view to Perspective. Select other
+  examples, noting especially ll. 17-22, 47-51, 72-77, and
+  112-117. (Introduction, p. 33.)
+
+  9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24
+  and 27.) Give other examples of direct discourse broken
+  by narration.
+
+  54 and 56. SWEET ... SWEET. Which word is more emphatic?
+  (Introduction, p. 31.) Compare l. 105.
+
+  84. With what should IS RISING be connected? How?
+  Compare UPON THE TEAR, l. 116.
+
+       *       *       *       *       *
+
+
+THE LADY OF SHALOTT
+
+PART 1
+
+
+  On either side the river lie
+  Long fields of barley and of rye,
+  That clothe the wold and meet the sky;
+  And thro' the field the road runs by
+      To many-tower'd Camelot;
+  And up and down the people go,
+  Gazing where the lilies blow
+  Round an island there below,
+      The island of Shalott.
+
+  Willows whiten, aspens quiver,
+  Little breezes dusk and shiver
+  Thro' the wave that runs for ever
+  By the island in the river
+      Flowing down to Camelot.
+  Four gray walls, and four gray towers,
+  Overlook a space of flowers,
+  And the silent isle embowers
+      The Lady of Shalott.
+
+  By the margin, willow-veil'd,
+  Slide the heavy barges trail'd
+  By slow horses; and unhail'd
+  The shallop flitteth silken-sail'd
+      Skimming down to Camelot:
+  But who has seen her wave her hand?
+  Or at the casement seen her stand?
+  Or is she known in all the land,
+      The Lady of Shalott?
+
+  Only reapers, reaping early
+  In among the bearded barley,
+  Hear a song that echoes cheerly
+  From the river winding clearly,
+      Down to tower'd Camelot:
+  And by the moon the reaper weary,
+  Piling sheaves in uplands airy,
+  Listening, whispers "'Tis the fairy
+      Lady of Shalott."
+
+
+PART II
+
+  There she weaves by night and day
+  A magic web with colours gay.
+  She has heard a whisper say,
+  A curse is on her if she stay
+      To look down to Camelot.
+  She knows not what the curse may be,
+  And so she weaveth steadily,
+  And little other care hath she,
+      The Lady of Shalott.
+
+  And moving thro' a mirror clear
+  That hangs before her all the year,
+  Shadows of the world appear.
+  There she sees the highway near
+      Winding down to Camelot:
+  There the river eddy whirls,
+  And there the surly village-churls,
+  And the red cloaks of market girls,
+      Pass onward from Shalott.
+
+  Sometimes a troop of damsels glad,
+  An abbot on an ambling pad,
+  Sometimes a curly shepherd-lad,
+  Or long-hair'd page in crimson clad,
+      Goes by to tower'd Camelot;
+  And sometimes thro' the mirror blue
+  The knights come riding two and two:
+  She hath no loyal knight and true,
+      The Lady of Shalott.
+
+  But in her web she still delights
+  To weave the mirror's magic sights,
+  For often thro' the silent nights
+  A funeral, with plumes and lights
+      And music, went to Camelot:
+  Or when the moon was overhead,
+  Came two young lovers lately wed;
+  "I am half sick of shadows," said
+      The Lady of Shalott.
+
+
+PART III
+
+  A bow-shot from her bower-eaves,
+  He rode between the barley-sheaves,
+  The sun came dazzling thro' the leaves,
+  And flamed upon the brazen greaves
+      Of bold Sir Lancelot.
+  A red-cross knight for ever kneel'd
+  To a lady in his shield,
+  That sparkled on the yellow field,
+      Beside remote Shalott.
+
+  The gemmy bridle glitter'd free,
+  Like to some branch of stars we see
+  Hung in the golden Galaxy.
+  The bridle bells rang merrily
+      As he rode down to Camelot:
+  And from his blazon'd baldric slung
+  A mighty silver bugle hung,
+  And as he rode his armour rung,
+      Beside remote Shalott.
+
+  All in the blue unclouded weather
+  Thick-jewell'd shone the saddle-leather,
+  The helmet and the helmet-feather
+  Burn'd like one burning flame together,
+      As he rode down to Camelot.
+  As often thro' the purple night,
+  Below the starry clusters bright,
+  Some bearded meteor, trailing light,
+      Moves over still Shalott.
+
+  His broad clear brow in sunlight glow'd;
+  On burnished hooves his war-horse trode;
+  From underneath his helmet flow'd
+  His coal-black curls as on he rode,
+      As he rode down to Camelot.
+  From the bank and from the river
+  He flash'd into the crystal mirror,
+  "Tirra lirra," by the river
+      Sang Sir Lancelot.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+      She look'd down to Camelot.
+  Out flew the web and floated wide;
+  The mirror crack'd from side to side;
+  "The curse is come upon me," cried
+      The Lady of Shalott.
+
+
+PART IV
+
+  In the stormy east-wind straining,
+  The pale yellow woods were waning,
+  The broad stream in his banks complaining,
+  Heavily the low sky raining
+      Over tower'd Camelot;
+  Down she came and found a boat
+      Beneath a willow left afloat,
+  And round about the prow she wrote
+      _The Lady of Shalott_.
+
+  And down the river's dim expanse
+  Like some bold seër in a trance,
+  Seeing all his own mischance--
+  With a glassy countenance
+      Did she look to Camelot.
+  And at the closing of the day
+  She loosed the chain and down she lay;
+  The broad stream bore her far away,
+      The Lady of Shalott.
+
+  Lying, robed in snowy white
+  That loosely flew to left and right--
+  The leaves upon her falling light--
+  Thro' the noises of the night
+      She floated down to Camelot:
+  And as the boat-head wound along
+  The willowy hills and fields among,
+  They heard her singing her last song,
+      The Lady of Shalott.
+
+  Heard a carol, mournful, holy,
+  Chanted loudly, chanted lowly,
+  Till her blood was frozen slowly,
+  And her eyes were darken'd wholly,
+      Turn'd to tower'd Camelot.
+  For ere she reach'd upon the tide
+  The first house by the water-side,
+  Singing in her song she died,
+      The Lady of Shalott.
+
+  Under tower and balcony,
+  By garden-wall and gallery,
+  A gleaming shape she floated by,
+  Dead-pale between the houses high,
+      Silent into Camelot.
+  Out upon the wharfs they came,
+  Knight and burgher, lord and dame,
+  And round the prow they read her name,
+      _The Lady of Shalott_.
+
+  Who is this? and what is here?
+  And in the lighted palace near
+  Died the sound of royal cheer;
+  And they cross'd themselves for fear,
+      All the knights at Camelot:
+  But Lancelot mused a little space;
+  He said, "She has a lovely face;
+  God in his mercy lend her grace,
+      The Lady of Shalott."
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Compare the poet's treatment of the story
+  of _The Lady of Shalott_ with that given in _Lancelot
+  and Elaine_.
+
+  Combine the smaller pictures in this poem into a number
+  of larger ones.
+
+  Give to the larger pictures titles which suggest the
+  different stages in the development of the story.
+
+  Exercises in Articulation. (Appendix A. See Examples)
+
+
+  PART I
+
+  Stanza i, ll. 1 and 4. Where is the Pause in each line?
+  Why? (Introduction, p. 11.)
+
+  Stanza iii, ll. 1 and 2. Account for the change in Time.
+  (Introduction, p. 13.)
+
+  2. Where is the Pause?
+
+  6-9. What is the Inflection in these questions?
+  (Introduction, p. 19.)
+
+  Stanza iv, l. 3. HEAR. With what word should this be
+  connected? How? (Introduction, p. 16.) Note the Shading.
+
+  6. Where are the Pauses in this line? Account for them.
+
+  8-9. In what Quality of voice are these lines read?
+  (Introduction, p. 6.) Compare from this standpoint the
+  last lines of Parts II, III, and IV.
+
+
+  Part II
+
+  Stanza i, ll. 3-5. Note the spontaneous imitation.
+  (Introduction, pp. 5 and 6.)
+
+  AND THERE THE SURLY ... TWO AND TWO. Note the three
+  separate groups of passers-by. Which group has the most
+  significance in its bearing on the rest of the poem? How
+  does the voice indicate this relative significance?
+  (Introduction, pp. 24 and 30.)
+
+  Stanza iii, l. 8. How is the transition made effective?
+  (Introduction, pp. 8, 9, and 25.)
+
+  Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading.
+  (Introduction, p. 33.)
+
+
+  PART III
+
+  HIS SHIELD, RODE DOWN, ARMOUR RUNG, SADDLE-LEATHER,
+  COAL-BLACK CURLS. (Appendix A, 6.)
+
+  Stanza i, l. 4. Observe the Grouping.
+
+  Stanza ii, l. 2. Where is the Pause? Explain. What is
+  the Inflection on STARS?
+
+  Compare the Shading in ll. 6 and 7.
+
+  Stanza iii. What are the central ideas of ll. 2 and 3?
+  How does the reader make them stand out?
+
+  6-8. Note the continuous Inflection. (Introduction, p.
+  17.)
+
+  Stanza iv, ll. 3 and 4. How does the Grouping here
+  affect the Pause and the Inflection?
+
+  Stanza v, ll. 1-4. What change in the voice indicates
+  the abrupt transition? What atmosphere does the voice
+  create as a preparation for the climax of the last four
+  lines?
+
+  1. What is the central idea of this line?
+
+  6-7. What change in Force, Pitch, and Stress expresses
+  the sudden disaster?
+
+
+  PART IV
+
+  Compare the atmosphere of the first four and a half
+  stanzas of this Part with the first four of Part III,
+  and also with the remainder of Part IV. What is the
+  difference in Pitch, Force, and Time? (Introduction, pp.
+  22, 26, and 13.)
+
+       *       *       *       *       *
+
+
+HOME THEY BROUGHT HER WARRIOR DEAD
+
+From "The Princess"
+
+
+  Home they brought her warrior dead:
+  She nor swoon'd, nor utter'd cry:
+  All her maidens, watching, said,
+  "She must weep or she will die."
+
+  Then they praised him, soft and low,
+  Call'd him worthy to be loved,
+  Truest friend and noblest foe;
+  Yet she neither spoke nor moved.
+
+  Stole a maiden from her place,
+  Lightly to the warrior stept,
+  Took the face-cloth from the face;
+  Yet she neither moved nor wept.
+
+  Rose a nurse of ninety years,
+  Set his child upon her knee--
+  Like summer tempest came her tears--
+  "Sweet my child, I live for thee."
+
+      --_Alfred Tennyson_
+
+
+  See Introduction, p. 6.
+
+       *       *       *       *       *
+
+
+THE SKY
+
+From "Modern Painters"
+
+
+1. It is a strange thing how little in general people know about the
+sky. It is the part of creation in which nature has done more for the
+sake of pleasing man, more for the sole and evident purpose of talking
+to him and teaching him, than in any other of her works, and it is
+just the part in which we least attend to her.
+
+2. There are not many of her other works in which some more material
+or essential purpose than the mere pleasing of man is not answered by
+every part of their organization; but every essential purpose of the
+sky might, so far as we know, be answered, if once in three days, or
+thereabouts, a great ugly black rain-cloud were brought up over the
+blue, and everything well watered, and so all left blue again till
+next time, with perhaps a film of morning and evening mist for dew.
+
+3. And instead of this, there is not a moment of any day of our lives,
+when nature is not producing scene after scene, picture after picture,
+glory after glory, and working still upon such exquisite and constant
+principles of the most perfect beauty, that it is quite certain it is
+all done for us, and intended for our perpetual pleasure. And every
+man, wherever placed, however far from other sources of interest or of
+beauty, has this doing for him constantly.
+
+4. The noblest scenes of the earth can be seen and known but by few;
+it is not intended that man should live always in the midst of them,
+he injures them by his presence, he ceases to feel them if he be
+always with them; but the sky is for all; bright as it is, it is not
+"too bright, nor good, for human nature's daily food"; it is fitted in
+all its functions for the perpetual comfort and exalting of the heart,
+for the soothing it and purifying it from its dross and dust.
+Sometimes gentle, sometimes capricious, sometimes awful, never the
+same for two moments together; almost human in its passions, almost
+spiritual in its tenderness, almost divine in its infinity, its appeal
+to what is immortal in us, is as distinct, as its ministry of
+chastisement or of blessing to what is mortal, is essential.
+
+5. And yet we never attend to it, we never make it a subject of
+thought, but as it has to do with our animal sensations; we look upon
+all by which it speaks to us more clearly than to brutes, upon all
+which bears witness to the intention of the Supreme, that we are to
+receive more from the covering vault than the light and the dew which
+we share with the weed and the worm, only as a succession of
+meaningless and monotonous accidents too common and too vain to be
+worthy of a moment of watchfulness, or a glance of admiration. If in
+our moments of utter idleness and insipidity, we turn to the sky as a
+last resource, which of its phenomena do we speak of?
+
+6. One says it has been wet, and another it has been windy, and
+another it has been warm. Who, among the whole chattering crowd, can
+tell me of the forms and the precipices of the chain of tall white
+mountains that girded the horizon at noon yesterday? Who saw the
+narrow sunbeam that came out of the south, and smote upon their
+summits until they melted and mouldered away in a dust of blue rain?
+Who saw the dance of the dead clouds when the sunlight left them last
+night, and the west wind blew them before it like withered leaves?
+
+7. All has passed, unregretted as unseen; or if the apathy be ever
+shaken off, even for an instant, it is only by what is gross, or what
+is extraordinary; and yet it is not in the broad and fierce
+manifestations of the elemental energies, not in the clash of the
+hail, nor the drift of the whirlwind, that the highest characters of
+the sublime are developed. God is not in the earthquake, nor in the
+fire, but in the still, small voice.
+
+8. They are but the blunt and the low faculties of our nature, which
+can only be addressed through lamp-black and lightning. It is in
+quiet and subdued passages of unobtrusive majesty, the deep, and the
+calm, and the perpetual,--that which must be sought ere it is seen,
+and loved ere it is understood,--things which the angels work out for
+us daily, and yet vary eternally, which are never wanting, and never
+repeated, which are to be found always yet each found but once; it is
+through these that the lesson of devotion is chiefly taught, and the
+blessing of beauty given.
+
+      --_John Ruskin_
+
+     (_By arrangement with George Allen, Publisher_)
+
+
+  SPIRITUAL, PRECIPICES, SUMMITS, UNOBTRUSIVE. (Appendix
+  A, 8.)
+
+  Par. 1. With what is LEAST ATTEND contrasted?
+
+  Par. 2. Why is SKY an emphatic word? Give examples of
+  momentary completeness. (Introduction, p. 16.)
+
+  Par. 3. What Inflection is placed on PERFECT BEAUTY?
+
+  Par. 4. Point out the contrasts in the first sentence.
+  What word is contrasted with DISTINCT?
+
+  Par. 5. With what is ONLY AS A SUCCESSION, ETC.,
+  connected in sense? How does the voice make the
+  connection? (Introduction, p. 33.)
+
+  Par. 7. UNREGRETTED, UNSEEN. Note the transferred
+  emphasis. (Introduction, p. 32.)
+
+  Par. 7. AND YET IT IS NOT ... NOR IN THE FIRE. Account
+  for the Inflection. (Introduction, p. 17.)
+
+       *       *       *       *       *
+
+
+THE RETURN OF THE SWALLOWS
+
+
+  "Out in the meadows the young grass springs,
+    Shivering with sap," said the larks, "and we
+  Shoot into air with our strong young wings,
+    Spirally up over level and lea;
+  Come, O Swallows, and fly with us
+  Now that horizons are luminous!
+    Evening and morning the world of light,
+    Spreading and kindling, is infinite!"
+
+  Far away, by the sea in the south,
+    The hills of olive and slopes of fern
+  Whiten and glow in the sun's long drouth,
+    Under the heavens that beam and burn;
+  And all the swallows were gather'd there
+  Flitting about in the fragrant air,
+    And heard no sound from the larks, but flew
+    Flashing under the blinding blue.
+
+  Out of the depths of their soft rich throats
+    Languidly fluted the thrushes, and said:
+  "Musical thought in the mild air floats,
+    Spring is coming and winter is dead!
+  Come, O Swallows, and stir the air,
+  For the buds are all bursting unaware,
+    And the drooping eaves and the elm-trees long
+    To hear the sound of your low sweet song."
+
+  Over the roofs of the white Algiers,
+    Flashingly shadowing the bright bazaar,
+  Flitted the swallows, and not one hears
+    The call of the thrushes from far, from far;
+  Sigh'd the thrushes; then, all at once,
+  Broke out singing the old sweet tones,
+    Singing the bridal of sap and shoot,
+    The tree's slow life between root and fruit.
+
+  But just when the dingles of April flowers
+    Shine with the earliest daffodils,
+  When, before sunrise, the cold clear hours
+    Gleam with a promise that noon fulfils,--
+  Deep in the leafage the cuckoo cried,
+  Perch'd on a spray by a rivulet-side,
+    "Swallows, O Swallows, come back again
+    To swoop and herald the April rain."
+
+  And something awoke in the slumbering heart
+    Of the alien birds in their African air,
+  And they paused, and alighted, and twitter'd apart,
+    And met in the broad white dreamy square;
+  And the sad slave-woman, who lifted up
+  From the fountain her broad-lipp'd earthen cup,
+  Said to herself, with a weary sigh,
+  "To-morrow the swallows will northward fly!"
+
+     --_Edmund William Gosse_
+
+
+  How does the vocal expression of the descriptive parts
+  of the poem differ from that of the call of the birds?
+  Account for the difference. (Introduction, p. 22.)
+
+  Point out the contrasts of thought and feeling in the
+  third and fourth stanzas respectively. Show a
+  corresponding contrast in vocal expression.
+
+  What line expresses the central idea of the fifth
+  stanza? How is this shown? (Introduction, p. 33.)
+
+  Account for the Pitch and the Force used in the
+  slave-woman's speech.
+
+  Supply a background of thought for the last four lines.
+  How does this affect the Time? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+BARBARA FRIETCHIE
+
+
+  Up from the meadows rich with corn,
+  Clear in the cool September morn,
+
+  The clustered spires of Frederick stand
+  Green walled by the hills of Maryland.
+
+  Round about them orchards sweep,                                     5
+  Apple-and peach-tree fruited deep,--
+
+  Fair as a garden of the Lord
+  To the eye of the famished rebel horde,
+
+  On that pleasant morn of the early fall
+  When Lee march'd over the mountain-wall,--                          10
+
+  Over the mountains winding down,
+  Horse and foot, into Frederick town.
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+
+  Flapped in the morning wind: the sun                                15
+  Of noon looked down, and saw not one.
+
+  Up rose old Barbara Frietchie then,
+  Bowed with her fourscore years and ten;
+
+  Bravest of all in Frederick town,
+  She took up the flag the men hauled down;                           20
+
+  In her attic window the staff she set,
+  To show that one heart was loyal yet.
+
+  Up the street came the rebel tread,
+  Stonewall Jackson riding ahead.
+
+  Under his slouched hat left and right                               25
+  He glanced; the old flag met his sight.
+
+  "Halt!"--the dust-brown ranks stood fast.
+  "Fire!"--out blazed the rifle-blast.
+
+  It shivered the window, pane and sash;
+  It rent the banner with seam and gash.                              30
+
+  Quick, as it fell, from the broken staff
+  Dame Barbara snatched the silken scarf;
+
+  She leaned far out on the window-sill,
+  And shook it forth with a royal will.
+
+  "Shoot, if you must, this old gray head,                            35
+  But spare your country's flag!" she said.
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came;
+
+  The nobler nature within him stirred
+  To life at that woman's deed and word:                              40
+
+  "Who touches a hair of yon gray head,
+  Dies like a dog! March on!" he said.
+
+  All day long through Frederick street
+  Sounded the tread of marching feet:
+
+  All day long that free flag tossed                                  45
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And, through the hill-gaps, sunset light
+  Shone over it with a warm good-night.                               50
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+  Honour to her! and let a tear
+  Fall, for her sake, on Stonewall's bier.
+
+  Over Barbara Frietchie's grave,                                     55
+  Flag of Freedom and Union wave!
+
+  Peace and order and beauty draw
+  Round thy symbol of light and law;
+
+  And ever the stars above look down
+  On thy stars below in Frederick town!                               60
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--Divide the poem into sections, giving each
+  a descriptive title. (Introduction, p. 10.)
+
+  Describe the scene portrayed in the first fifteen lines,
+  supplementing your description by a black-board diagram.
+
+  ll. 1-2. What is the Inflection? Why?
+
+  l. 3. Note the Grouping and Pause.
+
+  l. 3. STAND; l. 7, LORD; l. 8, HORDE. What is the
+  Inflection? Why?
+
+  l. 15. (Introduction, p. 9.)
+
+  l. 20. What are the emphatic words? Are both words of a
+  contrast necessarily emphatic?
+
+  ll. 17-22. Note the change in nervous tension. What
+  effect has this on the key of the voice? (Introduction,
+  p. 25.)
+
+  ll. 25-26. How do these lines illustrate the truth that
+  the Visualization of a scene is a necessary forerunner
+  of correct vocal expression?
+
+  ll. 27-28. HALT! FIRE! What change in vocal expression
+  accompanies the transition to abrupt command?
+
+  l. 31. With what do you connect FROM THE BROKEN STAFF?
+  How? (Introduction, p. 16.)
+
+  ll. 31-36. What part should Imitation play here?
+  (Introduction, pp. 5 and 6.)
+
+  ll. 37-38. (Introduction, p. 14.)
+
+  l. 39. Note Grouping and Pause.
+
+  ll. 41-42. (Introduction, p. 5.)
+
+  l. 43. With what do you connect THROUGH FREDERICK
+  STREET? How? Where do you pause in this line?
+
+  l. 51. (Introduction, p. 9.)
+
+       *       *       *       *       *
+
+
+BLESS THE LORD, O MY SOUL
+
+Psalm ciii
+
+
+  Bless the Lord, O my soul:
+    And all that is within me, bless his holy name
+  Bless the Lord, O my soul,
+    And forget not all his benefits:
+  Who forgiveth all thine iniquities;
+    Who healeth all thy diseases;
+  Who redeemeth thy life from destruction;
+    Who crowneth thee with lovingkindness and tender mercies:
+  Who satisfieth thy mouth with good things;
+    So that thy youth is renewed like the eagle's.
+
+  The Lord executeth righteousness
+    And judgment for all that are oppressed.
+  He made known his ways unto Moses,
+    His acts unto the children of Israel.
+  The Lord is merciful and gracious,
+    Slow to anger, and plenteous in mercy.
+  He will not always chide:
+    Neither will he keep his anger for ever.
+  He hath not dealt with us after our sins;
+    Nor rewarded us according to our iniquities.
+
+  For as the heaven is high above the earth,
+    So great is his mercy toward them that fear him.
+  As far as the east is from the west,
+    So far hath he removed our transgressions from us
+  Like as a father pitieth his children,
+    So the Lord pitieth them that fear him.
+  For he knoweth our frame;
+    He remembereth that we are dust.
+
+  As for man, his days are as grass:
+    As a flower of the field, so he flourisheth.
+  For the wind passeth over it, and it is gone;
+    And the place thereof shall know it no more.
+  But the mercy of the Lord is from everlasting to everlasting
+       upon them that fear him,
+    And his righteousness unto children's children;
+  To such as keep his covenant,
+    And to those that remember his commandments to do them.
+
+  The Lord hath prepared his throne in the heavens;
+    And his kingdom ruleth over all.
+  Bless the Lord, ye his angels,
+    That excel in strength,
+  That do his commandments,
+    Hearkening unto the voice of his word.
+  Bless ye the Lord, all ye his hosts;
+    Ye ministers of his, that do his pleasure.
+  Bless the Lord, all his works,
+    In all places of his dominion:
+  Bless the Lord, O my soul.
+
+      --_As arranged by Richard G. Moulton_
+
+
+  PREPARATORY.--What attitude of mind does the language of
+  this Psalm indicate? What Stress of voice is its natural
+  expression? (Introduction, p. 29.)
+
+  Articulation. (Appendix A, 3.)
+
+       *       *       *       *       *
+
+
+THE ETERNAL GOODNESS
+
+
+  I know not what the future hath
+  Of marvel or surprise,
+  Assured alone that life and death
+  His mercy underlies.
+
+  And if my heart and flesh are weak                                   5
+  To bear an untried pain,
+  The bruised reed He will not break,
+  But strengthen and sustain.
+
+  No offering of my own I have,
+  Nor works my faith to prove;                                        10
+  I can but give the gifts He gave,
+  And plead His love for love.
+
+  And so beside the Silent Sea
+  I wait the muffled oar;
+  No harm from Him can come to me                                     15
+  On ocean or on shore.
+
+  I know not where His islands lift
+  Their fronded palms in air;
+  I only know I cannot drift
+  Beyond His love and care.                                           20
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--What attitude of mind is suggested by this
+  poem?
+
+  How does it differ from that suggested by the preceding
+  selection? What is the difference in vocal expression?
+
+  Account for the Inflection placed on the negative
+  statements in this poem. (Introduction, pp. 17 and 18.)
+
+       *       *       *       *       *
+
+
+THE KING OF GLORY
+
+Psalm xxiv
+
+(Anthems for the Inauguration of Jerusalem)
+
+
+_I.--At the Foot of the Hill_
+
+FIRST CHOIR
+
+  The earth is the LORD'S, and the fulness thereof;
+    The world, and they that dwell therein.
+  For He hath founded it upon the seas,
+    And established it upon the floods.
+  Who shall ascend into the hill of the LORD?
+    And who shall stand in His holy place?
+
+
+SECOND CHOIR
+
+  He that hath clean hands, and a pure heart;
+    Who hath not lifted up his soul unto vanity,
+    And hath not sworn deceitfully.
+  He shall receive a blessing from the LORD,
+    And righteousness from the God of his salvation.
+  This is the generation of them that seek after Him,
+    That seek Thy face, O God of Jacob.
+
+
+_II.--Before the Gates_
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+    And be ye lift up, ye everlasting doors:
+    And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is the King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD strong and mighty,
+  The LORD mighty in battle.
+
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+  Yea, lift them up, ye everlasting doors:
+  And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is this King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD of Hosts,
+  He is the King of Glory.
+
+      --_As arranged by Richard G. Moulton_
+
+       *       *       *       *       *
+
+
+THE FOUR-HORSE RACE
+
+From "Black Rock"
+
+
+1. The great event of the day, however, was to be the four-horse race,
+for which three teams were entered--one from the mines driven by
+Nixon, Craig's friend, a citizens' team, and Sandy's. The race was
+really between the miners' team and that from the woods, for the
+citizens' team, though made up of speedy horses, had not been driven
+much together, and knew neither their driver nor each other. In the
+miners' team were four bays, very powerful, a trifle heavy perhaps,
+but well matched, perfectly trained, and perfectly handled by their
+driver. Sandy had his long rangy roans, and for leaders, a pair of
+half-broken pinto bronchos. The pintos, caught the summer before upon
+the Alberta prairies, were fleet as deer, but wicked and uncertain.
+They were Baptiste's special care and pride. If they would only run
+straight, there was little doubt that they would carry the roans and
+themselves to glory; but one could not tell the moment they might
+bolt or kick things to pieces.
+
+2. Being the only non-partisan in the crowd, I was asked to referee.
+The race was about half a mile and return, the first and last quarters
+being upon the ice. The course, after leaving the ice, led up from the
+river by a long, easy slope to the level above; and at the further
+end, curved somewhat sharply around the Old Fort. The only condition
+attaching to the race was, that the teams should start from the
+scratch, make the turn of the Fort, and finish at the scratch. There
+were no vexing regulations as to fouls. The man making the foul would
+find it necessary to reckon with the crowd, which was considered
+sufficient guarantee for a fair and square race. Owing to the hazards
+of the course, the result would depend upon the skill of the drivers
+quite as much as the speed of the teams. The points of hazard were at
+the turn round the Old Fort, and at a little ravine which led down to
+the river, over which the road passed by means of a long, log bridge
+or causeway.
+
+3. From a point upon the high bank of the river, the whole course lay
+in open view. It was a scene full of life and vividly picturesque.
+There were miners in dark clothes and peak caps; citizens in ordinary
+garb; ranch-men in wide cowboy hats and buckskin shirts and leggings,
+some with cartridge-belts and pistols; a few half-breeds and Indians
+in half-native, half-civilized dress; and scattering through the
+crowd, the lumbermen with gay scarlet and blue blanket coats, and some
+with knitted tuques of the same colour. A very good-natured but
+extremely uncertain crowd it was. At the head of each horse stood a
+man, but at the pintos' heads Baptiste stood alone, trying to hold
+down the off-leader, thrown into a frenzy of fear by the yelling of
+the crowd.
+
+4. Gradually all became quiet, till, in the midst of absolute
+stillness, came the words: "Are you ready?" then the pistol-shot, and
+the great race had begun. Above the roar of the crowd came the shrill
+cry of Baptiste, as he struck his broncho with the palm of his hand,
+and swung himself into the sleigh beside Sandy, as it shot past.
+
+5. Like a flash the bronchos sprang to the front, two lengths before
+the other teams; but, terrified by the yelling of the crowd, instead
+of bending to the left bank up which the road wound, they wheeled to
+the right and were almost across the river before Sandy could swing
+them back into the course.
+
+6. Baptiste's cries, a curious mixture of French and English,
+continued to strike through all other sounds, till they gained the top
+of the slope to find the others almost a hundred yards in front, the
+citizens' team leading, with the miners' following close. The moment
+the pintos caught sight of the teams before them, they set off at a
+terrific pace and steadily devoured the intervening space. Nearer and
+nearer the turn came, the eight horses in front, running straight and
+well within their speed. After them flew the pintos, running savagely
+with ears set back, leading well the big roans, thundering along and
+gaining at every bound. And now the citizens' team had almost reached
+the Fort, running hard and drawing away from the bays. But Nixon knew
+what he was about, and was simply steadying his team for the turn. The
+event proved his wisdom, for in the turn the leading team left the
+track, lost a moment or two in the deep snow, and before they could
+regain the road, the bays had swept superbly past, leaving their
+rivals to follow in the rear. On came the pintos, swiftly nearing the
+Fort. Surely at that pace they cannot make the turn. But Sandy knows
+his leaders. They have their eyes upon the teams in front, and need no
+touch of rein. Without the slightest change in speed the nimble-footed
+bronchos round the turn, hauling the big roans after them, and fall in
+behind the citizens' team, which is regaining steadily the ground lost
+in the turn.
+
+7. And now the struggle is for the bridge over the ravine. The bays in
+front, running with mouths wide open, are evidently doing their best;
+behind them, and every moment nearing them, but at the limit of their
+speed too, come the lighter and fleeter citizens' team; while opposite
+their driver are the pintos, pulling hard, eager and fresh. Their
+temper is too uncertain to send them to the front; they run well
+following, but when leading cannot be trusted, and besides, a broncho
+hates a bridge; so Sandy holds them where they are, waiting and hoping
+for his chance after the bridge is crossed. Foot by foot the citizens'
+team creep up upon the flank of the bays, with the pintos in turn
+hugging them closely, till it seems as if the three, if none slackens,
+must strike the bridge together; and this will mean destruction to one
+at least. This danger Sandy perceives, but he dare not check his
+leaders. Suddenly, within a few yards of the bridge, Baptiste throws
+himself upon the lines, wrenches them out of Sandy's hands, and, with
+a quick swing, forces the pintos down the steep side of the ravine,
+which is almost sheer ice with a thin coat of snow. It is a daring
+course to take, for the ravine, though not deep, is full of
+undergrowth, and is partially closed up by a brush heap at the further
+end. But with a yell, Baptiste hurls his four horses down the slope,
+and into the undergrowth. "Allons, mes enfants! Courage! vite, vite!"
+cries their driver, and nobly do the pintos respond. Regardless of
+bushes and brush heaps, they tear their way through; but as they
+emerge, the hind bob-sleigh catches a root, and, with a crash, the
+sleigh is hurled high into the air. Baptiste's cries ring out high and
+shrill as ever, encouraging his team, and never cease till, with a
+plunge and a scramble, they clear the brush heap lying at the mouth of
+the ravine, and are out on the ice on the river, with Baptiste
+standing on the front bob, the box trailing behind, and Sandy nowhere
+to be seen.
+
+8. Three hundred yards of the course remain. The bays, perfectly
+handled, have gained at the bridge, and in the descent to the ice, and
+are leading the citizens' team by half a dozen sleigh lengths. Behind
+both comes Baptiste. It is now or never for the pintos. The rattle of
+the trailing box, together with the wild yelling of the crowd rushing
+down the bank, excites the bronchos to madness, and, taking the bits
+in their teeth, they do their first free running that day. Past the
+citizens' team like a whirlwind they dash, clear the intervening
+space, and gain the flanks of the bays. Can the bays hold them? Over
+them leans their driver, plying for the first time the hissing lash.
+Only fifty yards more. The miners begin to yell. But Baptiste, waving
+his lines high in one hand, seizes his tuque with the other, whirls it
+above his head and flings it with a fiercer yell than ever at the
+bronchos. Like the bursting of a hurricane the pintos leap forward,
+and with a splendid rush cross the scratch, winners by their own
+length.
+
+      --_By arrangement with the Westminster Co., Limited,
+           and Rev. C. W. Gordon (Ralph Connor)_
+
+
+  PREPARATORY.--Make a black-board sketch of the
+  race-course, fixing the position of "the scratch," "the
+  Old Fort," "the high bank with the spectators," "the
+  bridge," etc.
+
+  In what passages does the excitement reach its greatest
+  height? How are the Pitch and Time affected?
+  (Introduction, pp. 13 and 22.)
+
+  What is the Stress employed throughout? Where is the
+  Stress most marked? Give reasons. (Introduction, pp. 27
+  and 28.)
+
+       *       *       *       *       *
+
+
+MRS. MALAPROP'S VIEWS
+
+From "The Rivals"
+
+
+The scene is Mrs. Malaprop's lodgings at Bath. Present, Lydia Languish.
+Enter Mrs. Malaprop and Sir Anthony Absolute.
+
+
+_Mrs. Malaprop._--There, Sir Anthony, there sits the deliberate
+simpleton who wants to disgrace her family, and lavish herself on a
+fellow not worth a shilling.
+
+_Lydia._--Madam, I thought you once--
+
+_Mrs. Malaprop._--You thought, miss! I don't know any business you
+have to think at all: thought does not become a young woman. But the
+point we would request of you is, that you will promise to forget this
+fellow; to illiterate him, I say, quite from your memory.
+
+_Lydia._--Ah, madam! our memories are independent of our wills. It is
+not so easy to forget.
+
+_Mrs. Malaprop._--But I say it is, miss! there is nothing on earth so
+easy as to forget, if a person chooses to set about it. I'm sure I
+have as much forgot your poor dear uncle as if he had never
+existed--and I thought it my duty so to do; and let me tell you,
+Lydia, these violent memories don't become a young woman.
+
+_Sir Anthony._--Why, sure she won't pretend to remember what she's
+ordered not! Ay, this comes of her reading!
+
+_Lydia._--What crime, madam, have I committed to be treated thus?
+
+_Mrs. Malaprop._--Now don't attempt to extirpate yourself from the
+matter; you know I have proof controvertible of it. But tell me, will
+you promise to do as you're bid? Will you take a husband of your
+friends' choosing?
+
+_Lydia._--Madam, I must tell you plainly that had I no preference for
+any one else, the choice you have made would be my aversion.
+
+_Mrs. Malaprop._--What business have you, miss, with preference and
+aversion. They don't become a young woman; and you ought to know that
+as both always wear off, 'tis safest in matrimony to begin with a
+little aversion. I am sure I hated your poor dear uncle before
+marriage as if he'd been a blackamoor; and yet, miss, you are sensible
+what a wife I made? and when it pleased Heaven to release me from him,
+'tis unknown what tears I shed! But suppose we were going to give you
+another choice, will you promise us to give up this Beverley?
+
+_Lydia._--Could I belie my thoughts so far as to give that promise, my
+actions would certainly as far belie my words.
+
+_Mrs. Malaprop._--Take yourself to your room. You are fit company for
+nothing but your own ill-humours.
+
+_Lydia._--Willingly, ma'am--I cannot change for the worse.
+  (_Exit_)
+
+_Mrs. Malaprop._--There's a little intricate hussy for you!
+
+_Sir Anthony._--It is not to be wondered at, ma'am: all this is the
+natural consequence of teaching girls to read. Had I a thousand
+daughters, by heaven I'd as soon have them taught the black art as
+their alphabet!
+
+_Mrs. Malaprop._--Nay, nay, Sir Anthony: you are an absolute
+misanthropy.
+
+_Sir Anthony._--In my way hither, Mrs. Malaprop, I observed your
+niece's maid coming forth from a circulating library! She had a book
+in each hand; they were half-bound volumes with marble covers! From
+that moment I guessed how full of duty I should see her mistress!
+
+_Mrs. Malaprop._--Those are vile places indeed!
+
+_Sir Anthony._--Madam, a circulating library in a town is an evergreen
+tree of diabolical knowledge,--it blossoms through the year! And
+depend on it, Mrs. Malaprop, that they who are so fond of handling the
+leaves will long for the fruit at last.
+
+_Mrs. Malaprop._--Fy, fy, Sir Anthony! you surely speak laconically.
+
+_Sir Anthony._--Why, Mrs. Malaprop, in moderation now, what would you
+have a woman know?
+
+_Mrs. Malaprop._--Observe me, Sir Anthony. I would by no means wish a
+daughter of mine to be a progeny of learning; I don't think so much
+learning becomes a young woman: for instance, I would never let her
+meddle with Greek, or Hebrew, or algebra, or simony, or fluxions, or
+paradoxes, or such inflammatory branches of learning; neither would it
+be necessary for her to handle any of your mathematical, astronomical,
+diabolical instruments. But, Sir Anthony, I would send her at nine
+years old to a boarding-school, in order to learn a little ingenuity
+and artifice. Then, sir, she should have a supercilious knowledge in
+accounts; and as she grew up I would have her instructed in geometry,
+that she might know something of the contagious countries: but above
+all, Sir Anthony, she should be mistress of orthodoxy, that she might
+not misspell and mispronounce words so shamefully as girls usually do;
+and likewise that she might reprehend the true meaning of what she is
+saying. This, Sir Anthony, is what I would have a woman know; and I
+don't think there is a superstitious article in it.
+
+_Sir Anthony._--Well, well, Mrs. Malaprop, I will dispute the point no
+further with you; though I must confess that you are a truly moderate
+and polite arguer, for almost every third word you say is on my side
+of the question. But, Mrs. Malaprop, to the more important point in
+debate: you say you have no objection to my proposal?
+
+_Mrs. Malaprop._--None, I assure you. I am under no positive
+engagement with Mr. Acres; and as Lydia is so obstinate against him,
+perhaps your son may have better success.
+
+_Sir Anthony._--Well, madam, I will write for the boy directly. He
+knows not a syllable of this yet, though I have for some time had the
+proposal in my head. He is at present with his regiment.
+
+_Mrs. Malaprop._--We have never seen your son, Sir Anthony; but I hope
+no objection on his side.
+
+_Sir Anthony._--Objection! let him object if he dare! No, no, Mrs.
+Malaprop, Jack knows that the least demur puts me in a frenzy
+directly. My process was always very simple: in their younger days,
+'twas "Jack, do this"; if he demurred I knocked him down, and if he
+grumbled at that I always sent him out of the room.
+
+_Mrs. Malaprop._--Ay, and the properest way, o'my conscience! Nothing
+is so conciliating to young people as severity. Well, Sir Anthony, I
+shall give Mr. Acres his discharge, and prepare Lydia to receive your
+son's invocations; and I hope you will represent her to the captain as
+an object not altogether illegible.
+
+_Sir Anthony._--Madam, I will handle the subject prudently. Well I
+must leave you; and let me beg you, Mrs. Malaprop, to enforce this
+matter roundly to the girl. Take my advice--keep a tight hand: if she
+rejects this proposal, clap her under lock and key; and if you were
+just to let the servants forget to bring her dinner for three or four
+days, you can't conceive how she'd come about. (Exit)
+
+_Mrs. Malaprop._--Well, at any rate I shall be glad to get her from
+under my intuition. She has somehow discovered my partiality for Sir
+Lucius O'Trigger: sure Lucy can't have betrayed me! No, the girl is
+such a simpleton, I should have made her confess it. (Calls) Lucy!
+Lucy!--Had she been one of your artificial ones, I should never have
+trusted her.
+
+    --_Richard Brinsley Sheridan_
+
+
+  What is the difference between Mrs. Malaprop's mental
+  attitude toward Lydia and toward Sir Anthony? How is
+  this difference indicated in the Stress of voice?
+  (Introduction, pp. 27 and 28.)
+
+       *       *       *       *       *
+
+
+THE GLOVE AND THE LIONS
+
+
+  King Francis was a hearty king, and lov'd a royal sport,
+  And one day, as his lions strove, sat looking on the court;
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride;
+  And truly 'twas a gallant thing to see that crowning show,           5
+  Valour and love, and a king above, and the royal beasts below.
+
+  Ramp'd and roar'd the lions, with horrid laughing jaws;
+  They bit, they glared, gave blows like beams, a wind went with
+    their paws;
+  With wallowing might and stifled roar, they roll'd one on another,
+  Till all the pit, with sand and mane, was in a thund'rous smother;  10
+  The bloody foam above the bars came whizzing through the air;
+  Said Francis then, "Good gentlemen, we're better here than there!"
+
+  De Lorge's love o'erheard the King, a beauteous, lively dame,
+  With smiling lips, and sharp bright eyes, which always seem'd
+    the same:
+  She thought, "The Count, my lover, is as brave as brave can be;     15
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wond'rous fine;
+  I'll drop my glove to prove his love; great glory will be mine!"
+
+  She dropp'd her glove to prove his love: then looked on him
+    and smiled;
+  He bow'd, and in a moment leap'd among the lions wild:              20
+  The leap was quick; return was quick; he soon regain'd his place;
+  Then threw the glove, but not with love, right in the lady's face!
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+      --_Leigh Hunt_
+
+
+  PREPARATORY.--Divide the poem into four scenes, and
+  describe each scene.
+
+  What are the difficulties of Articulation in ll. 2, 9,
+  10, and 14.
+
+  What attitude of mind is indicated by the King's first
+  speech? By his second speech? What difference in Stress?
+  (Introduction, pp. 27-29.) What is the Force in each
+  case? (Introduction, p. 25.)
+
+  15, 16, and 17. Use these lines as an illustration to
+  show that Visualization is necessary in order to secure
+  good vocal expression.
+
+  In what Time do you read the lady's thoughts!
+  (Introduction, p. 13.)
+
+  Give examples from stanzas ii, and iv, where the
+  sympathy with the picture may be sufficiently strong to
+  lead to imitation of movements or sounds. (Introduction,
+  pp. 5 and 6.)
+
+       *       *       *       *       *
+
+
+THE FICKLENESS OF A ROMAN MOB
+
+From "Julius Cæsar" Act I. Scene i.
+
+_Enter_ FLAVIUS, MARULLUS, _and certain Commoners over the Stage._
+
+
+_Flav._ Hence! home, you idle creatures, get you home.
+Is this a holiday? What! know you not,
+Being mechanical, you ought not walk
+Upon a labouring day without the sign
+Of your profession?--Speak, what trade art thou?                       5
+
+_1 Cit._ Why, sir, a carpenter.
+
+_Mar._ Where is thy leather apron, and thy rule?
+What dost thou with thy best apparel on?--
+You, sir, what trade are you?
+
+_2 Cit._ Truly, sir, in respect of a fine workman, I am               10
+but, as you would say, a cobbler.
+
+_Mar._ But what trade are thou? Answer me directly.
+
+_2 Cit._ A trade, sir, that I hope I may use with a safe
+conscience; which is, indeed, sir, a mender of bad soles.
+
+_Mar._ What trade, thou knave? thou naughty knave,                    15
+what trade?
+
+_2 Cit._ Nay, I beseech you, sir, be not out with me;
+yet, if you be out, sir, I can mend you.
+
+_Mar._ What mean'st thou by that? Mend me, thou saucy fellow?
+
+_2 Cit._ Why, sir, cobble you.                                        20
+
+_Flav._ Thou art a cobbler, art thou?
+
+_2 Cit._ Truly, sir, all that I live by is with the awl.
+I meddle with no tradesman's matters, nor women's
+matters, but with all. I am, indeed, sir, a surgeon to
+old shoes; when they are in great danger, I re-cover                  25
+them. As proper men as ever trod upon neat's leather
+have gone upon my handiwork.
+
+_Flav._ But wherefore art not in thy shop to-day?
+Why dost thou lead these men about the streets?
+
+_2 Cit._ Truly, sir, to wear out their shoes, to get                  30
+myself into more work.  But, indeed, sir, we make
+holiday to see Cæsar, and to rejoice in his triumph.
+
+_Mar._ Wherefore rejoice? What conquest brings he home?
+What tributaries follow him to Rome,
+To grace in captive bonds his chariot wheels?                         35
+You blocks, you stones, you worse than senseless things!
+O, you hard hearts, you cruel men of Rome,
+Knew you not Pompey? Many a time and oft
+Have you climbed up to walls and battlements,
+To towers and windows, yea, to chimney-tops,                          40
+Your infants in your arms, and there have sat
+The livelong day, with patient expectation,
+To see great Pompey pass the streets of Rome;
+And when you saw his chariot but appear,
+Have you not made an universal shout,                                 45
+That Tiber trembled underneath her banks,
+To hear the replication of your sounds
+Made in her concave shores?
+And do you now put on your best attire?
+And do you now cull out a holiday?                                    50
+And do you now strew flowers in his way
+That comes in triumph over Pompey's blood?
+Be gone!
+Run to your houses, fall upon your knees,
+Pray to the gods to intermit the plague                               55
+That needs must light on this ingratitude.
+
+_Flav._ Go, go, good countrymen, and for this fault
+Assemble all the poor men of your sort;
+Draw them to Tiber banks, and weep your tears
+Into the channel, till the lowest stream                              60
+Do kiss the most exalted shores of all.
+
+[_Exeunt all the Commoners_]
+
+See, whe'r their basest metal be not moved!
+They vanish tongue-tied in their guiltiness.
+Go you down that way towards the Capitol;
+This way will I. Disrobe the images,                                  65
+If you do find them deck'd with ceremonies.
+
+_Mar._ May we do so?
+You know it is the feast of Lupercal.
+
+_Flav._ It is no matter; let no images
+Be hung with Cæsar's trophies. I'll about,                            70
+And drive away the vulgar from the streets;
+So do you too, where you perceive them thick.
+These growing feathers pluck'd from Cæsar's wing
+Will make him fly an ordinary pitch,
+Who else would soar above the view of men,                            75
+And keep us all in servile fearfulness.
+
+[_Exeunt]_
+
+      --_Shakespeare_
+
+
+  In what Stress do Flavius and Marullus speak when
+  questioning the citizens? Why?
+
+  What Stress does the first citizen use?
+
+  How does the mental attitude of the second citizen
+  influence his Stress and Inflection? (Introduction, pp.
+  21, 22, and 30.) Where does he change his Stress? For
+  what reason?
+
+  WHEREFORE REJOICE? Point out the various examples of
+  Climax in this speech, and show how the voice indicates
+  them. (Introduction, p. 31.)
+
+  Account for the Inflection on the various questions.
+  (Introduction, pp. 18 and 19.)
+
+  SEE WHE'R THEIR BASEST METAL, ETC. Note the change in
+  tension and energy. What change in Pitch and Force is
+  the natural result? (Introduction, pp. 25 and 26.)
+
+       *       *       *       *       *
+
+
+SIR PETER AND LADY TEAZLE
+
+From "The School for Scandal"
+
+
+_Sir Peter._--Lady Teazle, Lady Teazle, I'll not bear it!
+
+_Lady Teazle._--Sir Peter, Sir Peter, you may bear it or not, as you
+please; but I ought to have my own way in everything, and, what's
+more, I will, too. What though I was educated in the country, I know
+very well that women of fashion in London are accountable to nobody
+after they are married.
+
+_Sir Peter._--Very well, ma'am, very well; so a husband is to have no
+influence, no authority?
+
+_Lady Teazle._--Authority! No, to be sure: if you wanted authority
+over me, you should have adopted me and not married me: I am sure you
+were old enough.
+
+_Sir Peter._--Old enough!--ay, there it is. Well, well, Lady Teazle,
+though my life may be made unhappy by your temper, I'll not be ruined
+by your extravagance!
+
+_Lady Teazle._--My extravagance! I'm sure I'm not more extravagant
+than a woman of fashion ought to be.
+
+_Sir Peter._--No, no, madam, you shall throw away no more sums on such
+unmeaning luxury. To spend as much to furnish your dressing room with
+flowers in winter as would suffice to turn the Pantheon into a
+greenhouse, and give a fête champêtre at Christmas!
+
+_Lady Teazle._--And am I to blame, Sir Peter, because flowers are dear
+in cold weather? You should find fault with the climate, and not with
+me. For my part, I'm sure I wish it was spring all the year round,
+and that roses grew under our feet!
+
+_Sir Peter._--Oons! madam--if you had been born to this, I shouldn't
+wonder at your talking thus; but you forget what your situation was
+when I married you.
+
+_Lady Teazle._--No, no, I don't; 'twas a very disagreeable one, or I
+should never have married you.
+
+_Sir Peter._--Yes, yes, madam, you were then in somewhat a humbler
+style--the daughter of a plain country squire. Recollect, Lady Teazle,
+when I saw you first sitting at your tambour, in a pretty figured
+linen gown, with a bunch of keys at your side, your hair combed smooth
+over a roll, and your apartment hung round with fruits in worsted, of
+your own working.
+
+_Lady Teazle._--Oh, yes! I remember it very well, and a curious life I
+led. My daily occupation to inspect the dairy, superintend the
+poultry, make extracts from the family receipt book, and comb my aunt
+Deborah's lap-dog.
+
+_Sir Peter._--Yes, yes, ma'am, 'twas so indeed.
+
+_Lady Teazle._--And then, you know, my evening amusements! To draw
+patterns for ruffles, which I had not materials to make up; to play
+Pope Joan with the curate; to read a sermon to my aunt; or to be stuck
+down to an old spinet to strum my father to sleep after a fox chase.
+
+_Sir Peter._--I am glad you have so good a memory. Yes, madam, these
+were the recreations I took you from; but now you must have your
+coach--_vis-à-vis_--and three powdered footmen before your chair; and,
+in the summer, a pair of white cats to draw you to Kensington Gardens.
+No recollection, I suppose, when you were content to ride double,
+behind the butler, on a docked coach horse.
+
+_Lady Teazle._--No--I swear I never did that: I deny the butler and
+the coach horse.
+
+_Sir Peter._--This, madam, was your situation; and what have I done
+for you? I have made you a woman of fashion, of fortune, of rank,--in
+short, I have made you my wife.
+
+_Lady Teazle._--Well, then, and there is but one thing more you can
+make me to add to the obligation, that is--
+
+_Sir Peter._--My widow, I suppose?
+
+_Lady Teazle._--Hem! hem!
+
+_Sir Peter._--I thank you, madam--but don't flatter yourself, for,
+though your ill conduct may disturb my peace of mind, it shall never
+break my heart, I promise you: however, I am equally obliged to you
+for the hint.
+
+_Lady Teazle._--Then why will you endeavour to make yourself so
+disagreeable to me, and thwart me in every little elegant expense.
+
+_Sir Peter._--Oons! madam, I say, had you any of these little elegant
+expenses when you married me?
+
+_Lady Teazle._--Lud, Sir Peter! would you have me be out of the
+fashion?
+
+_Sir Peter._--The fashion, indeed! what had you to do with the fashion
+before you married me?
+
+_Lady Teazle._--For my part, I should think you would like to have
+your wife thought a woman of taste.
+
+_Sir Peter._--Ay--there again--taste! Zounds! madam, you had no taste
+when you married me!
+
+_Lady Teazle._--That's very true, indeed, Sir Peter! and, after
+having married you, I should never pretend to taste again, I allow.
+But now, Sir Peter, since we have finished our daily jangle, I presume
+I may go to my engagement at Lady Sneerwell's.
+
+_Sir Peter._--Ay, there's another precious circumstance--a charming
+set of acquaintance you have made there.
+
+_Lady Teazle._--Nay, Sir Peter, they are all people of rank and
+fortune, and remarkably tenacious of reputation.
+
+_Sir Peter._--Yes, they are tenacious of reputation with a vengeance;
+for they don't choose anybody should have a character but themselves!
+Such a crew! Ah! many a wretch has rid on a hurdle who has done less
+mischief than these utterers of forged tales, coiners of scandal, and
+clippers of reputation.
+
+_Lady Teazle._--What! would you restrain the freedom of speech?
+
+_Sir Peter._--Ah! they have made you just as bad as any one of the
+society.
+
+_Lady Teazle._--Why, I believe I do bear a part with a tolerable
+grace.
+
+_Sir Peter._--Grace indeed!
+
+_Lady Teazle._--But I vow I bear no malice against the people I abuse:
+when I say an ill-natured thing, 'tis out of pure good humour: and I
+take it for granted they deal exactly the same with me. But, Sir
+Peter, you know you promised to come to Lady Sneerwell's too.
+
+_Sir Peter._--Well, well, I'll call in, just to look after my own
+character.
+
+_Lady Teazle._--Then, indeed, you must make haste after me, or you'll
+be too late. So good-bye to ye. (_Exit_)
+
+_Sir Peter._--So--I have gained much by my intended expostulation!
+Yet with what a charming air she contradicts everything I say, and how
+pleasantly she shows her contempt for my authority! Well, though I
+can't make her love me, there is great satisfaction in quarrelling
+with her; and I think she never appears to such advantage as when she
+is doing everything in her power to plague me. _(Exit_)
+
+      --_Richard Brinsley Sheridan_
+
+
+  Select the passages where Lady Teazle tries to enforce
+  her opinion by (a) strong assertion, (b) peevishness and
+  whining.
+
+  In what passages does her desire to taunt and ridicule
+  Sir Peter predominate?
+
+  In what passages does she address Sir Peter in the tone
+  of ordinary conversation?
+
+  What Stress is used in each case? (Introduction, pp.
+  28-30.)
+
+  HAD YOU ANY OF THESE LITTLE ELEGANT EXPENSES? What
+  Stress is placed on the last four words?
+
+       *       *       *       *       *
+
+
+THE PARTING OF MARMION AND DOUGLAS
+
+From "Marmion"
+
+
+  Not far advanced was morning day,
+  When Marmion did his troop array
+      To Surrey's camp to ride;
+  He had safe-conduct for his band,
+  Beneath the royal seal and hand,                                     5
+      And Douglas gave a guide.
+
+  The ancient Earl, with stately grace,
+  Would Clara on her palfrey place,
+  And whispered in an undertone,
+  "Let the hawk stoop, his prey is flown."                            10
+  The train from out the castle drew,
+  But Marmion stopped to bid adieu:
+  "Though something I might plain," he said,
+  "Of cold respect to stranger guest,
+  Sent hither by your King's behest,                                  15
+      While in Tantallon's towers I stayed;
+  Part we in friendship from your land,
+  And, noble earl, receive my hand."
+
+  But Douglas round him drew his cloak,
+  Folded his arms, and thus he spoke:                                 20
+  "My manors, halls, and bowers, shall still
+  Be open, at my Sovereign's will,
+  To each one whom he lists, howe'er
+  Unmeet to be the owner's peer.
+  My castles are my King's alone,                                     25
+  From turret to foundation-stone:
+  The hand of Douglas is his own;
+  And never shall, in friendly grasp,
+  The hand of such as Marmion clasp."
+
+  Burned Marmion's swarthy cheek like fire,                           30
+  And shook his very frame for ire;
+      And--"This to me," he said,
+  "An't were not for thy hoary beard,
+  Such hand as Marmion's had not spared
+      To cleave the Douglas' head!                                    35
+  And, first, I tell thee, haughty peer,
+  He who does England's message here,
+  Although the meanest in her state,
+  May well, proud Angus, be thy mate:
+  And, Douglas, more I tell thee here,                                40
+      Even in thy pitch of pride
+  Here in thy hold, thy vassals near
+  (Nay, never look upon your lord,
+  And lay your hands upon your sword,)
+      I tell thee, thou'rt defied!                                    45
+  And if thou saidst, I am not peer
+  To any lord in Scotland here,
+  Lowland or Highland, far or near,
+      Lord Angus, thou hast lied!"
+
+  On the Earl's cheek the flush of rage                               50
+  O'ercame the ashen hue of age:
+  Fierce he broke forth: "And darest thou, then,
+  To beard the lion in his den,
+      The Douglas in his hall?
+  And hopest thou hence unscathed to go?--                            55
+  No, by Saint Bride of Bothwell, no!--
+  Up drawbridge, grooms!--what, Warder, ho!
+      Let the portcullis fall."
+
+  Lord Marmion turned,--well was his need,--
+  And dashed the rowels in his steed,                                 60
+  Like arrow through the archway sprung,
+  The ponderous grate behind him rung:
+  To pass there was such scanty room,
+  The bars, descending, grazed his plume.
+
+  The steed along the drawbridge flies,                               65
+  Just as it trembles on the rise;
+  Nor lighter does the swallow skim
+  Along the smooth lake's level brim:
+  And when Lord Marmion reached his band,
+  He halts, and turns with clenched hand,                             70
+  And shout of loud defiance pours,
+  And shook his gauntlet at the towers.
+
+  "Horse! horse!" the Douglas cried, "and chase!"
+  But soon he reined his fury's pace:
+  "A royal messenger he came,                                         75
+  Though most unworthy of the name.
+  A letter forged! Saint Jude to speed!
+  Did ever knight so foul a deed!
+  At first, in heart, it liked me ill,
+  When the King praised his clerkly skill.                            80
+  Thanks to Saint Bothan, son of mine,
+  Save Gawain, ne'er could pen a line.
+  Saint Mary mend my fiery mood!
+  Old age ne'er cools the Douglas blood;
+  I thought to slay him where he stood.                               85
+  'Tis pity of him, too," he cried:
+  "Bold can he speak, and fairly ride:
+  I warrant him a warrior tried."--
+  With this his mandate he recalls,
+  And slowly seeks his castle halls.                                  90
+
+      --_Sir Walter Scott_
+
+
+  In what Quality of voice should the following passages
+  of this poem be read: (_a_) the descriptive parts; (_b_)
+  l. 10; (_c_) the first speeches of Marmion and Douglas,
+  ll. 14-18, and ll. 21-29; (_d_) the second speeches of
+  Marmion and Douglas, ll. 32-49, and ll. 52-56; (_e_) ll.
+  57-58, and ll. 75-88?
+
+       *       *       *       *       *
+
+
+COLUMBUS
+
+
+  Behind him lay the gray Azores.
+    Behind him the gates of Hercules;
+  Before him not the ghost of shores,
+    Before him only shoreless seas.
+  The good mate said: "Now we must pray,                               5
+    For, lo! the very stars are gone.
+  Brave Adm'r'l, speak; what shall I say?"
+    "Why, say: 'Sail on! sail on! and on!'"
+
+  "My men grow mutinous day by day;
+    My men grow ghastly wan and weak."                                10
+  The stout mate thought of home; a spray
+    Of salt wave washed his swarthy cheek.
+  "What shall I say, brave Adm'r'l, say,
+    If we sight naught but seas at dawn?"
+  "Why, you shall say, at break of day:                               15
+    'Sail on! sail on! sail on! and on!'"
+
+  They sailed and sailed as winds might blow,
+    Until at last the blanched mate said:
+  "Why, now not even God would know
+    Should I and all my men fall dead.                                20
+  These very winds forget the way,
+    For God from these dread seas is gone.
+  Now speak, brave Adm'r'l, speak and say--"
+    He said: "Sail on! sail on! and on!"
+
+  They sailed. They sailed. Then spake the mate:                      25
+    "This mad sea shows his teeth to-night;
+  He curls his lip, he lies in wait,
+    With lifted teeth as if to bite:
+  Brave Adm'r'l, say but one good word;
+    What shall we do when hope is gone?"                              30
+  The words leapt as a leaping sword:
+    "Sail on! sail on! sail on! and on!"
+
+  Then, pale and worn, he kept his deck
+  And peered through darkness. Ah, that night
+  Of all dark nights! And then, a speck--                             35
+  A light! a light! a light! a light!
+  It grew, a starlit flag unfurled!
+  It grew to be Time's burst of dawn.
+  He gained a world; he gave that world
+  Its greatest lesson; "On! sail on!"                                 40
+
+    --_Joaquin Miller_
+
+    --_By permission of the publishers, Whitaker & Ray-Wiggin Co._
+
+
+  WHAT, SHALL, WHY. (Appendix A, 7 and 8.)
+
+  Give examples of words or phrases which when repeated
+  become (1) unemphatic, (2) more emphatic, (3) equivalent
+  to a climax. (Introduction, pp. 31 and 32.)
+
+  Compare the mate's attitude of mind with that of the
+  Admiral. How is the difference indicated by the Stress?
+
+       *       *       *       *       *
+
+
+FROM THE "APOLOGY" OF SOCRATES
+
+From "The Dialogues of Plato"
+
+
+1. Not much time will be gained, O Athenians, in return for the evil
+name which you will get from the detractors of the city, who will say
+that you killed Socrates, a wise man; for they will call me wise, even
+although I am not wise, when they want to reproach you. If you had
+waited a little while, your desire would have been fulfilled in the
+course of nature. For I am far advanced in years, as you may perceive,
+and not far from death. I am speaking now only to those of you who
+have condemned me to death. And I have another thing to say to them:
+You think that I was convicted through deficiency of words--I mean,
+that if I had thought fit to leave nothing undone, nothing unsaid, I
+might have gained an acquittal. Not so; the deficiency which led to
+my conviction was not of words--certainly not. But I had not the
+boldness or impudence or inclination to address you as you would have
+liked me to address you, weeping and wailing and lamenting, and saying
+and doing many things which you have been accustomed to hear from
+others, and which, as I say, are unworthy of me. But I thought that I
+ought not to do anything common or mean in the hour of danger; nor do
+I now repent of the manner of my defence, and I would rather die
+having spoken after my manner, than speak in your manner and live. For
+neither in war nor yet at law ought any man to use every way of
+escaping death. For often in battle there is no doubt that if a man
+will throw away his arms, and fall on his knees before his pursuers,
+he may escape death; and in other dangers there are other ways of
+escaping death, if a man is willing to say and do anything. The
+difficulty, my friends, is not in avoiding death, but in avoiding
+unrighteousness; for that runs faster than death. I am old and move
+slowly, and the slower runner has overtaken me, and my accusers are
+keen and quick, and the faster runner, who is unrighteousness, has
+overtaken them. And now I depart hence, condemned by you to suffer the
+penalty of death, and they too go their ways, condemned by the truth
+to suffer the penalty of villainy and wrong; and I must abide by my
+reward--let them abide by theirs. I suppose that these things may be
+regarded as fated,--and I think that they are well.
+
+2. And now, O men who have condemned me, I would fain prophesy to you;
+for I am about to die, and that is the hour in which men are gifted
+with prophetic power. And I prophesy to you who are my murderers,
+that immediately after my death punishment far heavier than you have
+inflicted on me will surely await you. Me you have killed because you
+wanted to escape the accuser, and not to give an account of your
+lives. But that will not be as you suppose: far otherwise. For I say
+that there will be more accusers of you than there are now; accusers
+whom hitherto I have restrained: and as they are younger they will be
+more severe with you, and you will be more offended at them. For if
+you think that by killing men you can avoid the accuser censuring your
+lives, you are mistaken; that is not a way of escape which is either
+possible or honourable; the easiest and the noblest way is not to be
+crushing others, but to be improving yourselves. This is the prophecy
+which I utter before my departure to the judges who have condemned me.
+
+3. Friends, who would have acquitted me, I would like also to talk
+with you about this thing which has happened, while the magistrates
+are busy, and before I go to the place at which I must die. Stay then
+a while, for we may as well talk with one another while there is time.
+You are my friends, and I should like to show you the meaning of this
+event which has happened to me. O my judges--for you I may truly call
+judges--I should like to tell you of a wonderful circumstance.
+Hitherto the familiar oracle within me has constantly been in the
+habit of opposing me even about trifles, if I was going to make a slip
+or error about anything; and now, as you see, there has come upon me
+that which may be thought, and is generally believed to be, the last
+and worst evil. But the oracle made no sign of opposition, either as I
+was leaving my house and going out in the morning, or when I was going
+up into this court, or while I was speaking, at anything which I was
+going to say; and yet I have often been stopped in the middle of a
+speech, but now in nothing I either said or did touching this matter
+has the oracle opposed me. What do I take to be the explanation of
+this? I will tell you. I regard this as a proof that what has happened
+to me is a good, and that those of us who think that death is an evil
+are in error. This is a great proof to me of what I am saying, for the
+customary sign would surely have opposed me had I been going to evil
+and not to good.
+
+4. Let us reflect in another way, and we shall see that there is a
+great reason to hope that death is a good, for one of two things:
+either death is a state of nothingness and utter unconsciousness, or,
+as men say, there is a change and migration of the soul from this
+world to another. Now if you suppose that there is no consciousness,
+but a sleep like the sleep of him who is undisturbed even by the sight
+of dreams, death will be an unspeakable gain. For if a person were to
+select the night in which his sleep was undisturbed even by dreams,
+and were to compare with this the other days and nights of his life,
+and then were to tell us how many days and nights he had passed in the
+course of his life better and more pleasantly than this one, I think
+that any man, I will not say a private man, but even the great king
+will not find many such days or nights, when compared with the others.
+Now if death is like this, I say that to die is gain; for eternity is
+then only a single night. But if death is the journey to another
+place, and there, as men say, all the dead are, what good, O my
+friends and judges, can be greater than this? If indeed when the
+pilgrim arrives in the world below, he is delivered from the
+professors of justice in this world, and finds the true judges who
+are said to give judgment there, Minos and Rhadamanthus, and Aeacus,
+and Triptolemus, and other sons of God who were righteous in their own
+life, that pilgrimage will be worth making. What would not a man give
+if he might converse with Orpheus and Musaeus and Hesiod and Homer?
+Nay, if this be true, let me die again and again. I, too, shall have a
+wonderful interest in a place where I can converse with Palamedes, and
+Ajax the son of Telamon, and other heroes of old, who have suffered
+death through an unjust judgment; and there will be no small pleasure,
+as I think, in comparing my own sufferings with theirs. Above all, I
+shall be able to continue my search into true and false knowledge; as
+in this world, so also in that; I shall find out who is wise, and who
+pretends to be wise and is not. What would not a man give, O judges,
+to be able to examine the leader of the great Trojan expedition; or
+Odysseus, or Sisyphus, or numberless others, men and women too! What
+infinite delight would there be in conversing with them and asking
+them questions! For in that world they do not put a man to death for
+this; certainly not. For besides being happier in that world than in
+this, they will be immortal, if what is said is true.
+
+5. Wherefore, O judges, be of good cheer about death, and know this of
+a truth--that no evil can happen to a good man, either in life or
+after death. He and his are not neglected by the gods; nor has my own
+approaching end happened by mere chance. But I see clearly that to die
+and be released was better for me; and therefore the oracle gave no
+sign. For which reason, also, I am not angry with my accusers or my
+condemners; they have done me no harm, although neither of them meant
+to do me any good; and for this I may gently blame them.
+
+6. Still I have a favour to ask of them. When my sons are grown up, I
+would ask you, O my friends, to punish them and I would have you
+trouble them, as I have troubled you, if they seem to care about
+riches, or anything, more than about virtue; or if they pretend to be
+something when they are really nothing,--then reprove them, as I have
+reproved you, for not caring about that for which they ought to care,
+and thinking that they are something when they are really nothing. And
+if you do this, I and my sons will have received justice at your
+hands.
+
+7. The hour of departure has arrived, and we go our ways--I to die,
+and you to live. Which is better God only knows.
+
+      --_Benjamin Jowett_
+
+
+  Illustrate from this extract the general principle that
+  incompleteness is expressed by means of the Rising, and
+  completeness by means of the Falling Inflection.
+
+  Par. 1. FOR NEITHER IN WAR NOR YET AT LAW ... DEATH.
+  Explain the Inflection placed on this negative
+  statement. Give a similar example from Par. 2.
+
+  I MUST ABIDE BY MY AWARD ... LET THEM ABIDE BY THEIRS.
+  Explain the opposite Inflections on antithetical words
+  and phrases. If one part of the antithesis is a
+  negation, what is the Inflection? (Introduction, pp. 19
+  and 20.) Give examples from Par. 2.
+
+  I AM OLD AND MOVE SLOWLY ... WRONG. Explain the Emphasis
+  in these sentences. Which one of a pair of contrasted
+  words is necessarily emphatic? Give examples from this
+  and the following paragraph, in which both are emphatic,
+  and explain why. (Introduction, pp. 30-32.)
+
+  Par. 4. Explain the Inflection on the questions.
+  (Introduction, pp. 18 and 19.)
+
+  What clauses in this paragraph are really parenthetical
+  in force? How does the voice subordinate them? Give
+  similar examples from other paragraphs. (Introduction,
+  pp. 24 and 25.)
+
+       *       *       *       *       *
+
+
+HIGHLAND HOSPITALITY
+
+From "The Lady of the Lake"
+
+
+  The shades of eve come slowly down,
+  The woods are wrapt in deeper brown,
+  The owl awakens from her dell,
+  The fox is heard upon the fell;
+  Enough remains of glimmering light                                   5
+  To guide the wanderer's steps aright,
+  Yet not enough from far to show
+  His figure to the watchful foe.
+  With cautious step, and ear awake,
+  He climbs the crag and threads the brake;                           10
+  And not the summer solstice there,
+  Tempered the midnight mountain air,
+  But every breeze that swept the wold,
+  Benumbed his drenched limbs with cold.
+  In dread, in danger, and alone,                                     15
+  Famished and chilled, through ways unknown,
+  Tangled and steep, he journeyed on;
+  Till, as a rock's huge point he turned,
+  A watch-fire close before him burned.
+
+  Beside its embers red and clear,                                    20
+  Basked, in his plaid, a mountaineer;
+  And up he sprung with sword in hand,--
+  "Thy name and purpose! Saxon, stand!"--
+  "A stranger."--"What dost thou require?"--
+  "Rest and a guide, and food and fire.                               25
+  My life's beset, my path is lost.
+  The gale has chilled my limbs with frost."--
+  "Art thou a friend to Roderick?"--"No."--
+  "Thou darest not call thyself a foe?"--
+  "I dare! to him and all the band                                    30
+  He brings to aid his murderous hand."--
+  "Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,                                  35
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+  Thus, treacherous scouts,--yet sure they lie,
+  Who say thou camest a secret spy!"--
+  "They do, by Heaven!--Come Roderick Dhu,                            40
+  And of his clan the boldest two,
+  And let me but till morning rest,
+  I write the falsehood on their crest."--
+  "If by the blaze I mark aright,
+  Thou bear'st the belt and spur of Knight."--                        45
+  "Then, by these tokens mayest thou know,
+  Each proud oppressor's mortal foe."--
+  "Enough, enough; sit down and share
+  A soldier's couch, a soldier's fare."--
+
+  He gave him of his Highland cheer,                                  50
+  The hardened flesh of mountain deer;
+  Dry fuel on the fire he laid,
+  And bade the Saxon share his plaid.
+  He tended him like welcome guest,
+  Then thus his further speech addressed:--                           55
+  "Stranger, I am to Roderick Dhu
+  A clansman born, a kinsman true;
+  Each word against his honour spoke,
+  Demands of me avenging stroke;
+  Yet more,--upon thy fate, 'tis said,                                60
+  A mighty augury is laid.
+  It rests with me to wind my horn,
+  Thou art with numbers overborne;
+  It rests with me, here, brand to brand,
+  Worn as thou art, to bid thee stand:                                65
+  But not for clan, nor kindred's cause,
+  Will I depart from honour's laws;
+  To assail a wearied man were shame,
+  And stranger is a holy name;
+  Guidance and rest, and food and fire,                               70
+  In vain he never must require.
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward.
+  Till past Clan-Alpine's outmost guard,                              75
+  As far as Coilantogle's ford;
+  From thence thy warrant is thy sword."--
+  "I take thy courtesy, by Heaven,
+  As freely as 'tis nobly given!"--
+  "Well, rest thee; for the bittern's cry                             80
+  Sings us the lake's wild lullaby."
+  With that he shook the gathered heath,
+  And spread his plaid upon the wreath;
+  And the brave foemen, side by side,
+  Lay peaceful down, like brothers tried,                             85
+  And slept until the dawning beam
+  Purpled the mountain and the stream.
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Connect this scene with the rest of the
+  poem.
+
+  Give a dramatic form to this extract, describing
+  definitely the scenery and stage-setting. One reader may
+  render the descriptive parts, another the speeches of
+  Roderick Dhu, and a third those of Fitz-James.
+
+  WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS,
+  BOLDEST TWO. (Appendix A, 6.)
+
+  25 and 70. (Appendix A, 5.) 1-4. Note the word-pictures.
+  How do they affect the Pause? (Introduction, pp. 7 and
+  8.)
+
+  7. NOT ENOUGH. With what is it contrasted? Which word is
+  emphatic? Where do the Pauses occur in this line?
+
+  9. What is the atmosphere of this line? What is the
+  Quality of voice? (Introduction, p. 34.)
+
+  10-11. What Inflection? Why? What is the Shading when
+  compared with the two following lines? (Introduction, p.
+  24.)
+
+  16-17. Give an example of Grouping.
+
+  18-19. Compare the Shading of these two lines.
+
+  22. What feeling and movement are here expressed? How
+  does the voice give expression to them? (Introduction,
+  pp. 5, 6, and 27.)
+
+  Describe the mental attitude of each of the speakers.
+  What is the Stress in each case? (Introduction, pp.
+  27-29.)
+
+  38. THE PROWLING FOX ... SCOUTS. What is the mental
+  attitude here? What Stress is the result? (Introduction,
+  p. 28.) How does the rest of the speech differ from the
+  preceding? What is the Inflection? (Introduction, p.
+  18.)
+
+  What is the Stress of ordinary conversation? Illustrate
+  from the above selection.
+
+  32-39. BOLD WORDS ... SPY. (Introduction, p. 24.)
+
+  48. Why should SIT DOWN be kept distinct from SHARE? How
+  is this effected?
+
+  60. 'TIS SAID. How does the voice subordinate this
+  phrase? (Introduction, p. 24.)
+
+  66-69. Which are the emphatic words and why are they
+  emphatic?
+
+  77. What feeling is introduced here? How does the voice
+  express it?
+
+       *       *       *       *       *
+
+
+THE OUTLAW
+
+From "Rokeby"
+
+
+  O, Brignall banks are wild and fair,
+    And Greta woods are green,
+  And you may gather garlands there,
+    Would grace a summer queen.
+
+  And as I rode by Dalton-Hall,                                        5
+    Beneath the turrets high,
+  A Maiden on the castle wall
+    Was singing merrily,--
+
+  "O, Brignall banks are fresh and fair,
+    And Greta woods are green;                                        10
+  I'd rather rove with Edmund there
+    Than reign our English queen."--
+
+  "If, Maiden, thou would'st wend with me,
+    To leave both tower and town,
+  Thou first must guess what life lead we                             15
+    That dwell by dale and down.
+  And if thou canst that riddle read,
+    As read full well you may,
+  Then to the greenwood shalt thou speed
+    As blithe as Queen of May."--                                     20
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are green;
+  I'd rather rove with Edmund there.
+    Than reign our English queen.
+
+  "I read you by your bugle-horn,                                     25
+    And by your palfrey good,
+  I read you for a Ranger sworn,
+    To keep the king's greenwood."--
+  "A Ranger, lady, winds his horn,
+   And 'tis at peep of light;                                         30
+  His blast is heard at merry morn,
+    And mine at dead of night."--
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are gay;
+  I would I were with Edmund there,                                   35
+    To reign his Queen of May!
+
+  "With burnish'd brand and musketoon,
+    So gallantly you come,
+  I read you for a bold Dragoon,
+    That lists the tuck of drum."--                                   40
+  "I list no more the tuck of drum,
+    No more the trumpet hear;
+  But when the beetle sounds his hum
+    My comrades take the spear.
+
+  "And O! though Brignall banks be fair                               45
+    And Greta woods be gay,
+  Yet mickle must the maiden dare
+    Would reign my Queen of May!
+
+  "Maiden! a nameless life I lead,
+    A nameless death I'll die!                                        50
+  The fiend whose lantern lights the mead
+    Were better mate than I!
+  And when I'm with my comrades met
+    Beneath the greenwood bough,
+  What once we were we all forget,                                    55
+    Nor think what we are now.
+
+  "Yet Brignall banks are fresh and fair,
+    And Greta woods are green,
+  And you may gather garlands there
+    Would grace a summer queen."                                      60
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--"The Life of an Outlaw." Speak on this
+  subject, illustrating from such characters as Rob Roy,
+  Robin Hood, etc., and emphasizing the pathos of such a
+  life.
+
+  For dramatic rendering see preparatory notes on
+  _Highland Hospitality_.
+
+  1-4. What Stress indicates the state of mind reflected
+  by these lines? (Introduction, p. 29.)
+
+  3, 11. What Inflection is placed on THERE?
+  (Introduction, p. 16.)
+
+  12. What word may be supplied after REIGN? How is this
+  indicated in the reading? (Introduction, p. 10.)
+
+  13-20. Read these lines with a view to Perspective.
+  (Introduction, p. 33.)
+
+  Give examples of Grouping throughout the poem and show
+  how the Pause is affected. (Introduction, p. 11.)
+
+  What words in stanza iii are emphatic through contrast?
+  In stanza v?
+
+  What feeling in the last half of stanza v?
+  (Introduction, pp. 10-12.) In what Time, Pitch, and
+  Force are these lines read? Give your reasons.
+
+       *       *       *       *       *
+
+
+OF STUDIES
+
+From the "Essays"
+
+
+Studies serve for delight, for ornament, and for ability. Their chief
+use for delight, is in privateness and retiring; for ornament, is in
+discourse; and for ability, is in the judgment and disposition of
+business. For expert men can execute, and perhaps judge of
+particulars, one by one; but the general counsels, and the plots, and
+marshalling of affairs, come best from those that are learned.
+
+To spend too much time in studies, is sloth; to use them too much for
+ornament, is affectation; to make judgment wholly by their rules, is
+the humour of a scholar. They perfect nature and are perfected by
+experience: for natural abilities are like natural plants, that need
+pruning by study; and studies themselves do give forth directions too
+much at large, except they be bounded in by experience.
+
+Crafty men contemn studies; simple men admire them; and wise men use
+them; for they teach not their own use; but that is a wisdom without
+them, and above them, won by observation. Read not to contradict and
+confute; nor to believe and take for granted; nor to find talk and
+discourse; but to weigh and consider.
+
+Some books are to be tasted, others to be swallowed, and some few to
+be chewed and digested; that is, some books are to be read only in
+parts; others to be read, but not curiously; and some few to be read
+wholly, and with diligence and attention. Some books also may be read
+by deputy, and extracts made of them by others; but that would be only
+in the less important arguments, and the meaner sort of books; else
+distilled books are like common distilled waters, flashy things.
+
+Reading maketh a full man; conference a ready man; and writing an
+exact man. And therefore, if a man write little, he had need have a
+good memory, if he confer little, he had need have a present wit; and
+if he read little, he had need have much cunning, to seem to know that
+he doth not.
+
+If a man's wit be wandering, let him study the mathematics; for in
+demonstrations, if his wit be called away never so little, he must
+begin again; if his wits be not apt to distinguish or find
+differences, let him study the schoolmen; if he be not apt to beat
+over matters, and to call up one thing to prove and illustrate
+another, let him study the lawyers' cases. So every defect of the mind
+may have a special receipt.
+
+      --_Lord Bacon_
+
+
+  Preparatory.--Observe the sentence structure employed
+  throughout this extract, and make a list of the
+  antithetical words and phrases.
+
+  This lesson may be used as an exercise to illustrate the
+  principle of Inflection as applied to antithetical words
+  or phrases and to series of words or phrases parallel in
+  construction. (Introduction, p. 20.)
+
+       *       *       *       *       *
+
+
+THE INFLUENCE OF ATHENS
+
+From essay "On Mitford's History of Greece"
+
+
+If we consider merely the subtlety of disquisition, the force of
+imagination, the perfect energy and elegance of expression, which
+characterize the great works of Athenian genius, we must pronounce
+them intrinsically most valuable. But what shall we say when we
+reflect that from hence have sprung, directly or indirectly, all the
+noblest creations of the human intellect; that from hence were the
+vast accomplishments and the brilliant fancy of Cicero, the withering
+fire of Juvenal, the plastic imagination of Dante, the humour of
+Cervantes, the comprehension of Bacon, the wit of Butler, the supreme
+and universal excellence of Shakespeare?
+
+All the triumphs of truth and genius over prejudice and power, in
+every country and in every age, have been the triumphs of Athens.
+Wherever a few great minds have made a stand against violence and
+fraud, in the cause of liberty and reason, there has been her spirit
+in the midst of them; inspiring, encouraging, consoling;--by the
+lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune
+of Mirabeau, in the cell of Galileo, on the scaffold of Sidney.
+
+But who shall estimate her influence on private happiness? Who shall
+say how many thousands have been made wiser, happier, and better, by
+those pursuits in which she has taught mankind to engage; to how many
+the studies which took their rise from her have been wealth in
+poverty, liberty in bondage, health in sickness, society in solitude?
+
+Her power is, indeed, manifested at the bar, in the senate, in the
+field of battle, in the schools of philosophy. But these are not her
+glory. Wherever literature consoles sorrow, or assuages pain; wherever
+it brings gladness to eyes which fail with wakefulness and tears, and
+ache for the dark house and the long sleep,--there is exhibited, in
+its noblest form, the immortal influence of Athens.
+
+The dervish, in the Arabian tale, did not hesitate to abandon to his
+comrade the camels with their loads of jewels and gold, while he
+retained the casket of that mysterious juice which enabled him to
+behold at one glance all the hidden riches of the universe. Surely it
+is no exaggeration to say that no external advantage is to be compared
+with that purification of the intellectual eye which gives us to
+contemplate the infinite wealth of the mental world, all the hoarded
+treasures of its primeval dynasties, all the shapeless ore of its yet
+unexplored mines. This is the gift of Athens to man.
+
+Her freedom and her power have, for more than twenty centuries, been
+annihilated; her people have degenerated into timid slaves; her
+language, into a barbarous jargon; her temples have been given up to
+the successive depredations of Romans, Turks, and Scotchmen; but her
+intellectual empire is imperishable.
+
+And when those who have rivalled her greatness shall have shared her
+fate; when civilization and knowledge shall have fixed their abode in
+distant continents; when the sceptre shall have passed away from
+England; when, perhaps, travellers from distant regions shall in vain
+labour to decipher on some mouldering pedestal the name of our
+proudest chief, shall hear savage hymns chaunted to some misshapen
+idol over the ruined dome of our proudest temple, and shall see a
+single naked fisherman wash his nets in the river of the ten thousand
+masts,--her influence and her glory will still survive,--fresh in
+eternal youth, exempt from mutability and decay, immortal as the
+intellectual principle from which they derived their origin, and over
+which they exercise their control.
+
+      --_Macaulay_
+
+
+  Illustrate from this lesson the principle of Inflection
+  as applied to (1) a series of words parallel in
+  construction; (2) rhetorical questions.
+
+  How should the principal clause in the last paragraph be
+  made prominent by the voice? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+NATIONAL MORALITY
+
+
+1. I believe there is no permanent greatness to a nation except it be
+based upon morality. I do not care for military greatness or military
+renown. I care for the condition of the people among whom I live.
+There is no man in England who is less likely to speak irreverently of
+the Crown and Monarchy of England than I am; but crowns, coronets,
+mitres, military display, the pomp of war, wide colonies, and a huge
+empire, are, in my view, all trifles light as air, and not worth
+considering, unless with them you can have a fair share of comfort,
+contentment, and happiness, among the great body of the people.
+Palaces, baronial castles, great halls, stately mansions, do not make
+a nation. The nation in every country dwells in the cottage; and
+unless the light of your Constitution can shine there, unless the
+beauty of your legislation and the excellence of your statesmanship
+are impressed there on the feelings and condition of the people, rely
+upon it, you have yet to learn the duties of government.
+
+2. I have not pleaded, as you have observed, that this country should
+remain without adequate and scientific means of defence. I acknowledge
+it to be the duty of your statesmen, acting upon the known opinions
+and principles of ninety-nine out of every one hundred persons in the
+country, at all times, with all possible moderation, but with all
+possible efficiency, to take steps which shall preserve order within
+and on the confines of your kingdom. But I shall repudiate and
+denounce the expenditure of every shilling, the engagement of every
+man, the employment of every ship which has no object but
+intermeddling in the affairs of other countries and endeavouring to
+extend the boundaries of an Empire which is already large enough to
+satisfy the greatest ambition, and I fear is much too large for the
+highest statesmanship to which any man has yet attained.
+
+3. The most ancient of profane historians has told us that the
+Scythians of his time were a very warlike people, and that they
+elevated an old scimitar upon a platform as a symbol of Mars, for to
+Mars alone, I believe, they built altars and offered sacrifices. To
+this scimitar they offered sacrifices of horses and cattle, the main
+wealth of the country, and more costly sacrifices than to all the rest
+of their gods. I often ask myself whether we are at all advanced in
+one respect beyond those Scythians. What are our contributions to
+charity, to education, to morality, to religion, to justice, and to
+civil government, when compared with the wealth we expend in
+sacrifices to the old scimitar?
+
+4. Two nights ago I addressed in this hall a vast assembly composed to
+a great extent of your countrymen, who have no political power, who
+are at work from the dawn of the day to the evening, and who have
+therefore limited means of informing themselves on these great
+subjects. Now I am privileged to speak to a somewhat different
+audience. You represent those of your great community who have a more
+complete education, who have on some points greater intelligence, and
+in whose hands reside the power and influence of the district. I am
+speaking, too, within the hearing of those whose gentle nature, whose
+finer instincts, whose purer minds, have not suffered as some of us
+have suffered in the turmoil and strife of life. You can mould
+opinion, you can create political power,--you cannot think a good
+thought on this subject and communicate it to your neighbours,--you
+cannot make these points topics of discussion in your social circles
+and more general meetings, without affecting sensibly and speedily the
+course which the government of your country will pursue. May I ask
+you, then, to believe, as I do most devoutly believe, that the moral
+law was not written for men alone in their individual character, but
+that it was written as well for nations, and for nations great as this
+of which we are citizens. If nations reject and deride that moral law,
+there is a penalty which will inevitably follow. It may not come at
+once, it may not come in our lifetime; but, rely upon it, the great
+Italian is not a poet only, but a prophet, when he says:
+
+  The sword of heaven is not in haste to smite,
+  Nor yet doth linger.
+
+5. We have experience, we have beacons, we have landmarks enough. We
+know what the past has cost us, we know how much and how far we have
+wandered, but we are not left without a guide. It is true, we have
+not, as an ancient people had, Urim and Thummin--those oraculous gems
+in Aaron's breast--from which to take counsel, but we have the
+unchangeable and eternal principles of the moral law to guide us, and
+only so far as we walk by that guidance can we be permanently a great
+nation, or our people a happy people.
+
+      --_The Right Honourable John Bright_
+
+
+  BARONIAL, CASTLES, CHARACTER, PAST. (Appendix A, 1.)
+
+  Par. 1. MILITARY GREATNESS, MILITARY RENOWN. Note the
+  transferred Emphasis. (Introduction, pp. 31 and 32.)
+
+  CROWNS, CORONETS, ETC. Explain the Inflection on each
+  member of this series. Give similar examples from this
+  paragraph and from Pars. 3, 4, and 5.
+
+  UNLESS WITH THEM, ETC. How does the voice prepare the
+  listener for this clause? Give a similar example from
+  Par. 4.
+
+  YOU HAVE YET TO LEARN, ETC. How is this clause made
+  prominent?
+
+  Par. 2. Give an analysis of the second sentence from the
+  standpoint of Perspective.
+
+  THE EXPENDITURE ... SHIP. How is the Climax brought out?
+
+  FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give
+  another example from this sentence.
+
+  Par. 4. NATIONS. What Inflection on this word? With what
+  is it contrasted?
+
+       *       *       *       *       *
+
+
+HAMLET'S ADVICE TO THE PLAYERS
+
+Act III. Scene 2
+
+
+Speak the speech, I pray you, as I pronounced it to
+you, trippingly on the tongue: but if you mouth it, as
+many of your players do, I had as lief the town-crier
+spoke my lines. Nor do not saw the air too much with
+your hand, thus; but use all gently: for in the very                   5
+torrent, tempest, and, as I may say, the whirlwind of
+passion, you must acquire and beget a temperance that
+may give it smoothness. O, it offends me to the soul to
+hear a robustious periwig-pated fellow tear a passion to
+tatters, to very rags, to split the ears of the groundlings,          10
+who, for the most part, are capable of nothing but
+inexplicable dumb-shows and noise: I would have such
+a fellow whipped for o'erdoing Termagant; it out-herods
+Herod: pray you, avoid it.
+
+Be not too tame neither, but let your own discretion                  15
+be your tutor: suit the action to the word, the word to
+the action; with this special observance, that you o'erstep
+not the modesty of nature: for anything so overdone
+is from the purpose of playing, whose end, both at the
+first and now, was and is, to hold, as 'twere, the mirror             20
+up to nature; to show virtue her own feature, scorn her
+own image, and the very age and body of the time his
+form and pressure. Now, this overdone or come tardy
+off, though it make the unskilful laugh, cannot but make
+the judicious grieve; the censure of the which one                    25
+must, in your allowance, o'erweigh a whole theatre of
+others. O, there be players that I have seen play, and
+heard others praise, and that highly, not to speak it
+profanely, that neither having the accent of Christains
+nor the gait of Christain, pagan, nor man, have so                    30
+strutted and bellowed, that I have thought some of
+nature's journeymen had made men, and not made them
+well, they imitated humanity so abominably.
+
+      --_Shakespeare_
+
+
+  MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words
+  emphatic? (Introduction, p. 30.)
+
+  Explain FROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE
+  CENSURE OF THE WHICH ... OTHERS. What are the emphatic
+  words in each?
+
+  TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.
+
+  Give other examples of Climax from this selection and
+  show how the Emphasis is employed. (Introduction, p.
+  31.)
+
+  Select parenthetical clauses and show how they are
+  subordinated. (Introduction, p. 24.)
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+ROSABELLE
+
+  From "The Lay of the Last Minstrel"
+
+
+    O listen, listen, ladies gay!
+      No haughty feat of arms I tell;
+    Soft is the note, and sad the lay
+      That mourns the lovely Rosabelle.
+
+  "Moor, moor the barge, ye gallant crew!
+    And, gentle ladye, deign to stay!
+  Rest thee in Castle Ravensheuch,
+    Nor tempt the stormy firth to-day.
+
+  "The blackening wave is edged with white;
+    To inch and rock the sea-mews fly;
+  The fishers have heard the Water-Sprite,
+    Whose screams forebode that wreck is =nigh=.
+
+  "Last night the gifted Seer did view
+    A wet shroud swathed round ladye gay;
+  Then stay thee, Fair, in Ravensheuch;
+    Why cross the gloomy firth to-day?"--
+
+  "'Tis not because Lord Lindesay's heir
+    To-night at Roslin leads the ball,
+  But that my ladye-mother there
+    Sits lonely in her castle-hall.
+
+  "'Tis not because the ring they ride,
+    And Lindesay at the ring rides well,
+  But that my sire the wine will chide
+    If 'tis not fill'd by Rosabelle."--
+
+  O'er Roslin all that dreary night
+    A wondrous blaze was seen to gleam;
+  'Twas broader than the watch-fire's light,
+    And redder than the bright moonbeam.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from cavern'd Hawthornden.
+
+  Seem'd all on fire that chapel proud,
+    Where Roslin's chiefs uncoffin'd lie,
+  Each Baron, for a sable shroud,
+    Sheathed in his iron panoply.
+
+  Seem'd all on fire within, around,
+    Deep sacristy and altar's pale;
+  Shone every pillar foliage-bound,
+    And glimmer'd all the dead men's mail.
+
+  Blazed battlement and pinnet high,
+    Blazed every rose-carved buttress fair--
+  So still they blaze, when fate is nigh
+    The lordly line of high Saint Clair.
+
+  There are twenty of Roslin's barons bold
+    Lie buried within that proud chapelle;
+  Each one the holy vault doth hold--
+    But the sea holds lovely Rosabelle!
+
+  And each Saint Clair was buried there
+    With candle, with book, and with knell;
+  But the sea-caves rung, and the wild winds sung
+    The dirge of lovely Rosabelle!
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Describe the scene suggested by the first
+  stanza.
+
+  Make three scenes of the rest of the poem, and give a
+  descriptive title to each.
+
+  Articulation. (Appendix A, 1, 3, and 6.)
+
+  Stanza i. How is the ellipsis in l. 3 indicated?
+
+  Stanza ii. What is the difference between the way the
+  speaker addresses the crew and that in which he
+  addresses the lady?
+
+  Stanzas iii-iv. How does the reader make prominent the
+  four different arguments of the speaker in ll. 9-15, at
+  the same time showing that each is a stronger warning
+  than the last? (Introduction, pp. 24, 25, and 31.)
+
+  Stanzas v-vi. What is the Inflection on the negative
+  statements in the first two lines of each stanza?
+
+  Stanzas vii-xi. What feeling pervades the description of
+  the ominous light over Roslyn? What Quality of voice is
+  the natural outcome? (Introduction, p. 34.)
+
+  What are the central ideas in stanzas vii, ix, and x?
+
+  How is the break in the thought after FAIR, (stanza xi)
+  shown? (Introduction, pp. 8, 9, and 25.)
+
+  Stanzas xii-xiii. What phrases contrast the burial of
+  the Saint Clairs with that of Rosabelle? What contrast
+  of feeling?
+
+       *       *       *       *       *
+
+
+THE ISLAND OF THE SCOTS
+
+December, 1697
+
+
+  The Rhine is running deep and red, the island lies before,--
+  "Now is there one of all the host will dare to venture o'er?
+  For not alone the river's sweep might make a brave man quail;
+  The foe are on the further side, their shot comes fast as hail.
+  God help us, if the middle isle we may not hope to win;              5
+  Now is there any of the host will dare to venture in?"
+  "The ford is deep, the banks are steep, the island-shore lies wide;
+  Nor man nor horse could stem its force, or reach the further side.
+  See there! amidst the willow-boughs the serried bayonets gleam;
+  They've flung their bridge,--they've won the isle; the foe have
+    cross'd the stream!                                               10
+  Their volley flashes sharp and strong,--by all the saints! I trow
+  There never yet was soldier born could force that passage now!"
+
+  So spoke the bold French Mareschal with him who led the van,
+  Whilst rough and red before their view the turbid river ran.
+  Nor bridge nor boat had they to cross the wild and swollen Rhine, 15
+  And thundering on the other bank far stretch'd the German line.
+  Hard by there stood a swarthy man was leaning on his sword,
+  And a sadden'd smile lit up his face as he heard the Captain's word.
+  "I've seen a wilder stream ere now than that which rushes there;
+  I've stemm'd a heavier torrent yet and never thought to dare.       20
+  If German steel be sharp and keen, is ours not strong and true?
+  There may be danger in the deed, but there is honour too."
+
+  The old lord in his saddle turn'd, and hastily he said,
+  "Hath bold Duguesclin's fiery heart awaken'd from the dead?
+  Thou art the leader of the Scots,--now well and sure I know,        25
+  That gentle blood in dangerous hour ne'er yet ran cold nor slow,
+  And I have seen ye in the fight do all that mortal may:
+  If honour is the boon ye seek, it may be won this day,--
+  The prize is in the middle isle, there lies the adventurous way,
+  And armies twain are on the plain, the daring deed to see,--        30
+  Now ask thy gallant company if they will follow thee!"
+
+  Right gladsome look'd the Captain then, and nothing did he say,
+  But he turn'd him to his little band, O, few, I ween, were they!
+  The relics of the bravest force that ever fought in fray.
+  No one of all that company but bore a gentle name,                  35
+  Not one whose fathers had not stood in Scotland's fields of fame.
+  All they had march'd with great Dundee to where he fought and fell,
+  And in the deadly battle-strife had venged their leader well;
+  And they had bent the knee to earth when every eye was dim,
+  As o'er their hero's buried corpse they sang the funeral hymn;      40
+  And they had trod the Pass once more, and stoop'd on either side.
+  To pluck the heather from the spot where he had dropp'd and died;
+  And they had bound it next their hearts, and ta'en a last farewell
+  Of Scottish earth and Scottish sky, where Scotland's glory fell.
+  Then went they forth to foreign lands like bent and broken men,     45
+  Who leave their dearest hope behind, and may not turn again.
+
+  "The stream," he said, "is broad and deep, and stubborn is
+    the foe,--
+  Yon island-strength is guarded well,--say, brothers, will ye go?
+  From home and kin for many a year our steps have wander'd wide,
+  And never may our bones be laid our fathers' graves beside.         50
+  No children have we to lament, no wives to wail our fall;
+  The traitor's and the spoiler's hand have reft our hearths of all.
+  But we have hearts, and we have arms, as strong to will and dare
+  As when our ancient banners flew within the northern air.
+  Come, brothers! let me name a spell shall rouse your souls again, 55
+  And send the old blood bounding free through pulse and heart
+    and vein.
+  Call back the days of bygone years,--be young and strong once more;
+  Think yonder stream, so stark and red, is one we've cross'd before.
+
+  Rise, hill and glen! rise, crag and wood! rise up on either hand,--
+  Again upon the Garry's banks, on Scottish soil we stand!            60
+  Again I see the tartans wave, again the trumpets ring;
+  Again I hear our leader's call: 'Upon them for the King!'
+  Stay'd we behind that glorious day for roaring flood or linn?
+  The soul of Græme is with us still,--now, brothers, will ye in?"
+
+  No stay,--no pause. With one accord, they grasp'd each
+    other's hand,                                                     65
+  Then plunged into the angry flood, that bold and dauntless band.
+  High flew the spray above their heads, yet onward still they bore,
+  Midst cheer, and shout, and answering yell, and shot,
+    and cannon-roar,--
+  "Now, by the Holy Cross! I swear, since earth and sea began,
+  Was never such a daring deed essay'd by mortal man!"                70
+  Thick blew the smoke across the stream, and faster flash'd
+    the flame:
+  The water plash'd in hissing jets as ball and bullet came.
+  Yet onward push'd the Cavaliers all stern and undismay'd,
+  With thousand armed foes before, and none behind to aid
+  Once, as they near'd the middle stream, so strong
+    the torrent swept,                                                75
+  That scarce that long and living wall their dangerous footing kept.
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them
+   in the Rhine!"                                                     80
+
+  Have you seen the tall trees swaying when the blast is sounding
+    shrill,
+  And the whirlwind reels in fury down the gorges of the hill?
+  How they toss their mighty branches struggling with
+    the tempest's shock;
+  How they keep their place of vantage, cleaving firmly to the rock?
+  Even so the Scottish warriors held their own against the river;     85
+  Though the water flashed around them, not an eye was seen to quiver;
+  Though the shot flew sharp and deadly, not a man relax'd his hold;
+  For their hearts were big and thrilling with the mighty thoughts
+    of old.
+  One word was spoken among them, and through the ranks it spread,--
+  "Remember our dead Claverhouse!" was all the Captain said.          90
+  Then, sternly bending forward, they wrestled on a while,
+  Until they clear'd the heavy stream, then rush'd toward the isle.
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armed foemen throng.
+  But never had they faced in field so stern a charge before,         95
+  And never had they felt the sweep of Scotland's broad claymore.
+  Not fiercer pours the avalanche adown the steep incline,
+  That rises o'er the parent springs of rough and rapid Rhine,--
+  Scarce swifter shoots the bolt from heaven than came
+    the Scottish band
+  Right up against the guarded trench, and o'er it sword in hand.    100
+  In vain their leaders forward press,--they meet the deadly brand!
+
+  O lonely island of the Rhine,--where seed was never sown,
+  What harvest lay upon thy sands, by those strong reapers thrown?
+  What saw the winter moon that night, as, struggling through
+    the rain,
+  She pour'd a wan and fitful light on marsh, and stream,
+    and plain?                                                       105
+  A dreary spot with corpses strewn, and bayonets glistening round;
+  A broken bridge, a stranded boat, a bare and batter'd mound;
+  And one huge watch-fire's kindled pile, that sent its
+    quivering glare
+  To tell the leaders of the host the conquering Scots were there.
+
+  And did they twine the laurel-wreath, for those who fought
+    so well?                                                         110
+  And did they honour those who liv'd, and weep for those who fell?
+  What meed of thanks was given to them let agèd annals tell.
+  Why should they bring the laurel-wreath,--why crown the cup
+    with wine?
+  It was not Frenchmen's blood that flow'd so freely on the Rhine,--
+  A stranger band of beggar'd men had done the venturous deed:       115
+  The glory was to France alone, the danger was their meed.
+  And what cared they for idle thanks from foreign prince and peer?
+  What virtue had such honey'd words the exiled heart to cheer?
+  What matter'd it that men should vaunt and loud and fondly swear,
+
+  That higher feat of chivalry was never wrought elsewhere?          120
+  They bore within their breasts the grief that fame
+    can never heal,--
+  The deep, unutterable woe which none save exiles feel.
+  Their hearts were yearning for the land they ne'er might
+    see again,--
+  For Scotland's high and heather'd hills, for mountains,
+    loch and glen--
+  For those who haply lay at rest beyond the distant sea,            125
+  Beneath the green and daisied turf where they would gladly be!
+
+  Long years went by. The lonely isle in Rhine's tempestuous flood
+  Has ta'en another name from those who bought it with their blood:
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,           130
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep
+    and dangerous ford
+  The Passage of the Scot.
+
+      --_William Edmondstoune Aytoun_
+
+
+  PREPARATORY.--Narrate briefly the events of this poem,
+  and show by a blackboard diagram the situation of the
+  island, the position of the armies, etc.
+
+  Into how many dramatic scenes can the poem be divided?
+  Describe each one, showing what part of the poem it
+  covers.
+
+  For exercise in dramatic rendering, see notes on
+  _Highland Hospitality_, pp. 153 and 154.
+
+  In what state of mind are the first two speakers?
+  Compare their speeches in this respect with the first
+  speech of the Scottish Captain--"I'VE SEEN A WILDER,"
+  ETC. What is the difference in Time, Pitch, and Stress?
+
+  3. RIVER'S SWEEP, FOE. Which is more emphatic? Compare
+  MAN and HORSE, l. 8.
+
+  10-12. Give some examples of Climax in the second stanza
+  and show how the Force and the Pitch are affected.
+
+  24. "HATH BOLD DUGUESCLIN'S," ETC. Supply the
+  undercurrent of thought between the first line of this
+  speech and the second. How is this suggested in reading?
+  (Introduction, p. 14.)
+
+  33. HE TURNED HIM TO HIS LITTLE BAND--O FEW, ETC. How
+  can the break in the thought be indicated?
+  (Introduction, pp. 8, 9, and 25.)
+
+  33-46. O FEW I WEEN ... NOT TURN AGAIN. What two
+  feelings predominate?
+
+  Compare the first part of the Captain's speech with the
+  second part from the standpoint of energy. What is the
+  difference in Force and Pitch? (Introduction, pp. 23 and
+  26.)
+
+  65. NO STAY,--NO PAUSE, ETC. What part does spontaneous
+  Imitation play here, and in the following stanza?
+  (Introduction, pp. 4 and 5.)
+
+  69. NOW, BY THE HOLY CROSS! ETC. Where should the
+  longest Pause be made in this line?
+
+  78. THE CURRENT'S STRONG, ETC. What are the Pitch,
+  Force, and Stress? (Introduction, pp. 22, 26, and 29.)
+
+  93. THE GERMAN HEART, ETC. Emphasis. (Introduction, p.
+  31.)
+
+  96. AND NEVER HAD THEY FELT, ETC. Note Grouping and
+  Pause.
+
+  99. SCARCE SWIFTER, ETC. What is the Stress? Why?
+  (Introduction, p. 28.)
+
+  101. IN VAIN. Note the transition at this line.
+  (Introduction, pp. 8, 9, and 25.)
+
+  113. WHY SHOULD THEY BRING, ETC. How does the voice
+  indicate the insincerity of thought in these lines?
+  (Introduction, pp. 21, 22, and 30.)
+
+  What Inflection is used on the various questions in this
+  and the preceding stanzas? (Introduction, pp. 18 and
+  19.)
+
+  127-133. Note the Grouping and the Shading.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+CRANFORD SOCIETY
+
+From "Cranford"
+
+
+In the first place, Cranford is in possession of the Amazons; all the
+holders of houses above a certain rent are women. If a married couple
+come to settle in the town, somehow the gentleman disappears; he is
+either fairly frightened to death by being the only man in the
+Cranford evening parties, or he is accounted for by being with his
+regiment, his ship, or closely engaged in business all the week in the
+great neighbouring commercial town of Drumble, distant only twenty
+miles on a railway. In short, whatever does become of the gentlemen,
+they are not at Cranford. What could they do if they were there? The
+surgeon has his round of thirty miles, and sleeps at Cranford; but
+every man cannot be a surgeon. For keeping the trim gardens full of
+choice flowers without a weed to speck them; for frightening away
+little boys who look wistfully at the said flowers through the
+railings; for rushing out at the geese that occasionally venture into
+the gardens if the gates are left open; for deciding all questions of
+literature and politics without troubling themselves with unnecessary
+reasons or arguments; for obtaining clear and correct knowledge of
+everybody's affairs in the parish; for keeping their neat maidservants
+in admirable order; for kindness (somewhat dictatorial) to the poor,
+and real tender good offices to each other whenever they are in
+distress--the ladies of Cranford are quite sufficient. "A man," as one
+of them observed to me once, "is _so_ in the way in the house!"
+Although the ladies of Cranford know all each other's proceedings,
+they are exceedingly indifferent to each other's opinions. Indeed, as
+each has her own individuality, not to say eccentricity, pretty
+strongly developed, nothing is so easy as verbal retaliation; but,
+somehow, good-will reigns among them to a considerable degree.
+
+Then there were rules and regulations for visiting and calls; and they
+were announced to any young people who might be staying in the town,
+with all the solemnity with which the old Manx laws were read once a
+year on the Tinwald Mount.
+
+"Our friends have sent to inquire how you are after your journey
+to-night, my dear" (fifteen miles in a gentleman's carriage). "They
+will give you some rest to-morrow; but the next day, I have no doubt,
+they will call; so be at liberty after twelve--from twelve to three
+are our calling hours."
+
+Then, after they had called--
+
+"It is the third day, I dare say your mamma has told you, my dear,
+never to let more than three days elapse between receiving a call and
+returning it; and also, that you are never to stay longer than a
+quarter of an hour."
+
+"But am I to look at my watch? How am I to find out when a quarter of
+an hour has passed?"
+
+"You must keep thinking about the time, my dear, and not allow
+yourself to forget it in conversation."
+
+As everybody had this rule in their minds, whether they received or
+paid a call, of course no absorbing subject was ever spoken about. We
+kept ourselves to short sentences of small talk, and were punctual to
+our time.
+
+I imagine that a few of the gentlefolks of Cranford were poor, and had
+some difficulty in making both ends meet; but they were like the
+Spartans, and concealed their smart under a smiling face. We none of
+us spoke of money, because that subject savoured of commerce and
+trade; and though some might be poor, we were all aristocratic. The
+Cranfordians had that kindly _esprit de corps_ which made them
+overlook all deficiencies in success when some among them tried to
+conceal their poverty. When Mrs. Forrester, for instance, gave a party
+in her baby-house of a dwelling, and the little maiden disturbed the
+ladies on the sofa by a request that she might get the tea-tray out
+from underneath, every one took this novel proceeding as the most
+natural thing in the world, and talked on about household forms and
+ceremonies as if we all believed that our hostess had a regular
+servants' hall, second table, with house-keeper and steward, instead
+of the one little charity-school maiden, whose short ruddy arms could
+never have been strong enough to carry the tray upstairs, if she had
+not been assisted in private by her mistress, who now sat in state,
+pretending not to know what cakes were sent up, though she knew, and
+we knew, and she knew that we knew, and we knew that she knew that we
+knew, she had been busy all morning making tea-bread and
+sponge-cakes.
+
+There were one or two consequences arising from this general but
+unacknowledged poverty, and this very much acknowledged gentility,
+which were not amiss, and which might be introduced into many circles
+of society to their great improvement. For instance, the inhabitants
+of Cranford kept early hours, and clattered home in their pattens,
+under the guidance of a lantern-bearer, about nine o'clock at night;
+and the whole town was abed and asleep by half-past ten. Moreover, it
+was considered "vulgar" (a tremendous word in Crawford) to give
+anything expensive, in the way of eatable or drinkable, at the evening
+entertainments. Wafer bread-and-butter and sponge-biscuits were all
+that the Honourable Mrs. Jamieson gave; and she was sister-in-law to
+the late Earl of Glenmire, although she did practise such "elegant
+economy."
+
+"Elegant economy!" How naturally one falls back into the phraseology
+of Cranford! There, economy was always "elegant," and money-spending
+always "vulgar and ostentatious;" a sort of sour-grapeism which made
+us very peaceful and satisfied. I never shall forget the dismay felt
+when a certain Captain Brown came to live at Cranford, and openly
+spoke about his being poor--not in a whisper to an intimate friend,
+the doors and windows being previously closed, but in the public
+street, in a loud military voice, alleging his poverty as a reason for
+not taking a particular house. The ladies of Cranford were already
+rather moaning over the invasion of their territories by a man and a
+gentleman. He was a half-pay captain, and had obtained some situation
+on a neighbouring railway, which had been vehemently petitioned
+against by the little town; and if, in addition to his masculine
+gender, and his connection with the obnoxious railway, he was so
+brazen as to talk of being poor--why, then, indeed, he must be sent to
+Coventry. Death was as true and as common as poverty; yet people never
+spoke about that loud out in the streets. It was a word not to be
+mentioned to ears polite. We had tacitly agreed to ignore that any
+with whom we associated on terms of visiting equality could ever be
+prevented by poverty from doing anything that they wished. If we
+walked to or from a party, it was because the night was _so_ fine, or
+the air _so_ refreshing, not because sedan-chairs were expensive. If
+we wore prints instead of summer silks, it was because we preferred a
+washing material; and so on, till we blinded ourselves to the vulgar
+fact that we were, all of us, people of very moderate means. Of
+course, then, we did not know what to make of a man who could speak of
+poverty as if it was not a disgrace. Yet, somehow, Captain Brown made
+himself respected in Cranford, and was called upon, in spite of all
+resolutions to the contrary.
+
+      --_Mrs. Gaskell_
+
+
+  Give examples of momentary completeness in the second
+  and sixth sentences of Par. 1. (Introduction, p. 16.)
+
+  What Inflection is placed on the Interrogative sentence
+  in Par. 1? (Introduction, p. 19.)
+
+  Select words throughout the lesson which are emphatic
+  through contrast and tell what Inflection is placed on
+  them. (Introduction, pp. 20 and 21.)
+
+  How are the parenthetical clauses kept in the
+  background? (Introduction, p. 24.)
+
+  WHEN MRS FORRESTER ... SPONGE-CAKES. Account for the
+  Inflection on the various phrases and clauses of this
+  sentence.
+
+  THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW THAT WE KNEW.
+  Explain the Emphasis. (Introduction, pp. 30-32.)
+
+       *       *       *       *       *
+
+
+SIR GALAHAD
+
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,                               5
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel:
+  They reel, they roll in clanging lists,
+    And when the tide of combat stands,                               10
+  Perfume and flowers fall in showers,
+    That lightly rain from ladies' hands.
+
+  How sweet are looks that ladies bend
+    On whom their favours fall!
+  For them I battle till the end,                                     15
+    To save from shame and thrall:
+  But all my heart is drawn above,
+    My knees are bow'd in crypt and shrine:
+  I never felt the kiss of love,
+    Nor maiden's hand in mine.                                        20
+  More bounteous aspects on me beam,
+    Me mightier transports move and thrill;
+  So keep I fair thro' faith and prayer
+    A virgin heart in work and will.
+
+  When down the stormy crescent goes,                                 25
+    A light before me swims,
+  Between dark stems the forest glows,
+    I hear a noise of hymns:
+  Then by some secret shrine I ride;
+    I hear a voice but none are there;                                30
+  The stalls are void, the doors are wide,
+    The tapers burning fair.
+  Fair gleams the snowy altar-cloth,
+    The silver vessels sparkle clean,
+  The shrill bell rings, the censer swings,                           35
+    And solemn chaunts resound between.
+
+  Sometimes on lonely mountain-meres
+    I find a magic bark;
+  I leap on board: no helmsman steers:
+    I float till all is dark.                                         40
+  A gentle sound, an awful light!
+    Three angels bear the Holy Grail;
+  With folded feet, in stoles of white,
+    On sleeping wings they sail.
+  Ah, blessed vision! blood of God!                                   45
+    My spirit beats her mortal bars,
+  As down dark tides the glory slides,
+    And star-like mingles with the stars.
+
+  When on my goodly charger borne
+    Thro' dreaming towns I go,                                        50
+  The cock crows ere the Christmas morn,
+    The streets are dumb with snow.
+  The tempest crackles on the leads,
+    And, ringing, springs from brand and mail;
+  But o'er the dark a glory spreads,                                  55
+    And gilds the driving hail.
+  I leave the plain, I climb the height;
+    No branchy thicket shelter yields;
+  But blessed forms in whistling storms
+    Fly o'er waste fens and windy fields.                             60
+
+  A maiden knight--to me is given
+    Such hope, I know not fear;
+  I yearn to breathe the airs of heaven
+    That often meet me here.
+  I muse on joy that will not cease.                                  65
+    Pure spaces clothed in living beams,
+  Pure lilies of eternal peace,
+    Whose odours haunt my dreams;
+  And, stricken by an angel's hand,
+    This mortal armour that I wear,                                   70
+  This weight and size, this heart and eyes,
+    Are touch'd, are turn'd to finest air.
+
+  The clouds are broken in the sky,
+    And thro' the mountain-walls
+  A rolling organ-harmony                                             75
+    Swells up, and shakes and falls.
+  Then move the trees, the copses nod,
+    Wings flutter, voices hover clear:
+  "O just and faithful knight of God!
+    Ride on! the prize is near."                                      80
+  So pass I hostel, hall, and grange;
+    By bridge and ford, by park and pale,
+  All-arm'd I ride, whate'er betide,
+    Until I find the Holy Grail.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Point out the contrast of scene in stanza
+  i. How has the poet obtained contrast of sound? Note the
+  difficulties of Articulation.
+
+  Enumerate the manifestations by means of which Sir
+  Galahad apprehends the continual proximity of the Holy
+  Grail.
+
+  Select the lines in which the mystical element is most
+  strongly marked. What feeling is aroused in reading
+  these lines?
+
+  In what Quality of voice does this feeling find
+  expression? (Introduction, p. 34.)
+
+  What is the prevailing Quality of voice?
+
+  A ROLLING ORGAN-HARMONY, ETC. What idea predominates?
+  How does it affect the Quality of voice?
+
+       *       *       *       *       *
+
+
+SONG FOR SAINT CECILIA'S DAY
+
+November 22, 1687
+
+
+  From harmony, from heavenly harmony
+      This universal frame began;
+    When Nature underneath a heap
+        Of jarring atoms lay,
+        And could not heave her head,                                  5
+  The tuneful voice was heard from high,
+      Arise ye more than dead.
+  Then cold, and hot, and moist, and dry,
+  In order to their stations leap,
+        And Music's power obey.                                       10
+  From harmony, from heavenly harmony,
+      This universal frame began;
+      From harmony to harmony
+  Through all the compass of the notes it ran,
+  The diapason closing full in Man.                                   15
+
+  What passion cannot Music raise and quell?
+      When Jubal struck the chorded shell,
+    His listening brethren stood around,
+      And, wondering, on their faces fell
+    To worship that celestial sound;                                  20
+  Less than a God they thought there could not dwell
+      Within the hollow of that shell,
+    That spoke so sweetly and so well.
+  What passion cannot Music raise and quell?
+
+  The trumpet's loud clangour                                         25
+    Excites us to arms
+  With shrill notes of anger
+    And mortal alarms.
+  The double double double beat
+    Of the thundering drum                                            30
+    Cries, Hark! the foes come;
+  Charge, charge, 'tis too late to retreat!
+
+    The soft complaining flute
+    In dying notes discovers
+    The woes of hopeless lovers,                                      35
+  Whose dirge is whisper'd by the warbling lute.
+    Sharp violins proclaim
+  Their jealous pangs and desperation,
+  Fury, frantic indignation,
+  Depth of pains, and height of passion                               40
+    For the fair, disdainful dame.
+
+    But oh! what art can teach,
+    What human voice can reach
+      The sacred organ's praise?
+    Notes inspiring holy love,                                        45
+  Notes that wing their heavenly ways
+    To mend the choirs above.
+
+  Orpheus could lead the savage race,
+  And trees unrooted left their place,
+    Sequacious of the lyre:                                           50
+  But bright Cecilia rais'd the wonder higher:
+  When to her organ vocal breath was given
+  An angel heard, and straight appear'd
+    Mistaking Earth for Heaven.
+
+
+GRAND CHORUS
+
+  As from the power of sacred lays                                    55
+    The spheres began to move,
+  And sung the great Creator's praise
+    To all the blessed above;
+  So when the last and dreadful hour
+  This crumbling pageant shall devour,                                60
+  The trumpet shall be heard on high,
+  The dead shall live, the living die,
+  And Music shall untune the sky.
+
+      --_John Dryden_
+
+
+  What feeling pervades the first and last stanzas? The
+  second stanza? In what Quality of voice does each of
+  these feelings find expression? (Introduction, pp.
+  33-35.)
+
+  Illustrate by means of the third, fourth, and fifth
+  stanzas the extent to which Imitation enters into
+  reading. (Introduction, pp. 4 and 5.)
+
+  Account for the gradually increasing Emphasis in ll.
+  11-15, 48-54, and 60-63. (Introduction, p. 31.)
+
+  3-6. What is the Shading and Inflection? (Introduction,
+  pp. 16 and 33.) Compare with these ll. 55-61.
+
+  16. What is the Inflection on this question?
+  (Introduction, p. 19.) Compare with this ll. 42-44.
+
+  21. THEY THOUGHT. How does the reader give to these
+  words the force of a parenthetical clause?
+  (Introduction, p. 33.)
+
+  22-23. Note the Grouping.
+
+  31. How does the voice make the transition to direct
+  discourse? (Introduction, p. 24.)
+
+  42-54. What is the mental attitude? What is the
+  corresponding Stress? (Introduction, p. 29.)
+
+  44. ORGAN'S. Account for the marked Emphasis on this
+  word. Compare BRIGHT CECILIA, l. 51.
+
+       *       *       *       *       *
+
+
+THE DAY WAS LINGERING
+
+
+  The day was lingering in the pale northwest,
+    And night was hanging o'er my head,--
+    Night where a myriad stars were spread;
+  While down in the east, where the light was least,
+    Seem'd the home of the quiet dead.                                 5
+  And, as I gazed on the field sublime,
+    To watch the bright, pulsating stars,
+    Adown the deep where the angels sleep
+  Came drawn the golden chime
+    Of those great spheres that sound the years                       10
+  For the horologe of time.
+    Millenniums numberless they told,
+    Millenniums a million-fold
+  From the ancient hour of prime.
+
+      --_Charles Heavysege_
+
+
+  PREPARATORY.--Compare other passages from literature
+  which suggest the "music of the spheres," for example:
+  Dryden's _Song for Saint Cecilia's Day, The Moonlight
+  Scene_ from _The Merchant of Venice_, Milton's _The
+  Hymn_.
+
+  What is the atmosphere of ll. 1-4? Of ll. 5-14? In what
+  two different Qualities of voice do the corresponding
+  feelings find expression?
+
+  Read ll. 6-11, with a view to Perspective.
+
+  Note the Grouping in ll. 9-11.
+
+       *       *       *       *       *
+
+
+ON FIRST LOOKING INTO CHAPMAN'S HOMER
+
+
+  Much have I travelled in the realms of gold,
+    And many goodly states and kingdoms seen;
+    Round many western islands have I been,
+  Which bards in fealty to Apollo hold.
+  Oft of one wide expanse had I been told                              5
+    That deep-browed Homer ruled as his demesne;
+    Yet never did I breathe its pure serene
+  Till I heard Chapman speak out loud and bold:
+  Then felt I like some watcher of the skies
+    When a new planet swims into his ken;                             10
+  Or like stout Cortez when with eagle eyes
+    He stared at the Pacific--and all his men
+  Looked at each other with a wild surmise--
+    Silent, upon a peak in Darien.
+
+      --_John Keats_
+
+
+  PREPARATORY.--How is the fundamental idea of this sonnet
+  illustrated in _The Key to Human Happiness?_ (p. 266.)
+
+  What feeling pervades the last six lines? In which line
+  is this feeling most marked? In what Quality of voice
+  does it find expression? (Introduction, pp. 33-35.)
+
+  Select the words which are emphatic through contrast,
+  expressed or implied. (Introduction, p. 32.)
+
+       *       *       *       *       *
+
+
+GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR
+
+
+  Great things were ne'er begotten in an hour;
+    Ephemerons in birth, are such in life;
+    And he who dareth, in the noble strife
+  Of intellects, to cope for real power,--
+  Such as God giveth as His rarest dower                               5
+    Of mastery, to the few with greatness rife,--
+  Must, ere the morning mists have ceased to lower
+    Till the long shadows of the night arrive,
+  Stand in the arena. Laurels that are won,
+  Plucked from green boughs, soon wither; those that last             10
+  Are gather'd patiently, when sultry noon
+  And summer's fiery glare in vain are past.
+      Life is the hour of labour; on Earth's breast
+      Serene and undisturb'd shall be thy rest.
+
+      --_Sir Daniel Wilson (By permission)_
+
+
+  PREPARATORY.--What is the essential thought in this
+  sonnet? Quote corresponding passages. Give illustrations
+  from history and fiction.
+
+  What words are emphatic because of (_a_) contrast
+  expressed, (_b_) contrast implied? (Introduction, pp. 30
+  and 32.)
+
+  Read ll. 3-9, with a view to Perspective. (Introduction,
+  p. 33.)
+
+       *       *       *       *       *
+
+
+A WOOD LYRIC
+
+
+  Into the stilly woods I go,
+  Where the shades are deep and the wind-flowers blow,
+  And the hours are dreamy and lone and long,
+  And the power of silence is greater than song.
+  Into the stilly woods I go,                                          5
+  Where the leaves are cool and the wind-flowers blow.
+
+  When I go into the stilly woods,
+  And know all the flowers in their sweet, shy hoods,
+  The tender leaves in their shimmer and sheen
+  Of darkling shadow, diaphanous green,                               10
+  In those haunted halls where my footstep falls,
+  Like one who enters cathedral walls,
+  A spirit of beauty floods over me,
+  As over a swimmer the waves of the sea,
+  That strengthens and glories, refreshens and fills,                 15
+  Till all mine inner heart wakens and thrills
+  With a new and a glad and a sweet delight,
+  And a sense of the infinite out of sight,
+  Of the great unknown that we may not know,
+  But only feel with an inward glow                                   20
+  When into the great, glad woods we go.
+
+  O life-worn brothers, come with me
+  Into the wood's hushed sanctity,
+  Where the great, cool branches are heavy with June,
+  And the voices of summer are strung in tune;                        25
+  Come with me, O heart out-worn,
+  Or spirit whom life's brute-struggles have torn,
+  Come, tired and broken and wounded feet,
+  Where the walls are greening, the floors are sweet,
+  The roofs are breathing and heaven's airs meet.                     30
+  Come, wash earth's grievings from out of the face,
+  The tear and the sneer and the warfare's trace,
+  Come, where the bells of the forest are ringing,
+  Come, where the oriole's nest is swinging,
+  Where the brooks are foaming in amber pools,                        35
+  The mornings are still and the noonday cools.
+  Cast off earth's sorrows and know what I know,
+  When into the glad, deep woods I go.
+
+      --_William Wilfred Campbell (By permission)_
+
+
+  PREPARATORY.--"An Afternoon alone in the Woods." Tell
+  what one may see, and think, and feel. Illustrate by
+  quotations from the poets.
+
+  Give numerous examples of momentary completeness
+  throughout the poem. (Introduction, p. 16.)
+
+  How does the reader show that ll. 7-12 are merely
+  anticipative? (Introduction, p. 17.)
+
+  What change is made in the Force in l. 13?
+  (Introduction, p. 33.)
+
+  How is l. 15 connected with l. 13?
+
+  Observe the transition from description to appeal in l.
+  22. What is the change in vocal expression?
+
+       *       *       *       *       *
+
+
+TO NIGHT
+
+
+  Swiftly walk over the western wave,
+          Spirit of Night!
+  Out of the misty eastern cave,
+  Where, all the long and lone daylight,
+  Thou wovest dreams of joy and fear,                                  5
+  Which make thee terrible and dear,--
+          Swift be thy flight!
+
+  Wrap thy form in a mantle gray,
+          Star-inwrought!
+  Blind with thine hair the eyes of Day,                              10
+  Kiss her until she be wearied out,
+  Then wander o'er city, and sea, and land,
+  Touching all with thine opiate wand--
+          Come, long-sought!
+
+  When I arose and saw the dawn,                                      15
+          I sighed for thee;
+  When light rode high, and the dew was gone,
+  And noon lay heavy on flower and tree,
+  And the weary Day turned to his rest,
+  Lingering like an unloved guest,                                    20
+          I sighed for thee.
+
+  Thy brother Death came, and cried,
+          Wouldst thou me?
+  Thy sweet child Sleep, the filmy-eyed,
+  Murmured like a noontide bee                                        25
+  Shall I nestle near thy side?
+  Wouldst thou me?--And I replied,
+         No, not thee!
+
+  Death will come when thou art dead,
+         Soon, too soon--                                             30
+  Sleep will come when thou art fled;
+  Of neither would I ask the boon
+  I ask of thee, belovèd Night--
+  Swift be thine approaching flight,
+        Come soon, soon!                                              35
+
+      --_Percy Bysshe Shelley_
+
+       *       *       *       *       *
+
+
+THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS
+
+From "Essay on Warren Hastings"
+
+
+On the 13th of February, 1788, the sittings of the Court commenced.
+There have been spectacles more dazzling to the eye, more gorgeous
+with jewelry and cloth of gold, more attractive to grown-up children,
+than that which was then exhibited at Westminster; but, perhaps, there
+never was a spectacle so well calculated to strike a highly
+cultivated, a reflecting, an imaginative mind. All the various kinds
+of interest which belong to the near and to the distant, to the
+present and to the past, were collected on one spot and in one hour.
+All the talents and all the accomplishments which are developed by
+liberty and civilization were now displayed with every advantage that
+could be derived both from co-operation and from contrast. Every step
+in the proceedings carried the mind either backward, through many
+troubled centuries, to the days when the foundations of our
+constitution were laid; or far away, over boundless seas and deserts,
+to dusky nations living under strange stars, worshipping strange gods,
+and writing strange characters from right to left. The High Court of
+Parliament was to sit, according to forms handed down from the days of
+the Plantagenets, on an Englishman accused of exercising tyranny over
+the lord of the holy city of Benares and over the ladies of the
+princely house of Oude.
+
+The place was worthy of such a trial. It was the great hall of William
+Rufus, the hall which had resounded with acclamations at the
+inauguration of thirty kings, the hall which had witnessed the just
+sentence of Bacon and the just absolution of Somers, the hall where
+the eloquence of Strafford had for a moment awed and melted a
+victorious party inflamed with just resentment, the hall where Charles
+had confronted the High Court of Justice with the placid courage which
+has half redeemed his fame.
+
+Neither military nor civil pomp was wanting. The avenues were lined
+with grenadiers. The streets were kept clear by cavalry. The peers,
+robed in gold and ermine, were marshalled by the heralds under Garter
+King-at-Arms. The judges in their vestments of state attended to give
+advice on points of law. Near a hundred and seventy lords, three
+fourths of the Upper House as the Upper House then was, walked in
+solemn order from their usual place of assembling to the tribunal. The
+junior Baron present led the way, George Eliott, Lord Heathfield,
+recently ennobled for his memorable defence of Gibraltar against the
+fleets and armies of France and Spain. The long procession was closed
+by the Duke of Norfolk, Earl Marshal of the realm, by the great
+dignitaries, and by the brothers and sons of the King. Last of all
+came the Prince of Wales, conspicuous by his fine person and noble
+bearing.
+
+The gray old walls were hung with scarlet. The long galleries were
+crowded by an audience such as has rarely excited the fears or the
+emulation of an orator. There were gathered together, from all parts
+of a great, free, enlightened and prosperous empire, grace and female
+loveliness, wit and learning, the representatives of every science and
+of every art. There were seated round the Queen, the fair-haired young
+daughters of the house of Brunswick. There the Ambassadors of great
+Kings and Commonwealths gazed with admiration on a spectacle which no
+other country in the world could present. There Siddons, in the prime
+of her majestic beauty, looked with emotion on a scene surpassing all
+the imitations of the stage. There the historian of the Roman Empire
+thought of the days when Cicero pleaded the cause of Sicily against
+Verres, and when, before a senate which still retained some show of
+freedom, Tacitus thundered against the oppressor of Africa.
+
+There were seen, side by side, the greatest painter and the greatest
+scholar of the age. The spectacle had allured Reynolds from that easel
+which has preserved to us the thoughtful foreheads of so many writers
+and statesmen, and the sweet smiles of so many noble matrons. It had
+induced Parr to suspend his labours in that dark and profound mine
+from which he had extracted a vast treasure of erudition--a treasure
+too often buried in the earth, too often paraded with injudicious and
+inelegant ostentation; but still precious, massive, and splendid.
+There appeared the voluptuous charms of her to whom the heir of the
+throne had in secret plighted his faith. There too was she, the
+beautiful mother of a beautiful race, the Saint Cecilia, whose
+delicate features, lighted up by love and music, art has rescued from
+the common decay. There were the members of that brilliant society
+which quoted, criticised, and exchanged repartees under the rich
+peacock hangings of Mrs. Montague. And there the ladies, whose lips,
+more persuasive than those of Fox himself, had carried the Westminster
+election against palace and treasury, shone round Georgiana, Duchess
+of Devonshire.
+
+The Serjeants made proclamation. Hastings advanced to the bar and bent
+his knee. The culprit was indeed not unworthy of that great presence.
+He had ruled an extensive and populous country, had made laws and
+treaties, had sent forth armies, had set up and pulled down princes.
+And in his high place he had so borne himself that all had feared him,
+that most had loved him, and that hatred itself could deny him no
+title to glory except virtue. He looked like a great man and not like
+a bad man. A person small and emaciated, yet deriving dignity from a
+carriage which, while it indicated deference to the court, indicated
+also habitual self-possession and self-respect; a high and
+intellectual forehead; a brow pensive, but not gloomy; a mouth of
+inflexible decision; a face pale and worn, but serene, on which was
+written, as legibly as under the picture in the council-chamber at
+Calcutta, _Mens aequa in arduis_; such was the aspect with which the
+great Proconsul presented himself to his judges.
+
+His counsel accompanied him, men all of whom were afterwards raised by
+their talents and learning to the highest posts in their
+profession--the bold and strong-minded Law, afterwards Chief-Justice
+of the King's Bench; the more humane and eloquent Dallas, afterwards,
+Chief-Justice of the Common Pleas; and Plomer, who, near twenty years
+later, successfully conducted in the same high court the defence of
+Lord Melville, and subsequently became Vice-chancellor and Master of
+the Rolls.
+
+But neither the culprit nor his advocates attracted so much notice as
+the accusers. In the midst of the blaze of red drapery, a space had
+been fitted up with green benches and tables for the Commons. The
+managers, with Burke at their head, appeared in full dress. The
+collectors of gossip did not fail to remark that even Fox, generally
+so regardless of his appearance, had paid to the illustrious tribunal
+the compliment of wearing a bag and sword. Pitt had refused to be one
+of the conductors of the impeachment; and his commanding, copious, and
+sonorous eloquence was wanting to that great muster of various
+talents. Age and blindness had unfitted Lord North for the duties of a
+public prosecutor; and his friends were left without the help of his
+excellent sense, his tact, and his urbanity.
+
+But in spite of the absence of these two distinguished members of the
+Lower House, the box in which the managers stood contained an array of
+speakers such as perhaps had not appeared together since the great age
+of Athenian eloquence. There were Fox and Sheridan, the English
+Demosthenes and the English Hyperides. There was Burke, ignorant,
+indeed, or negligent of the art of adapting his reasonings and his
+style to the capacity and taste of his hearers, but in amplitude of
+comprehension and richness of imagination superior to every orator,
+ancient or modern.
+
+There, with eyes reverentially fixed on Burke, appeared the finest
+gentleman of the age--his form developed by every manly exercise, his
+face beaming with intelligence and spirit--the ingenious, the
+chivalrous, the high-souled Windham. Nor, though surrounded by such
+men, did the youngest manager pass unnoticed. At an age when most of
+those who distinguish themselves in life are still contending for
+prizes and fellowships at college, he had won for himself a
+conspicuous place in Parliament. No advantage of fortune or connection
+was wanting that could set off to the height his splendid talents and
+his unblemished honour. At twenty-three he had been thought worthy to
+be ranked with the veteran statesmen who appeared as the delegates of
+the British Commons at the bar of the British nobility. All who stood
+at the bar, save him alone, are gone--culprit, advocates, accusers. To
+the generation which is now in the vigour of life, he is the sole
+representative of a great age which has passed away. But those who,
+within the last ten years, have listened with delight till the morning
+sun shone on the tapestries of the House of Lords, to the lofty and
+animated eloquence of Charles, Earl Grey, are able to form some
+estimate of the powers of a race of men among whom he was not the
+foremost.
+
+The charges, and the answers of Hastings, were first read. The
+ceremony occupied two whole days, and was rendered less tedious than
+it would otherwise have been by the silver voice and just emphasis of
+Cowper, the clerk of the court, near relation of the amiable poet. On
+the third day Burke rose. Four sittings were occupied by his opening
+speech, which was intended to be a general introduction to all the
+charges. With an exuberance of thought and splendour of diction which
+more than satisfied the highly raised expectations of the audience, he
+described the character and institutions of the natives of India;
+recounted the circumstances in which the Asiatic empire of Britain had
+originated; and set forth the constitution of the Company and of the
+English Presidencies. Having thus attempted to communicate to his
+hearers an idea of Eastern society, as vivid as that which existed in
+his own mind, he proceeded to arraign the administration of Hastings,
+as systematically conducted in defiance of morality and public law.
+
+The energy and pathos of the great orator extorted expressions of
+unwonted admiration from the stern and hostile Chancellor, and, for a
+moment, seemed to pierce even the resolute heart of the defendant. The
+ladies in the galleries, unaccustomed to such displays of eloquence,
+excited by the solemnity of the occasion, and perhaps not unwilling to
+display their taste and sensibility, were in a state of uncontrollable
+emotion. Handkerchiefs were pulled out, smelling-bottles were handed
+round; hysterical sobs and screams were heard; and Mrs. Sheridan was
+carried out in a fit. At length the orator concluded. Raising his
+voice till the old arches of Irish oak resounded: "Therefore," said
+he, "hath it with all confidence been ordered by the Commons of Great
+Britain, that I impeach Warren Hastings of high crimes and
+misdemeanours. I impeach him in the name of the Commons' House of
+Parliament, whose trust he has betrayed. I impeach him in the name of
+the English nation, whose ancient honour he has sullied. I impeach him
+in the name of the people of India, whose rights he has trodden under
+foot and whose country he has turned into a desert. Lastly in the name
+of human nature itself, in the name of both sexes, in the name of
+every age, in the name of every rank, I impeach the common enemy and
+oppressor of all."
+
+      --_Macaulay_
+
+
+  This lesson is an exercise on Inflection, especially as
+  it occurs on antithetical words or phrases and on series
+  of words or phrases parallel in construction.
+  (Introduction, pp. 19 and 20.)
+
+       *       *       *       *       *
+
+
+PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS
+
+
+1. In the name of the Commons of England, I charge all this villainy
+upon Warren Hastings, in this last moment of my application to you.
+
+2. My Lords, what is it that we want here to a great act of national
+justice. Do we want a cause, my Lords? You have the cause of oppressed
+princes, of undone women of the first rank, of desolated provinces,
+and of wasted kingdoms.
+
+3. Do you want a criminal, my Lords? When was there so much iniquity
+ever laid to the charge of any one? No, my Lords, you must not look to
+punish any other such delinquent from India. Warren Hastings has not
+left substance enough in India to nourish such another delinquent.
+
+4. My Lords, is it a prosecutor you want? You have before you the
+Commons of Great Britain as prosecutors; and I believe, my Lords, that
+the sun, in his beneficent progress round the world, does not behold a
+more glorious sight than that of men, separated from a remote people
+by the material bounds and barriers of nature, united by the bond of a
+social and moral community--all the Commons of England resenting, as
+their own, the indignities and cruelties that are offered to all the
+people of India.
+
+5. Do we want a tribunal? My Lords, no example of antiquity, nothing
+in the modern world, nothing in the range of human imagination, can
+supply us with a tribunal like this. My Lords, here we see virtually,
+in the mind's eye, that sacred majesty of the Crown, under whose
+authority you sit and whose power you exercise. We have here all the
+branches of the royal family, in a situation between majesty and
+subjection, between the sovereign and the subject--offering a pledge
+in that situation, for the support of the rights of the Crown and the
+liberties of the people, both which extremities they touch.
+
+6. My Lords, we have a great hereditary peerage here; those who have
+their own honour, the honour of their ancestors, and of their
+posterity, to guard, and who will justify, as they always have
+justified, that precision in the Constitution by which justice is made
+an hereditary office. My Lords, we have here a new nobility, who have
+risen and exalted themselves by various merits, by great civil and
+military services, which have extended the fame of this country from
+the rising to the setting sun. My Lords, you have here, also, the
+lights of our religion; you have the bishops of England. My Lords, you
+have that true image of the primitive church in its ancient form, in
+its ancient ordinances, purified from the superstitions and vices
+which a long succession of ages will bring upon the best institutions.
+
+7. My Lords, these are the securities which we have in all the
+constituent parts of the body of this House. We know them, we reckon,
+we rest upon them, and commit safely the interests of India and of
+humanity into your hands. Therefore, it is with confidence that,
+ordered by the Commons, I impeach Warren Hastings, Esquire, of high
+crimes and misdemeanours. I impeach him in the name of the Commons of
+Great Britain in Parliament assembled, whose parliamentary trust he
+has betrayed. I impeach him in the name of all the Commons of Great
+Britain, whose national character he has dishonoured. I impeach him in
+the name of the people of India, whose laws, rights, and liberties he
+has subverted, whose property he has destroyed, whose country he has
+laid waste and desolate. I impeach him in the name and by virtue of
+those eternal laws of justice which he has violated. I impeach him in
+the name of human nature itself, which he has cruelly outraged,
+injured and oppressed, in both sexes, in every age, rank, situation,
+and condition of life.
+
+   --_Edmund Burke_
+
+
+  What effect would the solemnity of the occasion and the
+  gravity of the accusation have on the Quality of the
+  speaker's voice? (Introduction, p. 34.)
+
+  Par. 2. CAUSE. What words in Pars. 3, 4, and 5 are
+  emphatic through contrast with this word? Point out
+  similar contrasts in Par. 6.
+
+  Account for the Inflection on the various questions.
+
+  How are the Climaxes in Pars. 2, 5, and 7 interpreted
+  vocally? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SONG MY PADDLE SINGS
+
+
+  West wind, blow from your prairie nest,
+  Blow from the mountains, blow from the west.
+  The sail is idle, the sailor too;
+  O! wind of the west, we wait for you.
+  Blow, blow!                                                          5
+  I have wooed you so,
+  But never a favour you bestow.
+  You rock your cradle the hills between,
+  But scorn to notice my white lateen.
+
+  I stow the sail, unship the mast:                                   10
+  I wooed you long, but my wooing's past;
+  My paddle will lull you into rest.
+  O! drowsy wind of the drowsy west,
+  Sleep, sleep,
+  By your mountain steep,                                             15
+  Or down where the prairie grasses sweep!
+  Now fold in slumber your laggard wings,
+  For soft is the song my paddle sings.
+
+  August is laughing across the sky,
+  Laughing while paddle, canoe, and I,                                20
+  Drift, drift,
+  Where the hills uplift
+  On either side of the current swift.
+
+  The river rolls in its rocky bed;
+  My paddle is plying its way ahead                                   25
+  Dip, dip,
+  While the waters flip
+  In foam as over their breast we slip.
+
+  And oh, the river runs swifter now;
+  The eddies circle about my bow.                                     30
+  Swirl, swirl!
+  How the ripples curl
+  In many a dangerous pool awhirl!
+
+  And forward far the rapids roar,
+  Fretting their margin for evermore.                                 35
+  Dash, dash,
+  With a mighty crash,
+  They seethe, and boil, and bound, and splash.
+
+  Be strong, O paddle! be brave, canoe!
+  The reckless waves you must plunge into.                            40
+  Reel, reel,
+  On your trembling keel,
+  But never a fear my craft will feel.
+
+  We've raced the rapid, we're far ahead!
+  The river slips through its silent bed.                             45
+  Sway, sway,
+  As the bubbles spray
+  And fall in tinkling tunes away.
+
+  And up on the hills against the sky,
+  A fir-tree rocking its lullaby,                                     50
+  Swings, swings,
+  Its emerald wings,
+  Swelling the song that my paddle sings.
+
+      --_E. Pauline Johnson (Tekahionwake)_
+            (_By arrangement with the Author_)
+
+
+  By examples from the above poem show to what extent
+  Imitation enters into vocal expression. (Introduction,
+  pp. 4-6.)
+
+       *       *       *       *       *
+
+
+THE DEFENCE OF THE BRIDGE
+
+From "Horatius"
+
+
+  ... The Consul's brow was sad,
+    And the Consul's speech was low,
+  And darkly looked he at the wall
+    And darkly at the foe.
+  "Their van will be upon us                                           5
+    Before the bridge goes down;
+  And if they once may win the bridge,
+    What hope to save the town?"
+
+  Then out spake brave Horatius,
+    The Captain of the Gate:                                          10
+  "To every man upon this earth
+    Death cometh soon or late.
+  And how can man die better
+    Than facing fearful odds,
+  For the ashes of his fathers,                                       15
+    And the temples of his gods?
+
+  "Hew down the bridge, Sir Consul,
+    With all the speed ye may;
+  I, with two more to help me,
+    Will hold the foe in play.                                        20
+  In yon straight path a thousand
+    May well be stopped by three.
+  Now who will stand on either hand,
+  And keep the bridge with me?"
+
+  Then out spake Spurius Lartius,--                                   25
+    A Ramnian proud was he,--
+  "Lo, I will stand at thy right hand,
+    And keep the bridge with thee."
+  And out spake strong Herminius,--
+    Of Titian blood was he,--                                         30
+  "I will abide on thy left side,
+    And keep the bridge with thee."
+
+  "Horatius," quoth the Consul,
+    "As thou sayest, so let it be."
+  And straight against that great array                               35
+    Forth went the dauntless Three.
+  For Romans in Rome's quarrel
+    Spared neither land nor gold,
+  Nor son nor wife, nor limb nor life,
+    In the brave days of old.                                         40
+
+  Then none was for a party;
+    Then all were for the state;
+  Then the great man helped the poor,
+    And the poor man loved the great:
+  Then lands were fairly portioned;                                   45
+    Then spoils were fairly sold:
+  The Romans were like brothers
+    In the brave days of old.
+
+  Now, Roman is to Roman
+    More hateful than a foe,                                          50
+  And the Tribunes beard the high,
+    And the Fathers grind the low.
+  As we wax hot in faction,
+    In battle we wax cold:
+  Wherefore men fight not as they fought                              55
+    In the brave days of old.
+
+  Now while the Three were tightening
+    Their harness on their backs,
+  The Consul was the foremost man
+    To take in hand an axe:                                           60
+  And Fathers mixed with Commons
+    Seized hatchet, bar, and crow,
+  And smote upon the planks above,
+    And loosed the props below.
+
+  Meanwhile the Tuscan army,                                          65
+    Right glorious to behold,
+  Came flashing back the noonday light,
+  Rank behind rank, like surges bright
+    Of a broad sea of gold.
+  Four hundred trumpets sounded                                       70
+    A peal of warlike glee,
+  As that great host with measured tread,
+  And spears advanced, and ensigns spread,
+  Rolled slowly towards the bridge's head,
+    Where stood the dauntless Three.                                  75
+
+  The Three stood calm and silent,
+    And looked upon the foes,
+  And a great shout of laughter
+    From all the vanguard rose:
+  And forth three chiefs came spurring                                80
+    Before that deep array;
+  To earth they sprang, their swords they drew,
+  And lifted high their shields, and flew
+    To win the narrow way;
+
+  Aunus from green Tifernum,                                          85
+    Lord of the Hill of Vines;
+  And Seius, whose eight hundred slaves
+    Sicken in Ilva's mines;
+  And Picus, long to Clusium
+    Vassal in peace and war,                                          90
+  Who led to fight his Umbrian powers
+  From that gray crag where, girt with towers,
+  The fortress of Nequinum lowers
+    O'er the pale waves of Nar.
+
+  Stout Lartius hurled down Aunus                                     95
+    Into the stream beneath;
+  Herminius struck at Seius,
+    And clove him to the teeth;
+  At Picus brave Horatius
+    Darted one fiery thrust;                                         100
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+  Then Ocnus of Falerii
+    Rushed on the Roman Three;
+  And Lausulus of Urgo,                                              105
+    The rover of the sea;
+  And Aruns of Volsinium,
+    Who slew the great wild boar,
+  The great wild boar that had his den
+  Amidst the reeds of Cosa's fen,                                    110
+  And wasted fields, and slaughtered men,
+    Along Albinia's shore.
+
+  Herminius smote down Aruns;
+    Lartius laid Ocnus low;
+  Right to the heart of Lausulus                                     115
+    Horatius sent a blow.
+  "Lie there," he cried, "fell pirate!
+    No more, aghast and pale,
+  From Ostia's walls the crowd shall mark
+  The track of thy destroying bark.                                  120
+  No more Campania's hinds shall fly
+  To woods and caverns when they spy
+    Thy thrice accursèd sail."
+
+  But now no sound of laughter
+    Was heard among the foes.                                        125
+  A wild and wrathful clamour
+    From all the vanguard rose.
+  Six spears' lengths from the entrance
+    Halted that deep array,
+  And for a space no man came forth                                  130
+    To win the narrow way.
+
+  But hark! the cry is Astur:
+    And lo! the ranks divide,
+  And the great Lord of Luna
+    Comes with his stately stride.                                   135
+  Upon his ample shoulders
+    Clangs loud the fourfold shield,
+  And in his hand he shakes the brand
+    Which none but he can wield.
+
+  He smiled on those bold Romans                                     140
+    A smile serene and high;
+  He eyed the flinching Tuscans,
+    And scorn was in his eye.
+  Quoth he: "The she-wolf's litter
+    Stand savagely at bay;                                           145
+  But will ye dare to follow
+    If Astur clears the way?"
+
+  Then, whirling up his broadsword
+    With both hands to the height,
+  He rushed against Horatius,                                        150
+    And smote with all his might.
+  With shield and blade Horatius
+    Right deftly turned the blow.
+  The blow, though turned, came yet too nigh;
+  It missed his helm, but gashed his thigh:                          155
+  The Tuscans raised a joyful cry
+    To see the red blood flow.
+
+  He reeled, and on Herminius
+    He leaned one breathing-space;
+  Then, like a wild cat mad with wounds,                             160
+    Sprang right at Astur's face.
+  Through teeth, and skull, and helmet,
+    So fierce a thrust he sped,
+  The good sword stood a hand-breadth out
+    Behind the Tuscan's head.                                        165
+
+  And the great Lord of Luna
+    Fell at that deadly stroke,
+  As falls on Mount Alvernus
+    A thunder-smitten oak.
+  Far o'er the crashing forest                                       170
+    The giant arms lie spread;
+  And the pale augurs, muttering low,
+    Gaze on the blasted head.
+
+  On Astur's throat Horatius
+    Right firmly pressed his heel,                                   175
+  And thrice and four times tugged amain,
+    Ere he wrenched out the steel.
+  "And see," he cried, "the welcome,
+    Fair guests, that waits you here!
+  What noble Lucumo comes next,                                      180
+    To taste our Roman cheer?"
+
+  But at his haughty challenge
+    A sullen murmur ran,
+  Mingled of wrath, and shame, and dread,
+    Along that glittering van.                                       185
+  There lacked not men of prowess,
+    Nor men of lordly race;
+  For all Etruria's noblest
+    Were round the fatal place.
+  But all Etruria's noblest                                          190
+    Felt their hearts sink to see
+  On the earth the bloody corpses,
+    In the path the dauntless Three.
+
+  Yet one man for one moment
+    Strode out before the crowd;                                     195
+  Well known was he to all the Three,
+    And they gave him greeting loud.
+  "Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?                                 200
+    Here lies the road to Rome."
+
+  Thrice looked he at the city;
+    Thrice looked he at the dead;
+  And thrice came on in fury,
+    And thrice turned back in dread;                                 205
+  And, white with fear and hatred,
+    Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+    The bravest Tuscans lay.
+
+  But meanwhile axe and lever                                        210
+    Have manfully been plied;
+  And now the bridge hangs tottering
+    Above the boiling tide.
+  "Come back, come back, Horatius!"
+    Loud cried the Fathers all.                                      215
+  "Back Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+  Back darted Spurius Lartius;
+    Herminius darted back:
+  And, as they passed beneath their feet                             220
+    They felt the timbers crack.
+  But when they turned their faces.
+    And on the farther shore
+  Saw brave Horatius stand alone,
+    They would have crossed once more.                               225
+
+  But with a crash like thunder
+    Fell every loosened beam,
+  And, like a dam, the mighty wreck
+    Lay right athwart the stream:
+  And a long shout of triumph                                        230
+    Rose from the walls of Rome,
+  As to the highest turret-tops
+    Was splashed the yellow foam.
+
+  Alone stood brave Horatius,
+    But constant still in mind;                                      235
+  Thrice thirty thousand foes before,
+    And the broad flood behind.
+  "Down with him!" cried false Sextus,
+    With a smile on his pale face,
+  "Now yield thee," cried Lars Porsena,                              240
+    "Now yield thee to our grace."
+
+  Round turned he, as not deigning
+    Those craven ranks to see;
+  Naught spake he to Lars Porsena,
+    To Sextus naught spake he:                                       245
+  But he saw on Palatinus
+    The white porch of his home;
+  And he spake to the noble river
+    That rolls by the towers of Rome:
+
+  "Oh, Tiber! Father Tiber!                                          250
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+  So he spake, and speaking sheathed
+    The good sword by his side,                                      255
+  And with his harness on his back,
+    Plunged headlong in the tide.
+
+  No sound of joy or sorrow
+    Was heard from either bank;
+  But friends and foes in dumb surprise,                             260
+  With parted lips and straining eyes,
+    Stood gazing where he sank;
+  And when above the surges
+    They saw his crest appear,
+  All Rome sent forth a rapturous cry,                               265
+  And even the ranks of Tuscany
+    Could scarce forbear to cheer.
+
+  But fiercely ran the current,
+    Swollen high by months of rain:
+  And fast his blood was flowing,                                    270
+    And he was sore in pain,
+  And heavy with his armour,
+    And spent with changing blows:
+  And oft they thought him sinking,
+    But still again he rose.                                         275
+
+  Never, I ween, did swimmer,
+    In such an evil case
+  Struggle through such a raging flood
+    Safe to the landing-place:
+  But his limbs were borne up bravely                                280
+    By the brave heart within,
+  And our good Father Tiber
+    Bore bravely up his chin.
+
+  "Curse on him!" quoth false Sextus:
+    "Will not the villain drown?                                     285
+  But for this stay, ere close of day
+    We should have sacked the town!"
+  "Heaven help him!" quoth Lars Porsena,
+    "And bring him safe to shore;
+  For such a gallant feat of arms                                    290
+    Was never seen before."
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;                                         295
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+      --_Macaulay_
+
+
+  PREPARATORY.--What is the historic back-ground of the
+  ballad from which this selection is taken? Narrate
+  briefly the events as told by Macaulay in _Horatius_.
+  Where is the scene of the dramatic events here
+  portrayed? Who are the chief actors? Who are the
+  speakers?
+
+  Show whether the words and phrases repeated in the
+  following lines are accompanied by increased Emphasis or
+  whether the Emphasis is transferred: ll. 1-4, 41-46,
+  108-109, 118-121, 188-190, 198-199, 202-205, 214-217,
+  240-241, 244-245, 252, 292-295. (Introduction, pp.
+  30-32.) Give examples of Emphasis through contrast,
+  throughout the selection.
+
+  What Inflection is placed on the questions in ll. 8,
+  13-16, 23-24? Give reasons.
+
+  Compare the mental attitude of Horatius in ll. 11-16,
+  and ll. 17-24. What is the difference in Stress?
+
+  ll. 38-39. What Inflection and Emphasis on the series of
+  words? (Introduction, pp. 20 and 31.)
+
+  In what way does Imitation enter into the reading of ll.
+  72-75, 82-84, 95-100, 160-163, 218-221, 292-299? How are
+  the Time and Stress affected? How does Imitation affect
+  the Pitch in ll. 230-233, 156-157, 172-173, 238-241,
+  265-267, 284-291?
+
+  ll. 144-147. In what Quality of voice should Astur's
+  speech be read?
+
+  l. 153. What is the most important word?
+
+  ll. 178-181, 196-201. How does the derision affect the
+  Stress and the Inflection? (Introduction, pp. 21, 22,
+  and 30.)
+
+  ll. 186-187. Explain the Inflection on this negative
+  statement.
+
+  ll. 238-241, 284-291. Compare the feelings of Sextus
+  with those of Lars Porsena. How is the difference shown
+  in the Quality of voice? (Introduction, pp. 33-35.)
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF KING EDWARD VII
+
+Delivered in the British House of Commons, May 12th, 1910
+
+
+The late King, who has been suddenly taken away from us, had, at the
+time of his death, not yet completed the tenth year of his reign.
+Those years were crowded with moving and stirring events, both abroad,
+in the Empire, and here at home. In our relations with foreign
+countries they have been years of growing friendships, of new
+understandings, of stronger and surer safeguards for the peace of
+mankind. Within the Empire during the same time the sense of
+interdependence, the consciousness of common interests and common
+risks, the ever-tightening bonds of corporate unity have been
+developed and vivified as they had never been before. Here at home, as
+though it were by way of contrast, controversial issues of the gravest
+kind--economic, social, and constitutional--have ripened into a rapid
+maturity.
+
+Sir, in all these multiform manifestations of our national and
+imperial life, history will assign a part of singular dignity and
+authority to the great Ruler whom we have lost. In external affairs
+his powerful personal influence was steadily and zealously directed to
+the avoidance not only of war, but of the causes and pretexts of war,
+and he well earned the title by which he will always be remembered,
+"the Peacemaker of the World."
+
+Within the boundaries of his own Empire, by his intimate knowledge of
+its component parts, by his broad and elastic sympathy not only with
+ambitions, and aspirations, but with the sufferings and the hardships
+of his people, by his response to any and every appeal whether to the
+sense of justice or the spirit of compassion, he won a degree of
+loyalty, affection, and confidence which few Sovereigns have ever
+enjoyed. At home, we all recognize that, above the din and dust of our
+hard-fought controversies, detached from party and attached only to
+the common interests, we had in him an arbiter ripe in experience,
+judicial in temper, at once a reverent worshipper of our traditions
+and a watchful guardian of our constitutional liberties.
+
+One is tempted, indeed constrained, on such an occasion as this to ask
+what were the qualities which enabled a man called comparatively late
+in life to new duties of unexampled complexity--what were the
+qualities which in practice proved him so admirably fitted to the
+task, and have given him an enduring and illustrious record among the
+rulers and governors of the nations? I should be disposed to assign
+the first place to what sounds a commonplace--but in its persistent
+and unfailing exercise is one of the rarest of virtues--his strong,
+abiding, dominating sense of public duty.
+
+King Edward, be it remembered, was a man of many and varied interests.
+He was a sportsman in the best sense, an ardent and discriminating
+patron of the Arts, and as well equipped as any man of his time for
+the give-and-take of social intercourse; wholly free from the
+prejudices and narrowing rules of caste; at home in all companies; an
+enfranchised citizen of the world. To such a man, endowed as he was by
+nature, placed where he was by fortune and by circumstances, there
+was open, if he had chosen to enter it, an unlimited field for
+self-indulgence. But, Sir, as every one will acknowledge who was
+brought into daily contact with him in the sphere of affairs, his duty
+to the State always came first. In this great business community there
+was no better man of business, no man by whom the humdrum
+obligations--punctuality, method, preciseness, and economy of time and
+speech--were more keenly recognized or more severely practised. I
+speak with the privilege of close experience when I say that wherever
+he was, whatever may have been his apparent preoccupations, in the
+transactions of the business of the State there were never any
+arrears, there was never any trace of confusion, there was never any
+moment of avoidable delay.
+
+Next to these, Sir--I am still in the domain of practice and
+administration--I should put his singular, perhaps an unrivalled, tact
+in the management of men, and a judgment of intuitive shrewdness as to
+the best outlet from perplexed and often baffling situations. He had,
+in its highest and best development, the genius of common sense. These
+rare gifts of practical efficiency were, during the whole of his
+Kingship, yoked to the service of a great ideal. He was animated every
+day of his Sovereignty by the thought that he was at once the head and
+the chief servant of that vast complex organism which we call the
+British Empire. He recognized in the fullest degree both the powers
+and the limitations of a Constitutional Monarch. Here, at home, he
+was, though no politician, as every one knows, a keen Social Reformer.
+He loved his people at home and over the seas. Their interests were
+his interests; their fame was his fame. He had no self apart from
+them.
+
+I will not touch for more than a moment on more delicate and sacred
+ground--on his personal charm, the warmth and wealth of his humanity;
+his unfailing considerateness for all who in any capacity were
+permitted to work for him. I will only say, in this connection that no
+man in our time has been more justly beloved by his family and his
+friends, and no Ruler in our or in any time has been more sincerely
+true, more unswervingly loyal, more uniformly kind to his advisers and
+his servants. By the unsearchable counsels of the Disposer of Events
+he has been called suddenly, and without warning, to his account. We
+are still dazed under the blow which has befallen us. It is too soon,
+as yet, even to attempt to realize its full meaning, but this, at
+least, we may say at once and with full assurance, that he has left to
+his people a memory and an example which they will never forget, a
+memory of great opportunities greatly employed, and an example which
+the humblest of his subjects may treasure and strive to follow, of
+simplicity, courage, self-denial, tenacious devotion up to the last
+moment of conscious life to work, to duty, and to service.
+
+    --_The Right Honourable Herbert Henry Asquith_
+
+
+  WITHIN THE BOUNDARIES ... ENJOYED. Make an analysis of
+  this sentence with a view to Perspective. (Introduction,
+  p. 33.)
+
+  DETACHED ... INTERESTS. Note the contrasts and indicate
+  the Inflection on each.
+
+  TEMPTED, ... CONSTRAINED. What difference in Emphasis?
+  (Introduction, p. 31.) Compare SINGULAR, PERHAPS
+  UNRIVALLED; IN OUR OR IN ANY TIME.
+
+       *       *       *       *       *
+
+
+THE HEROES OF MAGERSFONTEIN
+
+Dec. 11, 1899
+
+
+1. During the night it was considered expedient that the Highland
+Brigade, 4,000 strong, under General Wauchope, should get close enough
+to the lines of the foe to make it possible to charge the heights. At
+midnight the gallant but ill-fated men moved cautiously through the
+darkness toward the kopje where the Boers were most strongly
+intrenched. They were led by a guide who was supposed to know every
+inch of the country, out into the darkness of an African night.
+
+2. So onward until three of the clock on the Monday. Then out of the
+darkness a rifle rang sharp and clear, a herald of disaster--a soldier
+had tripped in the dark over the hidden wires laid down by the enemy.
+In a second, in the twinkling of an eye, the searchlights of the Boers
+fell broad and clear as the noonday sun on the ranks of the doomed
+Highlanders, though it left the enemy concealed in the shadows of the
+frowning mass of hills behind them. For one brief moment the Scots
+seemed paralysed by the suddenness of their discovery, for they knew
+that they were huddled together like sheep within fifty yards of the
+trenches of the foes.
+
+3. Then clear above the confusion rolled the voice of the General:
+"Steady, men, steady!"--and like an echo to the veterans out came the
+crash of nearly a thousand rifles not fifty paces from them. The
+Highlanders reeled before the shock like trees before the tempest;
+their best, their bravest, fell in that wild hail of lead. General
+Wauchope was down, riddled with bullets; yet gasping, dying, bleeding
+from every vein, the Highland chief raised himself on his hands and
+knees and cheered his men forward. Men and officers fell in heaps
+together.
+
+4. The Black Watch charged, and the Gordons and the Seaforths, with a
+yell that stirred the British camp below, rushed onward to death or
+disaster. The accursed wires caught them around the legs until they
+floundered like trapped wolves, and all the time the rifles of the foe
+sang the song of death in their ears. They fell back broken and
+beaten, leaving nearly 1,300 dead and wounded, just where the broad
+breast of the grassy veldt melts into the embrace of the rugged
+African hills; and an hour later, the dawning came of the dreariest
+day that Scotland has known for a generation past.
+
+5. Of her officers, the flower of her chivalry, the pride of her
+breeding, but few remained to tell the tale--a sad tale truly, but one
+untinted with dishonour nor smirched with disgrace, for up these
+heights under similar circumstances, even a brigade of devils could
+scarce have hoped to pass. All that mortal man could do the Scots did;
+they tried, they failed, they fell, and there is nothing left us now
+but to revere their memory and give them a place of honour in the
+pages of history.
+
+6. Three hundred yards to the rear of the little township of Modder
+River, just as the sun was sinking in a blaze of African splendour, on
+the evening of Tuesday, the 12th of December, a long shallow grave lay
+exposed in the breast of the veldt. To the westward, the broad river
+fringed with trees runs murmuringly; to the eastward, the heights
+still held by the enemy, scowled menacingly; north and south the veldt
+undulated peacefully; a few paces to the northward of that grave,
+fifty dead Highlanders lay dressed as they had fallen on the field of
+battle: they had followed their chief to the field, and they were to
+follow him to the grave.
+
+7. How grim and stern these men looked as they lay face upward to the
+sky, with great hands clutched in the last agony, and brows still knit
+with the stern lust of the strife in which they had fallen. The
+plaids, dear to every Highland clan, were represented there, and out
+of the distance came the sound of pipes. It was the General coming to
+join his men. There, right under the eyes of the enemy, moved with
+slow and solemn tread all that remained of the Highland Brigade. In
+front of them walked the chaplain, with bared head, dressed in his
+robes of office; then came the pipers with their pipes, sixteen in
+all, and behind them, with arms reversed, moved the Highlanders,
+dressed in all the regalia of their regiments, and in the midst the
+dead General, borne by four of his comrades. Out swelled the pipes to
+the strains of "The Flowers of the Forest," now ringing proud and high
+until the soldier's head went back in haughty defiance--and eyes
+flashed through tears like sunlight on steel, now sinking to moaning
+wail like a woman mourning for her first-born, until the proud heads
+drooped forward till they rested on heaving chests, and tears rolled
+down the wan and scarred faces, and the choking sobs broke through the
+solemn rhythm of the march of death.
+
+8. Right up to the grave they marched, then broke away in companies,
+until the General lay in the shallow grave with a Scottish square of
+armed men around him. Only the dead man's son and a small remnant of
+his officers stood with the chaplain and the pipers, while the solemn
+service of the church was spoken.
+
+9. Then once again the pipes pealed out, and "Lochaber No More" cut
+through the stillness like a cry of pain until one could almost hear
+the widow in her Highland home mourning for the soldier she would
+welcome back no more.
+
+10. Then, as if touched with the magic of one thought, the soldiers
+turned their tear-damped eyes from the still form in the shallow grave
+toward the height where Cronje, the Lion of Africa, and his soldiers
+stood. Then every cheek flushed crimson, and strong jaws set like
+steel, and the veins on the hands that clasped the rifle handles
+swelled almost to bursting with the fervour of the grip, and that look
+from those silent, armed men spoke more eloquently than ever spoke the
+tongues of orators. For on each frowning face the spirit of vengeance
+sat, and each sparkling eye asked silently for blood.
+
+11. At the head of the grave, at the point nearest the enemy, the
+General was laid to sleep, his officers grouped around him, while in
+line behind him, his soldiers were laid in a double row wrapped in
+their blankets. No shots were fired over the dead men resting so
+peacefully, only the salute was given, and then the men marched
+campwards as the darkness of an African night rolled over the
+far-stretching breadth of the veldt.
+
+   --_From "The London Daily News" (By permission)_
+
+
+  Par. 1. Note the Grouping, Pause, and Shading in the
+  last sentence. Compare the Grouping in the preceding
+  sentence, in the last sentence of Par. 4, in the first
+  sentence of Par. 7, and in the second sentence of Par.
+  10.
+
+  Explain the Inflection and Emphasis on the phrases
+  parallel in construction, in the fifth and sixth
+  sentences of Par. 7, and the second sentence of Par. 10.
+
+       *       *       *       *       *
+
+
+THE FUNERAL OF JULIUS CÆSAR
+
+From "Julius Cæsar," Act III. Scene ii.
+
+The Forum. _Enter Brutus, Cassius, and a throng of Citizens._
+
+_All._ We will be satisfied; let us be satisfied.
+
+_Bru._ Then follow me, and give me audience, friends.--
+Cassius, go you into the other street,
+And part the numbers.--
+Those that will hear me speak, let them stay here;
+Those that will follow Cassius, go with him;
+And public reasons shall be rendered
+Of Cæsar's death.
+
+_1 Cit._ I will hear Brutus speak.
+
+_2 Cit._ I will hear Cassius; and compare their reasons,
+When severally we hear them rendered.                                 10
+
+[_Exit Cassius, with some of the Citizens. Brutus goes
+into the rostrum._]
+
+_3 Cit._ The noble Brutus is ascended: silence!
+
+_Bru._ Be patient till the last.
+Romans, countrymen, and lovers! hear me for my cause;
+and be silent, that you may hear: believe me for mine
+honour; and have respect to mine honour, that you may
+believe: censure me in your wisdom; and awake your
+senses, that you may the better judge. If there be any
+in this assembly, any dear friend of Cæsar's, to him I
+say, that Brutus' love to Cæsar was no less than his. If
+then that friend demand why Brutus rose against Cæsar,                20
+this is my answer.--Not that I loved Cæsar less, but that
+I loved Rome more. Had you rather Cæsar were living,
+and die all slaves, than that Cæsar were dead, to live
+all free men? As Cæsar loved me, I weep for him; as
+he was fortunate, I rejoice at it; as he was valiant, I
+honour him: but, as he was ambitious, I slew him.
+There is tears for his love; joy for his fortune; honour
+for his valour; and death for his ambition. Who is here
+so base that would be a bondman? If any, speak; for
+him have I offended. Who is here so rude that would                   30
+not be a Roman? If any, speak; for him have I offended.
+Who is here so vile that will not love his country? If
+any, speak; for him have I offended. I pause for a
+reply.
+
+_All._ None, Brutus, none.
+
+_Bru._ Then none have I offended. I have done no more
+to Cæsar than you shall do to Brutus. The question of
+his death is enrolled in the Capitol; his glory not extenuated,
+wherein he was worthy; nor his offences enforced,
+for which he suffered death.                                          40
+
+[_Enter Antony and others, with Cæsar's body._]
+
+Here comes his body, mourned by Mark Antony: who,
+though he had no hand in his death, shall receive the
+benefit of his dying, a place in the commonwealth; as
+which of you shall not? With this I depart,--that, as
+I slew my best lover for the good of Rome, I have the
+same dagger for myself, when it shall please my country
+to need my death.
+
+_All._ Live, Brutus, live! live!
+
+_1 Cit._ Bring him with triumph home unto his house.
+
+_2 Cit._ Give him a statue with his ancestors.                        50
+
+_3 Cit._ Let him be Cæsar.
+
+_4 Cit._ Cæsar's better parts
+Shall now be crown'd in Brutus.
+
+_1 Cit._ We'll bring him to his house with shouts and
+clamours.
+
+_Bru._ My countrymen,--
+
+_2 Cit._           Peace! silence! Brutus speaks.
+
+_1 Cit._ Peace, ho!
+
+_Bru._ Good countrymen, let me depart alone,
+And, for my sake, stay here with Antony:
+Do grace to Cæsar's corpse, and grace his speech                      60
+Tending to Cæsar 's glories; which Mark Antony,
+By our permission, is allow'd to make.
+I do entreat you, not a man depart,
+Save I alone, till Antony have spoke. [_Exit_]
+
+_1 Cit._ Stay, ho! and let us hear Mark Antony.
+
+_3 Cit._ Let him go up into the public chair;
+We'll hear him.--Noble Antony, go up.
+
+_Ant._ For Brutus' sake, I am beholding to you.
+
+[_He goes up into the rostrum._]
+
+_4 Cit._ What does he say of Brutus?
+
+_3 Cit._             He says, for Brutus' sake,                       70
+He finds himself beholding to us all.
+
+_4 Cit._ 'T were best to speak no harm of Brutus here.
+
+_1 Cit._ This Cæsar was a tyrant.
+
+_3 Cit._                Nay, that's certain:
+We are blest that Rome is rid of him.
+
+_2 Cit._ Peace! let us hear what Antony can say.
+
+_Ant._ You gentle Romans,--
+
+_All._                Peace, ho! let us hear him.
+
+_Ant._ Friends, Romans, countrymen, lend me your ears;
+I come to bury Cæsar, not to praise him.                              80
+The evil that men do lives after them;
+The good is oft interred with their bones;
+So let it be with Cæsar. The noble Brutus
+Hath told you, Cæsar was ambitious:
+If it were so, it was a grievous fault,
+And grievously hath Cæsar answer'd it.
+Here, under leave of Brutus and the rest,--
+For Brutus is an honourable man;
+So are they all, all honourable men.--
+Come I to speak in Cæsar's funeral.                                   90
+He was my friend, faithful and just to me:
+But Brutus says he was ambitious;
+And Brutus is an honourable man.
+He hath brought many captives home to Rome,
+Whose ransoms did the general coffers fill:
+Did this in Cæsar seem ambitious?
+When that the poor have cried, Cæsar hath wept:
+Ambition should be made of sterner stuff:
+Yet Brutus says he was ambitious;
+And Brutus is an honourable man.                                     100
+You all did see that on the Lupercal
+I thrice presented him a kingly crown,
+Which he did thrice refuse: was this ambition?
+Yet Brutus says he was ambitious;
+And, sure, he is an honourable man.
+I speak not to disprove what Brutus spoke,
+But here I am to speak what I do know.
+You all did love him once, not without cause:
+What cause withholds you then to mourn for him?
+O judgment, thou art fled to brutish beasts,                         110
+And men have lost their reason!--Bear with me;
+My heart is in the coffin there with Cæsar,
+And I must pause till it come back to me.
+
+_1 Cit._ Methinks there is much reason in his sayings.
+
+_2 Cit._ If thou consider rightly of the matter,
+Cæsar has had great wrong.
+
+_3 Cit._ Has he, masters?
+I fear there will a worse come in his place.
+
+_4 Cit._ Mark'd ye his words? He would not take the
+crown;
+Therefore 't is certain he was not ambitious.                        120
+
+_1 Cit._ If it be found so, some will dear abide it.
+
+_2 Cit._ Poor soul! his eyes are red as fire with weeping.
+
+_3 Cit._ There's not a nobler man in Rome than Antony.
+
+_4 Cit._ Now mark him, he begins again to speak.
+
+_Ant._ But yesterday the word of Cæsar might
+Have stood against the world: now lies he there,
+And none so poor to do him reverence.
+O masters! if I were dispos'd to stir
+Your hearts and minds to mutiny and rage,
+I should do Brutus wrong, and Cassius wrong,                         130
+Who, you all know, are honourable men;
+I will not do them wrong; I rather choose
+To wrong the dead, to wrong myself, and you,
+Than I will wrong such honourable men.
+But here's a parchment, with the seal of Cæsar;
+I found it in his closet, 'tis his will:
+Let but the commons hear this testament,--
+Which, pardon me, I do not mean to read,--
+And they would go and kiss dead Cæsar's wounds,
+And dip their napkins in his sacred blood.                           140
+Yea, beg a hair of him for memory,
+And, dying, mention it within their wills,
+Bequeathing it as a rich legacy
+Unto their issue.
+
+_4 Cit._ We'll hear the will: read it, Mark Antony.
+
+_All._ The will, the will! we will hear Cæsar's will.
+
+_Ant._ Have patience, gentle friends, I must not read it;
+It is not meet you know how Cæsar lov'd you.
+You are not wood, you are not stones, but men;
+And, being men, hearing the will of Cæsar,                           150
+It will inflame you, it will make you mad:
+'Tis good you know not that you are his heirs;
+For, if you should, O, what would come of it!
+
+_4 Cit._ Read the will; we'll hear it, Antony;
+You shall read us the will,--Cæsar's will.
+
+_Ant._ Will you be patient? will you stay awhile?
+I have o'ershot myself to tell you of it.
+I fear I wrong the honourable men
+Whose daggers have stabb'd Cæsar-, I do fear it.
+
+_4 Cit._ They were traitors: honourable men!                         160
+
+_All._ The will! the testament!
+
+_2 Cit._ They were villains, murderers: the will! read
+the will!
+
+_Ant._ You will compel me, then, to read the will?
+Then make a ring about the corpse of Cæsar,
+And let me show you him that made the will.
+Shall I descend? and will you give me leave?
+
+_All._ Come down.
+
+_2 Cit._ Descend.
+
+_3 Cit._ You shall have leave.
+
+[_He comes down from the rostrum._]
+
+_4 Cit._ A ring; stand round.                                        170
+
+_1 Cit._ Stand from the hearse, stand from the body.
+
+_2 Cit._ Room for Antony!--most noble Antony.
+
+_Ant._ Nay, press not so upon me; stand far off.
+
+_All._ Stand back! room! bear back!
+
+_Ant._ If you have tears, prepare to shed them now.
+You all do know this mantle; I remember
+The first time ever Cæsar put it on;
+'T was on a summer's evening, in his tent,
+That day he overcame the Nervii:--
+Look! in this place ran Cassius' dagger through:                     180
+See, what a rent the envious Casca made:
+Through this, the well-beloved Brutus stabb'd;
+And, as he pluck'd his cursed steel away,
+Mark how the blood of Cæsar follow'd it,
+As rushing out of doors, to be resolv'd
+If Brutus so unkindly knock'd, or no;
+For Brutus, as you know, was Cæsar's angel:
+Judge, O you gods, how dearly Cæsar lov'd him!
+This was the most unkindest cut of all;
+For when the noble Cæsar saw him stab,                               190
+Ingratitude, more strong than traitors' arms,
+Quite vanquish'd him: then burst his mighty heart;
+And, in his mantle muffling up his face,
+Even at the base of Pompey's statue,
+Which all the while ran blood, great Cæsar fell.
+O, what a fall was there, my countrymen!
+Then I, and you, and all of us fell down,
+Whilst bloody treason flourish'd over us.
+O, now you weep; and I perceive, you feel
+The dint of pity: these are gracious drops.                          200
+Kind souls, what, weep you, when you but behold
+Our Cæsar's vesture wounded? Look you here.
+Here is himself, marr'd, as you see, with traitors.
+
+_1 Cit._ O piteous spectacle!
+
+_2 Cit._ O noble Cæsar!
+
+_3 Cit._ O woeful day!
+
+_4 Cit._ O traitors, villains!
+
+_1 Cit._ O most bloody sight!
+
+_2 Cit._ We will be revenged.
+
+_All._ Revenge! About,--seek,--burn,--fire,--kill,--slay!            210
+Let not a traitor live!
+
+_Ant._ Stay, countrymen.
+
+_1 Cit._ Peace there! Hear the noble Antony.
+
+_2 Cit._ We'll hear him, we'll follow him, we'll die with
+him.
+
+_Ant._ Good friends, sweet friends, let me not stir you up
+To such a sudden flood of mutiny.
+They that have done this deed are honourable;
+What private griefs they have, alas! I know not,
+That made them do it; they are wise and honourable,
+And will, no doubt, with reasons answer you.                         220
+I come not, friends, to steal away your hearts:
+I am no orator, as Brutus is;
+But as you know me all, a plain blunt man,
+That love my friend; and that they know full well
+That gave me public leave to speak of him.
+For I have neither wit, nor words, nor worth,
+Action, nor utterance, nor the power of speech,
+To stir men's blood: I only speak right on;
+I tell you that which you yourselves do know;
+Show you sweet Cæsar's wounds, poor, poor dumb mouths,               230
+And bid them speak for me: but were I Brutus,
+And Brutus Antony, there were an Antony
+Would ruffle up your spirits, and put a tongue
+In every wound of Cæsar, that should move
+The stones of Rome to rise and mutiny.
+
+_All._ We'll mutiny!
+
+_1 Cit._ We'll burn the house of Brutus!
+
+_3 Cit._ Away, then! come, seek the conspirators.
+
+_Ant._ Yet hear me, countrymen; yet hear me speak.
+
+_All._ Peace, ho! Hear Antony, most noble Antony.                    240
+
+_Ant._ Why, friends, you go to do you know not what:
+Wherein hath Cæsar thus deserv'd your loves?
+Alas, you know not: I must tell you then:
+You have forgot the will I told you of.
+
+_All._ Most true;--the will!--let's stay, and hear the
+will.
+
+_Ant._ Here is the will, and under Cæsar's seal.
+To every Roman citizen he gives,
+To every several man, seventy-five drachmas.
+
+_2 Cit._ Most noble Cæsar!--we'll revenge his death.
+
+_3 Cit._ O royal Caesar!                                             250
+
+_Ant._ Hear me with patience.
+
+_All._ Peace, ho!
+
+_Ant._ Moreover, he hath left you all his walks,
+His private arbours, and new-planted orchards,
+On this side Tiber; he hath left them you,
+And to your heirs for ever,--common pleasures,
+To walk abroad, and recreate yourselves.
+Here was a Cæsar! when comes such another?
+
+_1 Cit._ Never, never!--Come, away, away!
+We'll burn his body in the holy place,                               260
+And with the brands fire the traitors' houses.
+Take up the body.
+
+_2 Cit._ Go, fetch fire.
+
+_3 Cit._ Pluck down benches.
+
+_4 Cit._ Pluck down forms, windows, anything.
+
+[_Exeunt all, with the body._]
+
+_Ant._ Now let it work! Mischief, thou art afoot,
+Take thou what course thou wilt!
+
+    --_Shakespeare_
+
+
+  PREPARATORY.--For dramatic rendering see notes on
+  _Highland Hospitality_ pp. 153 and 154.
+
+  The long speeches of Brutus and Antony may be practised
+  by themselves as exercises in Emphasis and Inflection.
+
+  88-89. How is the parenthetical clause subordinated?
+  Give other examples from the extracts.
+
+  153-154. Select the emphatic words.
+
+  160. What Stress is placed on TRAITORS and HONOURABLE
+  respectively? Account for the difference.
+
+  210. ABOUT, ... SLAY! What is the Stress? Compare ll.
+  236-237, and ll. 259-265.
+
+       *       *       *       *       *
+
+
+THE REVENGE
+
+A Ballad of the Fleet, 1591
+
+
+  At Flores in the Azores Sir Richard Grenville lay,
+  And a pinnace, like a flutter'd bird, came flying from far away:
+  "Spanish ships of war at sea! we have sighted fifty-three!"
+  Then sware Lord Thomas Howard: "'Fore God I am no coward;
+  But I cannot meet them here, for my ships are out of gear,           5
+  And the half my men are sick. I must fly, but follow quick.
+  We are six ships of the line; can we fight with fifty-three?"
+
+  Then spake Sir Richard Grenville: "I know you are no coward;
+  You fly them for a moment to fight with them again.
+  But I've ninety men and more that are lying sick ashore.            10
+
+  I should count myself the coward if I left them, my Lord Howard,
+  To these Inquisition dogs and the devildoms of Spain."
+
+  So Lord Howard past away with five ships of war that day,
+  Till he melted like a cloud in the silent summer heaven;
+  But Sir Richard bore in hand all his sick men from the land         15
+  Very carefully and slow,
+  Men of Bideford in Devon,
+  And we laid them on the ballast down below;
+  For we brought them all aboard,
+  And they blest him in their pain, that they were not left
+    to Spain,                                                         20
+  To the thumbscrew and the stake, for the glory of the Lord.
+
+  He had only a hundred seamen to work the ship and to fight,
+  And he sailed away from Flores till the Spaniard came in sight,
+  With his huge sea-castles heaving upon the weather bow.
+  "Shall we fight or shall we fly?                                    25
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+  There'll be little of us left by the time this sun be set."
+  And Sir Richard said again: "We be all good English men.
+  Let us bang these dogs of Seville, the children of the devil,       30
+  For I never turn'd my back upon Don or devil yet."
+
+  Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so
+  The little Revenge ran on sheer into the heart of the foe,
+  With her hundred fighters on deck, and her ninety sick below;
+  For half of their fleet to the right and half to the left
+    were seen,                                                        35
+  And the little Revenge ran on thro' the long sea-lane between.
+
+  Thousands of their soldiers look'd down from their decks
+    and laugh'd,
+  Thousands of their seamen made mock at the mad little craft
+  Running on and on, till delay'd
+  By their mountain-like San Philip that, of fifteen hundred tons,    40
+  And up-shadowing high above us with her yawning tiers of guns,
+  Took the breath from our sails, and we stay'd.
+
+  And while now the great San Philip hung above us like a cloud
+  Whence the thunderbolt will fall
+  Long and loud,                                                      45
+  Four galleons drew away
+  From the Spanish fleet that day,
+  And two upon the larboard and two upon the starboard lay,
+  And the battle-thunder broke from them all.
+
+  But anon the great San Philip she bethought herself and went        50
+  Having that within her womb that had left her ill-content;
+  And the rest they came aboard us, and they fought us hand to hand,
+  For a dozen times they came with their pikes and musqueteers,
+  And a dozen times we shook 'em off as a dog that shakes his ears
+  When he leaps from the water to the land.                           55
+
+  And the sun went down, and the stars came out far over
+    the summer sea,
+  But never a moment ceased the fight of the one and the fifty-three.
+  Ship after ship, the whole night long, their high-built
+    galleons came,
+  Ship after ship, the whole night long, with their battle-thunder
+    and flame;
+  Ship after ship, the whole night long, drew back with her dead
+    and her shame:                                                    60
+  For some were sunk and many were shatter'd, and so could fight
+    us no more--
+  God of battles, was ever a battle like this in the world before?
+
+  For he said "Fight on! fight on!"
+  Tho' his vessel was all but a wreck;
+  And it chanced that, when half of the short summer night
+    was gone,                                                         65
+  With a grisly wound to be drest he had left the deck,
+
+  But a bullet struck him that was dressing it suddenly dead,
+  And himself he was wounded again in the side and the head,
+  And he said, "Fight on! fight on!"
+
+  And the night went down, and the sun smiled out far over
+    the summer sea,                                                   70
+  And the Spanish fleet with broken sides lay round us all in a ring;
+  But they dar'd not touch us again, for they fear'd that we still
+    could sting,
+  So they watch'd what the end would be.
+  And we had not fought them in vain,
+  But in perilous plight were we,                                     75
+  Seeing forty of our poor hundred were slain,
+  And half of the rest of us maim'd for life
+  In the crash of the cannonades and the desperate strife;
+  And the sick men down in the hold were most of them stark and cold,
+  And the pikes were all broken or bent, and the powder was all
+    of it spent;                                                      80
+  And the masts and the rigging were lying over the side;
+  But Sir Richard cried in his English pride,
+  "We have fought such a fight for a day and a night
+  As may never be fought again!
+  We have won great glory, my men!                                    85
+  And a day less or more
+  At sea or ashore,
+  We die--does it matter when?
+  Sink me the ship, Master Gunner--sink her, split her in twain!
+  Fall into the hands of God, not into the hands of Spain!"           90
+
+  And the gunner said "Ay, ay," but the seamen made reply:
+  "We have children, we have wives,
+  And the Lord hath spared our lives.
+  We will make the Spaniard promise, if we yield, to let us go;
+  We shall live to fight again and to strike another blow."           95
+  And the lion there lay dying, and they yielded to the foe.
+
+  And the stately Spanish men to their flagship bore him then
+  Where they laid him by the mast, old Sir Richard caught at last,
+  And they praised him to his face with their courtly foreign grace;
+  But he rose upon their decks, and he cried:                        100
+  "I have fought for Queen and Faith like a valiant man and true;
+  I have only done my duty as a man is bound to do:
+  With a joyful spirit I Sir Richard Grenville die!"
+  And he fell upon their decks, and he died.
+
+  And they stared at the dead that had been so valiant and true,     105
+  And had holden the power and glory of Spain so cheap
+  That he dared her with one little ship and his English few;
+  Was he devil or man? He was devil for aught they knew,
+  But they sank his body with honour down into the deep,
+
+  And they mann'd the Revenge with a swarthier alien crew,           110
+  And away she sail'd with her loss and long'd for her own;
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,     115
+  Till it smote on their hulls and their sails and their masts
+    and their flags,
+  And the whole sea plunged and fell on the shot-shatter'd navy
+    of Spain,
+  And the little Revenge herself went down by the island crags
+  To be lost evermore in the main.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Give a series of titles suggestive of the
+  events narrated in this ballad; describe the picture
+  that each title calls up, and tell on what part of the
+  poem it is based.
+
+  What different ideals of bravery are brought out in this
+  ballad, and by whom is each presented? Compare them with
+  those set forth in _The Private of the Buffs_ (Fourth
+  Reader), and _Horatius_.
+
+  1, 3, and 13. (Appendix A, 1 and 6.)
+
+  'FORE GOD ... sick. What Inflection prevails?
+  (Introduction, pp. 17 and 18.)
+
+  What Inflection is placed on the questions in ll. 7, 25,
+  62, 88, and 108? (Introduction, pp. 18 and 19.)
+
+  FOR THE GLORY OF THE LORD. How is the irony brought out
+  by the voice? (Introduction, pp. 21, 22, and 30.)
+
+  25-28. (Introduction, p. 18.)
+
+  Compare the speech of the men (ll. 25-28) with that of
+  Sir Richard (ll. 29-31) from the standpoint of mental
+  attitude. How is this difference indicated by Stress?
+
+  32. Which are the emphatic words? Give your reasons.
+  Select words that are emphatic because of contrast from
+  ll. 34, 35, and 91. What Inflection is placed on the
+  emphatic words in each case?
+
+  How does repetition affect the Emphasis in ll. 37-38,
+  53-54, 58-60, 63, and 89? (Introduction, pp. 31-33.)
+
+  40. With what word is THAT connected in sense? How does
+  the voice make the connection? (Introduction, p. 33.)
+
+  43-47. Analyse these lines from the standpoint of
+  Perspective.
+
+  66-67. Where do the Pauses occur? How does the Grouping
+  affect them?
+
+  68. Why is HIMSELF emphatic?
+
+  75-81. Give examples of "momentary completeness".
+
+  93. Which is the most emphatic word in this line? Give
+  your reason.
+
+  101-103. To what extent should Imitation enter into the
+  reading of this speech? (Introduction, pp. 4 and 5.)
+
+  112-117. How can the effect of this Climax be brought
+  out by the voice? (Introduction, p. 31.)
+
+  118. Note the transition in thought and feeling. By what
+  change in Time, Pitch, and Force is it accompanied?
+
+       *       *       *       *       *
+
+
+HERVÉ RIEL
+
+
+  On the sea and at the Hogue, sixteen hundred ninety-two,
+    Did the English fight the French,--woe to France!
+  And the thirty-first of May, helter-skelter through the blue,
+  Like a crowd of frightened porpoises a shoal of sharks pursue,
+    Came crowding ship on ship to St. Malo on the Rance,               5
+  With the English fleet in view.
+
+  'Twas the squadron that escaped, with the victor in full chase;
+    First and foremost of the drove, in his great ship, Damfreville:
+      Close on him fled, great and small,
+      Twenty-two good ships in all;                                   10
+  And they signalled to the place,
+  "Help the winners of a race!
+    Get us guidance, give us harbour, take us quick--or, quicker still,
+    Here's the English can and will!"
+
+  Then the pilots of the place put out brisk and leapt on board;      15
+    "Why, what hope or chance have ships like these to pass?"
+       laughed they:
+  "Rocks to starboard, rocks to port, all the passage scarred
+    and scored,
+  Shall the _Formidable_ here, with her twelve and eighty guns,
+    Think to make the river-mouth by the single narrow way,
+  Trust to enter where 'tis ticklish for a craft of twenty tons,      20
+      And with flow at full beside?
+      Now 'tis slackest ebb of tide.
+    Reach the mooring? Rather say,
+  While rock stands or water runs,
+    Not a ship will leave the bay!"                                   25
+
+  Then was called a council straight.
+  Brief and bitter the debate:
+  "Here's the English at our heels; would you have them take in tow
+  All that's left us of the fleet, linked together stern and bow,
+  For a prize to Plymouth Sound?                                      30
+  Better run the ships aground!"
+    (Ended Damfreville his speech.)
+  Not a minute more to wait!
+    "Let the captains all and each
+    Shove ashore, then blow up, burn the vessels on the beach!        35
+  France must undergo her fate.
+
+  Give the word!" But no such word
+  Was ever spoke or heard;
+    For up stood, for out stepped, for in struck amid all these,--
+  A Captain? a Lieutenant? a Mate--first, second, third?              40
+    No such man of mark, and meet
+    With his betters to compete!
+    But a simple Breton sailor pressed by Tourville for the fleet,
+  A poor coasting-pilot he, Hervé Riel the Croisickese.
+
+  And, "What mockery or malice have we here?" cries Hervé Riel:       45
+    "Are you mad, you Malouins?  Are you cowards, fools, or rogues?
+  Talk to me of rocks and shoals, me who took the soundings, tell
+  On my fingers every bank, every shallow, every swell
+    'Twist the offing here and Grève, where the river disembogues?
+  Are you bought by English gold? Is it love the lying's for?         50
+    Morn and eve, night and day,
+    Have I piloted your bay,
+  Entered free and anchored fast, at the foot of Solidor.
+    Burn the fleet and ruin France? That were worse than fifty Hogues!
+      Sirs, they know I speak the truth! Sirs, believe me there's
+        a way!                                                        55
+  Only let me lead the line,
+    Have the biggest ship to steer,
+    Get this _Formidable_ clear,
+  Make the others follow mine,
+  And I lead them, most and least, by a passage I know well,          60
+    Right to Solidor past Grève,
+      And there lay them safe and sound;
+    And if one ship misbehave--
+        Keel so much as grate the ground--
+  Why, I've nothing but my life,--here's my head!" cries
+    Hervé Riel.                                                       65
+
+  Not a minute more to wait.
+  "Steer us in, then, small and great!
+    Take the helm, lead the line, save the squadron!" cried its chief.
+  Captains, give the sailor place!
+    He is Admiral, in brief.                                          70
+  Still the north wind, by God's grace!
+  See the noble fellow's face
+  As the big ship, with a bound,
+  Clears the entry like a hound.
+  Keeps the passage, as its inch of way were the wide sea's
+      profound!                                                       75
+    See, safe through shoal and rock,
+    How they follow in a flock,
+  Not a ship that misbehaves, not a keel that grates the ground,
+    Not a spar that comes to grief!
+  The peril, see, is past,                                            80
+  All are harboured to the last,
+  And just as Hervé Riel hollas "Anchor!"--sure as fate,
+  Up the English come--too late.
+
+  So, the storm subsides to calm:
+    They see the green trees wave                                     85
+    On the heights o'erlooking Grève.
+  Hearts that bled are stanched with balm.
+  "Just our rapture to enhance,
+    Let the English rake the bay,
+  Gnash their teeth and glare askance                                 90
+    As they cannonade away!
+  'Neath rampired Solidor pleasant riding on the Rance!"
+  How hope succeeds despair on each captain's countenance!
+  Out burst all with one accord,
+    "This is Paradise for Hell!                                       95
+    Let France, let France's King,
+    Thank the man that did the thing!"
+  What a shout, and all one word,
+    "Hervé Riel!"
+  As he stepped in front once more,                                  100
+    Not a symptom of surprise
+    In the frank, blue Breton eyes,
+  Just the same man as before.
+
+  Then said Damfreville, "My friend,
+  I must speak out at the end,                                       105
+    Though I find the speaking hard.
+  Praise is deeper than the lips:
+  You have saved the King his ships,
+    You must name your own reward.
+  'Faith, our sun was near eclipse!                                  110
+  Demand whate'er you will,
+  France remains your debtor still.
+  Ask to heart's content and have! or my name's not Damfreville."
+
+  Then a beam of fun outbroke
+  On the bearded mouth that spoke,                                   115
+  As the honest heart laughed through
+  Those frank eyes of Breton blue:
+  "Since I needs must say my say,
+    Since on board the duty's done,
+    And from Malo Roads to Croisic Point, what is it but a run?--    120
+  Since 'tis ask and have, I may--
+    Since the others go ashore--
+  Come! A good whole holiday!
+    Leave to go and see my wife, whom I call the Belle Aurore!"
+    That he asked and that he got,--nothing more.                    125
+
+  Name and deed alike are lost:
+  Not a pillar nor a post
+    In his Croisic keeps alive the feat as it befell;
+  Not a head in white and black
+  On a single fishing-smack,                                         130
+  In memory of the man but for whom had gone to wrack
+    All that France saved from the fight whence England bore the bell.
+  Go to Paris: rank on rank
+    Search the heroes flung pell-mell
+  On the Louvre, face and flank!                                     135
+    You shall look long enough ere you come to Hervé Riel.
+  So, for better and for worse,
+  Hervé Riel, accept my verse!
+  In my verse, Hervé Riel, do thou once more
+  Save the squadron, honour France, love thy wife the Belle
+    Aurore!                                                          140
+
+    --_Robert Browning_
+         (_By permission of the owner of the copyright
+             and Smith, Elder & Co._)
+
+
+  PREPARATORY.--Narrate briefly the events of the poem and
+  describe (_a_) the council, (_b_) the scene after the
+  ships are safely anchored.
+
+  How does this poem illustrate the truth that the highest
+  motive in life is duty? From this standpoint compare
+  Hervé Riel with Sir Richard Grenville in Tennyson's _The
+  Revenge_.
+
+  Give other examples to show that true nobility does not
+  depend on such externals as rank and position.
+
+  2. WOE TO FRANCE. How does the voice indicate that this
+  phrase is parenthetical?
+
+  4. What is the subject of PURSUE? Its object? How does
+  the reader make the meaning clear?
+
+  3-5. What is the Shading?
+
+  8 and 14. Supply the ellipsis in each case. How is the
+  reading affected by an ellipsis? (Introduction, p. 10.)
+
+  12-14. What is the Stress? (Introduction, pp. 27 and
+  28.)
+
+  16-25. What energy characterizes these lines? With what
+  Stress should they be read?
+
+  TWELVE AND EIGHTY GUNS, TWENTY TONS. What is the
+  difference in the Quality of voice? Compare MAN OF MARK,
+  SIMPLE BRETON SAILOR, ll. 40 and 42.
+
+  26. Where is the Pause? Why?
+
+  Note the transitions in ll. 27, 31, 32, and 33. How is
+  each one indicated?
+
+  38. STOOD, STEPPED, STRUCK. Observe the increased
+  Emphasis. Compare ll. 46 and 69.
+
+  41-43. Note the contrast. What is the Inflection on each
+  part? (Introduction, p. 20.)
+
+  45-66. What state of mind does Hervé Riel's speech
+  indicate throughout? What feelings predominate when he
+  addresses (_a_) the Malouins, (_b_) the officers? What
+  Time, Pitch, Force, and Stress are the natural
+  expression?
+
+  46. COWARDS, FOOLS, ROGUES. What is the Inflection on
+  each word? (Introduction, p. 20.)
+
+  65. KEEL SO MUCH, ETC. Note the Pause and Grouping.
+
+  72, 73-76, 77-84. What is the predominant feeling in
+  each passage?
+
+  104-113. Compare the self-control of Damfreville's
+  speech with the impulsive shout of the preceding stanza.
+  What is the resulting difference in vocal expression?
+
+  114-116. Note the Pause and Grouping.
+
+  118-122. What is the Inflection? (Introduction, p. 17.)
+
+  129-132. Observe the Grouping.
+
+       *       *       *       *       *
+
+
+THE HANDWRITING ON THE WALL
+
+Daniel V
+
+
+Belshazzar the king made a great feast to a thousand of his lords, and
+drank wine before the thousand. Belshazzar, whiles he tasted the wine,
+commanded to bring the golden and silver vessels which his father
+Nebuchadnezzar had taken out of the temple which was in Jerusalem;
+that the king, and his princes, his wives, and his concubines, might
+drink therein. Then they brought the golden vessels that were taken
+out of the temple of the house of God which was in Jerusalem; and the
+king, and his princes, his wives, and his concubines, drank in them.
+They drank wine, and praised the gods of gold, and of silver, of
+brass, of iron, of wood, and of stone.
+
+In the same hour came forth fingers of a man's hand, and wrote over
+against the candlestick upon the plaister of the wall of the king's
+palace: and the king saw the part of the hand that wrote. Then the
+king's countenance was changed, and his thoughts troubled him, so that
+the joints of his loins were loosed, and his knees smote one against
+another. The king cried aloud to bring in the astrologers, the
+Chaldeans, and the soothsayers. And the king spake, and said to the
+wise men of Babylon, Whosoever shall read this writing, and shew me
+the interpretation thereof, shall be clothed with scarlet, and have a
+chain of gold about his neck, and shall be the third ruler in the
+kingdom. Then came in all the king's wise men: but they could not read
+the writing, nor make known to the king the interpretation thereof.
+Then was the king Belshazzar greatly troubled, and his countenance was
+changed in him, and his lords were astonied.
+
+Now the queen by reason of the words of the king and his lords came
+into the banquet house: and the queen spake and said, O king, live for
+ever: let not thy thoughts trouble thee, nor let thy countenance be
+changed: There is a man in thy kingdom, in whom is the spirit of the
+holy gods; and in the days of thy father light and understanding and
+wisdom, like the wisdom of the gods, was found in him; whom the king
+Nebuchadnezzar thy father, the king, I say, thy father, made master of
+the magicians, astrologers, Chaldeans, and soothsayers; Forasmuch as
+an excellent spirit and knowledge and understanding, interpreting of
+dreams, and shewing of hard sentences, and dissolving of doubts, were
+found in the same Daniel, whom the king named Belteshazzar: now let
+Daniel be called, and he will shew the interpretation.
+
+Then was Daniel brought in before the king. And the king spake and
+said unto Daniel, Art thou that Daniel, which art of the children of
+the captivity of Judah, whom the king my father brought out of Jewry?
+I have even heard of thee, that the spirit of the gods is in thee, and
+that light and understanding and excellent wisdom is found in thee.
+And now the wise men, the astrologers, have been brought in before me,
+that they should read this writing, and make known unto me the
+interpretation thereof: but they could not shew the interpretation of
+the thing: And I have heard of thee, that thou canst make
+interpretations, and dissolve doubts: now if thou canst read the
+writing, and make known to me the interpretation thereof, thou shalt
+be clothed with scarlet, and have a chain of gold about thy neck, and
+shalt be the third ruler in the kingdom.
+
+Then Daniel answered and said before the king, Let thy gifts be to
+thyself, and give thy reward to another; yet I will read the writing
+unto the king, and make known to him the interpretation. O thou king,
+the most high God gave Nebuchadnezzar thy father a kingdom, and
+majesty, and glory, and honour: And for the majesty that he gave him,
+all people, nations, and languages, trembled and feared before him:
+whom he would he slew; and whom he would he kept alive; and whom he
+would he set up; and whom he would he put down. But when his heart was
+lifted up, and his mind hardened in pride, he was deposed from his
+kingly throne, and they took his glory from him: And he was driven
+from the sons of men; and his heart was made like the beasts, and his
+dwelling was with the wild asses: they fed him with grass like oxen,
+and his body was wet with the dew of heaven; till he knew that the
+most high God ruled in the kingdom of men, and that he appointeth over
+it whomsoever he will. And thou, his son, O Belshazzar, hast not
+humbled thine heart, though thou knewest all this; But has lifted up
+thyself against the Lord of heaven; and they have brought the vessels
+of his house before thee, and thou, and thy lords, thy wives, and thy
+concubines, have drunk wine in them; and thou hast praised the gods of
+silver, of gold, of brass, iron, wood, and stone, which see not, nor
+hear, nor know: and the God in whose hand thy breath is, and whose are
+all thy ways, hast thou not glorified: Then was the part of the hand
+sent from him; and this writing was written.
+
+And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN.
+This is the interpretation of the thing: MENE; God hath numbered thy
+kingdom, and finished it. TEKEL; Thou art weighed in the balances, and
+art found wanting. PERES; Thy kingdom is divided, and given to the
+Medes and Persians. Then commanded Belshazzar, and they clothed Daniel
+with scarlet, and put a chain of gold about his neck, and made a
+proclamation concerning him, that he should be the third ruler in the
+kingdom.
+
+In that night was Belshazzar the king of the Chaldeans slain. And
+Darius the Median took the kingdom, being about threescore and two
+years old.
+
+
+  Give a dramatic form to this extract, indicating by
+  suitable titles the various scenes suggested and the
+  parts that would properly belong to the scenery, the
+  action, and the dialogue respectively. The different
+  parts may be read by different readers before one reader
+  attempts all the parts.
+
+       *       *       *       *       *
+
+
+PAUL'S DEFENCE BEFORE KING AGRIPPA
+
+Acts xxvi
+
+
+1. Then Agrippa said unto Paul, Thou art permitted to speak for
+thyself. Then Paul stretched forth the hand, and answered for himself:
+I think myself happy, King Agrippa, because I shall answer for myself
+this day before thee touching all the things whereof I am accused of
+the Jews: especially because I know thee to be expert in all customs
+and questions which are among the Jews: wherefore I beseech thee to
+hear me patiently.
+
+2. My manner of life from my youth, which was at the first among mine
+own nation at Jerusalem, know all the Jews; which knew me from the
+beginning, if they would testify, that after the most straitest sect
+of our religion I lived a Pharisee. And now I stand and am judged for
+the hope of the promise made of God unto our fathers: unto which
+promise our twelve tribes, instantly serving God day and night, hope
+to come. For which hope's sake, King Agrippa, I am accused of the
+Jews.
+
+3. Why should it be thought a thing incredible with you, that God
+should raise the dead? I verily thought with myself, that I ought to
+do many things contrary to the name of Jesus of Nazareth. Which thing
+I also did in Jerusalem: and many of the saints did I shut up in
+prison, having received authority from the chief priests; and when
+they were put to death, I gave my voice against them. And I punished
+them oft in every synagogue, and compelled them to blaspheme; and
+being exceedingly mad against them, I persecuted them even unto
+strange cities.
+
+4. Whereupon as I went to Damascus with authority and commission from
+the chief priests, at midday, O king, I saw in the way a light from
+heaven, above the brightness of the sun, shining round about me and
+them which journeyed with me. And when we were all fallen to the
+earth, I heard a voice speaking unto me, and saying in the Hebrew
+tongue, Saul, Saul, why persecutest thou me? It is hard for thee to
+kick against the pricks. And I said, Who art thou, Lord? And he said,
+I am Jesus whom thou persecutest. But rise, and stand upon thy feet:
+for I have appeared unto thee for this purpose, to make thee a
+minister and a witness both of these things which thou hast seen, and
+of those things in the which I will appear unto thee; delivering thee
+from the people, and from the Gentiles, unto whom now I send thee, to
+open their eyes, and to turn them from darkness to light, and from the
+power of Satan unto God, that they may receive forgiveness of sins,
+and inheritance among them which are sanctified by faith that is in
+me.
+
+5. Whereupon, O King Agrippa, I was not disobedient unto the heavenly
+vision: but shewed first unto them of Damascus, and at Jerusalem, and
+throughout all the coasts of Judæa, and then to the Gentiles, that
+they should repent and turn to God, and do works meet for repentance.
+For these causes the Jews caught me in the temple, and went about to
+kill me. Having therefore obtained help of God, I continue unto this
+day, witnessing both to small and great, saying none other things than
+those which the prophets and Moses did say should come: that Christ
+should suffer, and that he should be the first that should rise from
+the dead, and should shew light unto the people, and to the Gentiles.
+
+6. And as he thus spake for himself, Festus said with a loud voice,
+Paul, thou art beside thyself; much learning doth make thee mad. But
+he said, I am not mad, most noble Festus; but speak forth the words of
+truth and soberness. For the king knoweth of these things, before whom
+also I speak freely: for I am persuaded that none of these things are
+hidden from him; for this thing was not done in a corner. King
+Agrippa, believest thou the prophets? I know that thou believest.
+Then Agrippa said unto Paul, Almost thou persuadest me to be a
+Christian. And Paul said, I would to God, that not only thou, but also
+all that hear me this day, were both almost, and altogether such as I
+am, except these bonds.
+
+7. And when he had thus spoken, the king rose up, and the governor,
+and Bernice, and they that sat with them: And when they were gone
+aside, they talked between themselves, saying, This man doeth nothing
+worthy of death or of bonds. Then said Agrippa unto Festus, This man
+might have been set at liberty, if he had not appealed unto Cæsar.
+
+
+  PREPARATORY.--Under what circumstances did Paul deliver
+  this defence? Picture the scene.
+
+  What attitude of mind characterizes the chief speaker?
+  How does this affect the reading?
+
+  How are the direct speeches in Pars. 1, 4, 6, and 7 made
+  to stand out from the narrative? (Introduction, p. 24.)
+
+  How do the mental and emotional states of the various
+  speakers differ? Indicate this difference by the Quality
+  of the voice. (Introduction, p. 34.)
+
+  Point out the Climax in Par. 3. How does the voice
+  express it?
+
+  IF THEY WOULD TESTIFY. What change in the voice
+  subordinates this clause? (Introduction, p. 33.) Give
+  another example from Par. 2.
+
+       *       *       *       *       *
+
+
+THE STRANDED SHIP
+
+
+  Far up the lonely strand the storm had lifted her.
+  And now along her keel the merry tides make stir
+  No more. The running waves that sparkled at her prow
+  Seethe to the chains and sing no more with laughter now.
+  No more the clean sea-furrow follows her. No more
+  To the hum of her gallant tackle the hale Nor'-westers roar.
+  No more her bulwarks journey. For the only boon they crave
+  Is the guerdon of all good ships and true, the boon of
+    a deep-sea grave.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  No more she mounts the circles from Fundy to the Horn,
+  From Cuba to the Cape runs down the tropic morn,
+  Explores the Vast Uncharted where great bergs ride in ranks,
+  Nor shouts a broad "Ahoy" to the dories on the Banks.
+  No more she races freights to Zanzibar and back,
+  Nor creeps where the fog lies blind along the liner's track,
+  No more she dares the cyclone's disastrous core of calm
+  To greet across the dropping wave the amber isles of palm.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Amid her trafficking peers, the wind-wise, journeyed ships,
+  At the black wharves no more, nor at the weedy slips,
+  She comes to port with cargo from many a storied clime.
+  No more to the rough-throat chantey her windlass creaks in time.
+  No more she loads for London with spices from Ceylon,--
+  With white spruce deals and wheat and apples from St. John.
+  No more from Pernambuco with cotton-bales,--no more
+  With hides from Buenos Ayres she clears for Baltimore.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Wan with the slow vicissitudes of wind and rain and sun
+  How grieves her deck for the sailors whose hearty brawls are done!
+  Only the wandering gull brings word of the open wave,
+  With shrill scream at her taffrail deriding her alien grave.
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  And when the winds are low, and when the tides are still,
+  And the round moon rises inland over the naked hill,
+  And o'er her parching seams the dry cloud-shadows pass,
+  And dry along the land-rim lie the shadows of thin grass,
+  Then aches her soul with longing to launch and sink away
+  Where the fine silts lift and settle, and sea-things drift
+    and stray,
+  To make the port of Last Desire, and slumber with her peers
+  In the tide-wash rocking softly through the unnumbered years.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+      --_Charles G. D. Roberts (By arrangement)_
+
+
+  PREPARATORY.--What is the fundamental idea of the first
+  three stanzas? Of the fourth stanza? Of the last stanza?
+  Of the refrain? Apply these ideas to human life? What
+  feelings do they arouse? Show that these feelings grow
+  stronger as the poem advances.
+
+  What Time, Pitch, and Stress are the natural expression
+  of the atmosphere pervading the poem? Where are they
+  most marked?
+
+  What effect has the atmosphere of the last stanza on the
+  Quality of the voice?
+
+  HER, STIR. (Appendix A, 10.)
+
+  STRAND, FAR, CALM, BRAWLS. Distinguish the sound of _a_
+  in these words, and select other words from the poem
+  with the same sound. (Appendix A, 1.)
+
+  What is the Inflection on the negative statements in the
+  first three stanzas? On the entreaty in the refrain?
+  (Introduction, p. 18.)
+
+  What effect do the falling Inflection, and the marked
+  Pause after MORE, l. 3, stanza 1 produce?
+
+  AND WHEN THE WINDS ... GRASS. What is the Inflection?
+  What is the Shading when compared with the next line?
+
+       *       *       *       *       *
+
+
+SIR PATRICK SPENS
+
+
+  The king sits, in Dunfermline toun,
+  Drinking the blude-red wine;
+  "O whare will I get a skeely skipper,
+  To sail this new ship o' mine?"
+
+  O up and spake an eldern knight,
+  Sat at the king's right knee,--
+  "Sir Patrick Spens is the best sailor,
+  That ever sailed the sea."
+
+  The king has written a braid letter,
+  And sealed it wi' his hand,
+  And sent it to Sir Patrick Spens,
+  Was walking on the strand.
+
+  "To Noroway, to Noroway,
+  To Noroway o'er the faem;
+  The king's daughter of Noroway,
+  'Tis thou maun bring her hame."
+
+  The first word that Sir Patrick read,
+  Sae loud, loud laughèd he;
+  The neist word that Sir Patrick read,
+  The tear blindit his e'e.
+
+  "O wha is this has done this deed,
+  And tauld the king o'me,
+  To send us out, this time o' the year,
+  To sail upon the sea?
+
+  Be't wind, be't weet, be't hail, be't sleet,
+  Our ship must sail the faem;
+  The king's daughter of Noroway,
+  'Tis we must fetch her hame."
+
+  They hoysed their sails on Monenday morn,
+  Wi' a' the speed they may;
+  They hae landed in Noroway,
+  Upon a Wodensday.
+
+  They hadna been a week, a week,
+  In Noroway, but twae,
+  When that the lords o' Noroway
+  Began aloud to say,--
+
+  "Ye Scottishmen spend a' our king's goud,
+  And a' our queenis fee."
+  "Ye lee, ye lee, ye lears loud!
+  Fu' loud I hear ye lee!
+
+  For I brought as mickle white monie,
+  As gane my men and me,
+  And I brought a half-fou o' gude red goud,
+  Out o'er the sea wi' me.
+
+  Mak' ready, mak' ready, my merry men a'!
+  Our gude ship sails the morn."
+  "Now, ever alake, my master dear,
+  I fear a deadly storm!
+
+  I saw the new moon, late yestreen,
+  Wi' the auld moon in her arm!
+  And, if we gang to sea, master,
+  I fear we'll come to harm."
+
+  They hadna sailed a league, a league,
+  A league, but barely three,
+  When the lift grew dark, and the wind blew loud,
+  And gurly grew the sea.
+
+  The ankers brak, and the topmasts lap,
+  It was sic a deadly storm;
+  And the waves cam' o'er the broken ship,
+  Till a' her sides were torn.
+
+  "O whare will I get a gude sailor,
+  To tak' my helm in hand,
+  Till I gae up to the tall topmast,
+  To see if I spy land?"
+
+  "O here am I, a sailor gude,
+  To tak' the helm in hand,
+  Till you gae up to the tall topmast;
+  But I fear ye'll ne'er spy land."
+
+  He hadna gane a step, a step,
+  A step, but barely ane,
+  When a bolt flew out o' our goodly ship,
+  And the salt sea it cam' in.
+
+  "Gae fetch a web o' the silken claith,
+  Anither o' the twine,
+  And wap them into our ship's side,
+  And letna the sea come in."
+
+  They fetched a web o' the silken claith,
+  Anither o' the twine,
+  And they wapped them roun' that gude ship's side,
+  But still the sea cam' in.
+
+  O laith, laith were our gude Scots lords,
+  To weet their cork-heeled shoon!
+  But lang or a' the play was played,
+  They wat their hats aboon.
+
+  And mony was the feather-bed,
+  That floated o'er the faem;
+  And mony was the gude lord's son,
+  That never mair cam' hame.
+
+  The ladyes wrang their fingers white,
+  The maidens tore their hair,
+  A' for the sake of their true loves;
+  For them they'll see na mair.
+
+  O lang, lang may the ladyes sit,
+  Wi' their fans into their hand,
+  Before they see Sir Patrick Spens
+  Come sailing to the strand!
+
+  And lang, lang may the maidens sit,
+  Wi' their goud kaims in their hair,
+  A' waiting for their ain dear loves!
+  For them they'll see na mair.
+
+  Half ower, half ower to Aberdour,
+  'Tis fifty fathoms deep,
+  And there lies gude Sir Patrick Spens,
+  Wi' the Scots lords at his feet.
+
+     --_Old Ballad_
+
+
+  Into how many different scenes does this drama fall?
+  Where is each one laid? How can each one be made to
+  stand out by itself? (Introduction, p. 10.)
+
+       *       *       *       *       *
+
+
+KING JOHN AND THE ABBOT OF CANTERBURY
+
+
+  An ancient story Ile tell you anon.
+  Of a notable prince, that was called king John;
+  And he ruled England with maine and with might,
+  For he did great wrong, and maintein'd little right.
+
+  And Ile tell you a story, a story so merrye,
+  Concerning the Abbot of Canterbùrye;
+  How for his house-keeping, and high renowne,
+  They rode poste for him to fair London towne.
+
+  An hundred men, the king did heare say,
+  The abbot kept in his house every day;
+  And fifty golde chaynes, without any doubt,
+  In velvet coates waited the abbot about.
+
+  "How now, father abbot, I heare it of thee,
+  Thou keepest a farre better house than mee,
+  And for thy house-keeping and high renowne,
+  I feare thou work'st treason against my crown."
+
+  "My liege," quo' the abbot, "I would it were knowne,
+  I never spend nothing, but what is my owne;
+  And I trust, your grace will doe me no deere,
+  For spending of my owne true-gotten geere."
+
+  "Yes, yes, father abbot, thy fault it is highe,
+  And now for the same thou needest must dye;
+  For except thou canst answer me questions three,
+  Thy head shall be smitten from thy bodie.
+
+  And first," quo' the king, "when I'm in this stead,
+  With my crowne of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Thou must tell me to one penny what I am worthe.
+
+  Secondlye, tell me, without any doubt,
+  How soone I may ride the whole world about.
+  And at the third question thou must not shrink,
+  But tell me here truly what do I think."
+
+  "O, these are hard questions for my shallow witt,
+  Nor I cannot answer your grace as yet:
+  But if you will give me but three weekes space,
+  Ile do my endeavour to answer your grace."
+
+  "Now three weeks space to thee will I give,
+  And that is the longest time thou hast to live;
+  For if thou dost not answer my questions three,
+  Thy lands and thy livings are forfeit to mee."
+
+  Away rode the abbot all sad at that word,
+  And he rode to Cambridge, and Oxenford;
+  But never a doctor there was so wise,
+  That could with his learning an answer devise.
+
+  Then home rode the abbot of comfort so cold,
+  And he mett his shepheard a going to fold:
+  "How now, my lord abbot, you are welcome home;
+  What newes do you bring us from good king John?"
+
+  "Sad newes, sad newes, shepheard, I must give;
+  That I have but three days more to live:
+  For if I do not answer him questions three,
+  My head will be smitten from my bodie.
+
+  The first is to tell him, there in that stead,
+  With his crowne of golde so fair on his head,
+  Among all his liege-men so noble of birth,
+  To within one penny of what he is worth.
+
+  The seconde, to tell him, without any doubt,
+  How soon he may ride this whole world about:
+  And at the third question I must not shrinke,
+  But tell him there truly what he does thinke."
+
+  "Now cheare up, sire abbot, did you never hear yet,
+  That a fool he may learn a wise man witt?
+  Lend me horse, and serving-men, and your apparel,
+  And I'll ride to London to answere your quarrel.
+
+  Nay frowne not, if it hath bin told unto mee,
+  I am like your lordship, as ever may bee:
+  And if you will but lend me your gowne,
+  There is none shall knowe us at fair London towne."
+
+  "Now horses, and serving-men thou shalt have,
+  With sumptuous array most gallant and brave;
+  With crozier, and miter, and rochet, and cope,
+  Fit to appeare 'fore our fader the pope."
+
+  "Now welcome, sire abbot," the king he did say,
+  "Tis well thou'rt come back to keepe thy day;
+  For and if thou canst answer my questions three,
+  Thy life and thy living both saved shall bee.
+
+  And first, when thou seest me here in this stead,
+  With my crown of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Tell me to one penny what I am worth."
+
+  "For thirty pence our Saviour was sold
+  Amonge the false Jewes, as I have bin told;
+  And twenty-nine is the worth of thee,
+  For I thinke, thou art one penny worser than hee."
+
+  The king he laughed, and swore by St. Bittel,
+  "I did not thinke I had been worth so littel!
+  --Now secondly tell me, without any doubt,
+  How soone I may ride this whole world about."
+
+  "You must rise with the sun, and ride with the same,
+  Until the next morning he riseth againe;
+  And then your grace need not make any doubt,
+  But in twenty-four hours you'll ride it about."
+
+  The king he laughed, and swore by St. Jone,
+  "I did not think, it could be gone so soone!
+  --Now from the third question thou must not shrinke,
+  But tell me here truly what I do thinke."
+
+  "Yea, that shall I do, and make your grace merry:
+  You thinke I'm the Abbot of Canterbùry;
+  But I'm his poor shepheard, as plain you may see,
+  That am come to beg pardon for him and for mee."
+
+  The king he laughed, and swore "by the masse,
+  He make thee lord abbot this day in his place!"
+  "Now naye, my liege, be not in such speede,
+  For alacke I can neither write ne reade."
+
+  "Four nobles a weeke, then, I will give thee,
+  For this merry jest thou hast showne unto mee;
+  And tell the old abbot when thou comest home,
+  Thou hast brought him a pardon from good king John."
+
+      --_Old Ballad_
+
+
+  PREPARATORY.--Divide this poem into three dramatic
+  scenes. Who are the actors in each scene?
+
+  What is the king's attitude toward the abbot in the
+  first scene? Toward the supposed abbot in the third
+  scene? Where does this attitude suddenly change? Show at
+  what points this changed attitude gradually increases in
+  strength and where it reaches its climax. Indicate these
+  changes by means of the voice.
+
+  What is the abbot's attitude toward the king in the
+  first scene? How does it differ from his attitude toward
+  the shepherd? What is the difference in vocal
+  expression?
+
+  Where does the shepherd's attitude toward the king
+  change? How does the voice indicate this change?
+
+       *       *       *       *       *
+
+
+THE KEY TO HUMAN HAPPINESS
+
+From "The Mill on the Floss"
+
+
+1. At last Maggie's eyes glanced down on the books that lay on the
+window-shelf, and she half forsook her reverie to turn over listlessly
+the leaves of the "Portrait Gallery"; but she soon pushed this aside
+to examine the little row of books tied together with, string.
+"Beauties of the Spectator", "Rasselas", "Economy of Human Life",
+"Gregory's Letters",--she knew the sort of matter that was inside all
+these; the "Christian Year"--that seemed to be a hymn-book, and she
+laid it down again; but "Thomas à Kempis"--the name had come across
+her in her reading, and she felt the satisfaction, which every one
+knows, of getting some ideas to attach to a name that strays solitary
+in the memory. She took up the little, old, clumsy book with some
+curiosity; it had the corners turned down in many places, and some
+hand, now for ever quiet, had made at certain passages strong
+pen-and-ink marks, long since browned by time. Maggie turned from leaf
+to leaf, and read where the quiet hand pointed ... "Know that the love
+of thyself doth hurt thee more than anything in the world.... If thou
+seekest this or that, and would'st be here or there to enjoy thy own
+will and pleasure, thou shalt never be quiet nor free from care; for
+in everything somewhat will be wanting, and in every place there will
+be some that will cross thee.... Both above and below, which way
+soever thou dost turn thee, everywhere thou shalt find the Cross; and
+everywhere of necessity thou must have patience, if thou wilt have
+inward peace, and enjoy an everlasting crown.... It is but little thou
+sufferest in comparison of them that have suffered so much, were so
+strongly tempted, so grievously afflicted, so many ways tried and
+exercised. Thou oughtest therefore to call to mind the more heavy
+sufferings of others, that thou mayest the easier bear thy little
+adversities. And if they seem not little unto thee, beware lest thy
+impatience be the cause thereof.... Blessed are those ears that
+receive the whispers of the divine voice, and listen not to the
+whisperings of the world. Blessed are those ears which hearken not
+unto the voice which soundeth outwardly, but unto the Truth which
+teacheth inwardly...."
+
+2. A strange thrill of awe passed through Maggie while she read, as if
+she had been awakened in the night by a strain of solemn music,
+telling of beings whose souls had been astir while hers was in stupor.
+She went on from one brown mark to another, where the quiet hand
+seemed to point, hardly conscious that she was reading--seeming rather
+to listen while a low voice said:--
+
+3. "Why dost thou here gaze about, since this is not the place of thy
+rest? In heaven ought to be thy dwelling, and all earthly things are
+to be looked on as they forward thy journey thither. All things pass
+away, and thou together with them. Beware thou cleave not unto them,
+lest thou be entangled and perish.... If a man should give all his
+substance yet it is as nothing. And, if he should do great penances,
+yet they are but little. And if he should attain to all knowledge, he
+is yet far off. And if he should be of great virtue, and very fervent
+devotion, yet is there much wanting--to wit, one thing, which is most
+necessary for him. What is that? That having left all, he leave
+himself, and go wholly out of himself, and retain nothing of
+self-love.... I have often said unto thee, and now again I say the
+same: Forsake thyself, resign thyself, and thou shalt enjoy much
+inward peace.... Then shall all vain imaginations, evil perturbations,
+and superfluous cares fly away; then shall immoderate fear leave thee,
+and inordinate love shall die."
+
+4. Maggie drew a long breath and pushed her heavy hair back as if to
+see a sudden vision more clearly. Here, then, was a secret of life
+that would enable her to renounce all other secrets; here was a
+sublime height to be reached without the help of outward things; here
+was insight, and strength and conquest, to be won by means entirely
+within her own soul, where a supreme Teacher was waiting to be heard.
+It flashed through her, like the suddenly apprehended solution of a
+problem, that all the miseries of her young life had come from fixing
+her heart on her own pleasure, as if that were the central necessity
+of the universe; and for the first time she saw the possibility of
+shifting the position from which she looked at the gratification of
+her own desires, of taking her stand out of herself, and looking at
+her own life as an insignificant part of a divinely-guided whole. She
+read on and on in the old book, devouring eagerly the dialogues with
+the invisible Teacher, the pattern of sorrow, the source of all
+strength, returning to it after she had been called away, and reading
+till the sun went down behind the willows. With all the hurry of an
+imagination that could never rest in the present, she sat in the
+deepening twilight forming plans of self-humiliation and entire
+devotedness; and, in the ardour of first discovery, renunciation
+seemed to her the entrance into that satisfaction which she had so
+long been craving in vain. She had not perceived--how could she until
+she had lived longer?--the inmost truth of the old monk's outpourings,
+that renunciation remains sorrow, though a sorrow borne willingly.
+Maggie was still panting for happiness, and was in ecstasy because she
+had found the key to it. She knew nothing of doctrines and systems--of
+mysticism or quietism; but this voice out of the far-off Middle Ages
+was the direct communication of a human soul's belief and experience,
+and came to Maggie as an unquestioned message.
+
+5. I suppose that is the reason why the small, old-fashioned book, for
+which you need pay only sixpence at a book-stall, works miracles to
+this day, turning bitter waters into sweetness; while expensive
+sermons and treatises, newly issued, leave all things as they were
+before. It was written down by a hand that waited for the heart's
+prompting; it is the chronicle of a solitary hidden anguish, struggle,
+trust, and triumph--not written on velvet cushions to teach endurance
+to those who are treading with bleeding feet on the stones. And so it
+remains to all time a lasting record of human needs and human
+consolations--the voice of a brother who, ages ago, felt and suffered
+and renounced in the cloister, perhaps, with serge gown and tonsured
+head, with much chanting and long fasts, and with a fashion of speech
+different from ours, but under the same silent far-off heavens, and
+with the same passionate desires, the same strivings, the same
+failures, the same weariness.
+
+     --_George Eliot_
+
+
+  Par. 1. IF THOU SEEKEST ... PLEASURE. What principle of
+  Inflection does this clause illustrate? Give similar
+  examples from Par. 3.
+
+  BOTH ABOVE AND BELOW ... EVERYWHERE. Which phrase in
+  this series has the strongest Emphasis?
+
+  THOU SUFFEREST. Which word is emphatic? (Introduction,
+  p. 30.) What phrases are contrasted with it?
+
+  Account for the Inflection used in the last two
+  sentences. (Introduction, p. 20.)
+
+  Par. 4. Indicate the Grouping in sentences 3 and 5.
+
+  HOW COULD SHE, ETC. What is the Inflection and Shading?
+  (Introduction, pp. 24 and 25.)
+
+  Par. 5. What is the Inflection on NOT WRITTEN ...
+  STONES? (Introduction p. 18.)
+
+       *       *       *       *       *
+
+
+THE VISION OF SIR LAUNFAL
+
+PART FIRST
+
+
+  "My golden spurs now bring to me,
+    And bring to me my richest mail,
+  For to-morrow I go over land and sea
+    In search of the Holy Grail;
+  Shall never a bed for me be spread,                                  5
+  Nor shall a pillow be under my head,
+  Till I begin my vow to keep;
+  Here on the rushes will I sleep,
+  And perchance there may come a vision true
+  Ere day create the world anew."                                     10
+    Slowly Sir Launfal's eyes grew dim,
+    Slumber fell like a cloud on him,
+  And into his soul the vision flew.
+
+  The crows flapped over by twos and threes,
+  In the pool drowsed the cattle up to their knees,                   15
+    The little birds sang as if it were
+    The one day of summer in all the year,
+  And the very leaves seemed to sing on the trees.
+  The castle alone in the landscape lay
+  Like an outpost of winter, dull and gray:                           20
+
+  'Twas the proudest hall in the North Countree,
+  And never its gates might opened be,
+  Save to lord or lady of high degree;
+  Summer besieged it on every side,
+  But the churlish stone her assaults defied;                         25
+  She could not scale the chilly wall,
+  Though round it for leagues her pavilions tall
+  Stretched left and right,
+  Over the hills and out of sight;
+    Green and broad was every tent,                                   30
+    And out of each a murmur went
+  Till the breeze fell off at night.
+  The drawbridge dropped with a surly clang,
+  And through the dark arch a charger sprang,
+  Bearing Sir Launfal, the maiden knight,                             35
+  In his gilded mail that flamed so bright
+  It seemed the dark castle had gathered all
+  Those shafts the fierce sun had shot over its wall
+    In his siege of three hundred summers long,
+  And, binding them all in one blazing sheaf,                         40
+    Had cast them forth: so, young and strong,
+  And lightsome as a locust leaf,
+  Sir Launfal flashed forth in his unscarred mail,
+  To seek in all climes for the Holy Grail.
+
+  It was morning on hill and stream and tree                          45
+    And morning in the young knight's heart;
+  Only the castle moodily
+  Rebuffed the gift of the sunshine free,
+    And gloomed by itself apart;
+  The season brimmed all other things up                              50
+  Full as the rain fills the pitcher-plant's cup.
+
+  As Sir Launfal made morn through the darksome gate
+    He was 'ware of a leper, crouched by the same,
+  Who begged with his hand and moaned as he sate;
+    And a loathing over Sir Launfal came;                             55
+  The sunshine went out of his soul with a thrill,
+    The flesh 'neath his armour 'gan shrink and crawl,
+  And midway its leap his heart stood still
+    Like a frozen waterfall;
+  For this man, so foul and bent of stature,                          60
+  Rasped harshly against his dainty nature,
+  And seemed the one blot on the summer morn,--
+  So he tossed him a piece of gold in scorn.
+
+  The leper raised not the gold from the dust:
+  "Better to me the poor man's crust,                                 65
+  Better the blessing of the poor,
+  Though I turn me empty from his door;
+  That is no true alms which the hand can hold;
+  He gives nothing but worthless gold
+    Who gives from a sense of duty;                                   70
+  But he who gives a slender mite,
+  And gives to that which is out of sight,
+    That thread of the all-sustaining Beauty
+  Which runs through all and doth all unite,--
+  The hand cannot clasp the whole of his alms,                        75
+  The heart outstretches its eager palms,
+  For a god goes with it and makes it store
+  To the soul that was starving in darkness before."
+
+
+PART SECOND
+
+  There was never a leaf on bush or tree,
+  The bare boughs rattled shudderingly;                               80
+  The river was numb and could not speak,
+    For the weaver Winter its shroud had spun;
+  A single crow on the tree-top bleak
+    From his shining feathers shed off the cold sun;
+  Again it was morning, but shrunk and cold                           85
+  As if her veins were sapless and old,
+  And she rose up decrepitly
+  For a last dim look at earth and sea.
+
+  Sir Launfal turned from his own hard gate,
+  For another heir in his earldom sate;                               90
+  An old, bent man, worn out and frail,
+  He came back from seeking the Holy Grail;
+  Little he recked of his earldom's loss,
+  No more on his surcoat was blazoned the cross,
+  But deep in his soul the sign he wore,                              95
+  The badge of the suffering and the poor.
+
+  Sir Launfal's raiment thin and spare
+  Was idle mail 'gainst the barbed air,
+  For it was just at the Christmas time;
+  So he mused, as he sat, of a sunnier clime,                        100
+  And sought for a shelter from cold and snow
+  In the light and warmth of long-ago:
+  He sees the snake-like caravan crawl
+  O'er the edge of the desert, black and small.
+  Then nearer and nearer, till, one by one,                          105
+  He can count the camels in the sun,
+  As over the red-hot sands they pass
+  To where, in its slender necklace of grass,
+  The little spring laughed and leapt in the shade,
+  And with its own self like an infant played,                       110
+  And waved its signal of palms.
+  "For Christ's sweet sake I beg an alms;"--
+  The happy camels may reach the spring,
+  But Sir Launfal sees only the grewsome thing,
+  The leper, lank as the rain-blanched bone,                         115
+  That cowers beside him, a thing as lone
+  And white as the ice-isles of Northern seas
+  In the desolate horror of his disease.
+
+  And Sir Launfal said, "I behold in thee
+  An image of Him who died on the tree;                              120
+  Thou also hast had thy crown of thorns,
+  Thou also hast had the world's buffets and scorns,
+  And to thy life were not denied
+  The wounds in the hands and feet and side:
+  Mild Mary's Son, acknowledge me;                                   125
+  Behold, through him, I give to thee!"
+
+  Then the soul of the leper stood up in his eyes
+    And looked at Sir Launfal, and straightway he
+  Remembered in what a haughtier guise
+    He had flung an alms to leprosie,                                130
+  When he girt his young life up in gilded mail
+  And set forth in search of the Holy Grail.
+  The heart within him was ashes and dust;
+  He parted in twain his single crust,
+  He broke the ice on the streamlet's brink,                         135
+  And gave the leper to eat and drink:
+  'Twas a mouldy crust of coarse brown bread,
+    'Twas water out of a wooden bowl,--
+  Yet with fine wheaten bread was the leper fed,
+    And 'twas red wine he drank with his thirsty soul.               140
+
+  As Sir Launfal mused with a downcast face,
+  A light shone round about the place;
+  The leper no longer crouched at his side,
+  But stood before him glorified,
+  Shining and tall and fair and straight                             145
+  As the pillar that stood by the Beautiful Gate,--
+  Himself the Gate whereby men can
+  Enter the temple of God in Man.
+
+  His words were shed softer than leaves from the pine,
+  And they fell on Sir Launfal as snows on the brine,                150
+  Which mingle their softness and quiet in one
+  With the shaggy unrest they float down upon:
+  And the voice that was calmer than silence said:
+  "Lo it is I, be not afraid!
+  In many climes, without avail,                                     155
+  Thou has spent thy life for the Holy Grail;
+  Behold it is here,--this cup which thou
+  Didst fill at the streamlet for me but now;
+  This crust is my body broken for thee,
+  This water His blood that died on the tree;                        160
+  The Holy Supper is kept, indeed,
+  In whatso we share with another's need;
+  Not what we give, but what we share,--
+  For the gift without the giver is bare;
+  Who gives himself with his alms feeds three,--                     165
+  Himself, his hungering neighbour, and me."
+
+  Sir Launfal awoke as from a swound:--
+  "The Grail in my castle here is found!
+  Hang my idle armour up on the wall,
+  Let it be the spider's banquet-hall;                               170
+  He must be fenced with stronger mail
+  Who would seek and find the Holy Grail."
+
+  The castle gate stands open now,
+    And the wanderer is welcome to the hall
+  As the hangbird is to the elm-tree bough;                          175
+    No longer scowl the turrets tall,
+  The Summer's long siege at last is o'er;
+  When the first poor outcast went in at the door,
+  She entered with him in disguise,
+  And mastered the fortress by surprise;                             180
+  There is no spot she loves so well on ground,
+  She lingers and smiles there the whole year round.
+  The meanest serf on Sir Launfal's land
+  Has hall and bower at his command;
+  And there's no poor man in the North Countree                      185
+  But is lord of the earldom as much as he.
+
+      --_James Russell Lowell_
+
+
+  PREPARATORY.--Read Tennyson's _The Holy Grail_.
+
+  Compare the mode in which Tennyson treats the pursuit of
+  the Holy Grail, in _Sir Galahad_, with that adopted by
+  Lowell in this poem.
+
+  Show the connection between the fundamental ideas in
+  this poem, and those in Longfellow's _King Robert of
+  Sicily_ and _The Legend Beautiful_.
+
+  Point out the various contrasts (_a_) of scene, (_b_) of
+  thought, (_c_) of emotion, and show a corresponding
+  contrast in vocal expression.
+
+  Articulation. (Appendix A, 1 and 11.)
+
+  5 and 6. What is the Inflection?
+
+  11. What changes of vocal expression accompany the
+  transition?
+
+  14-20. Note the word-pictures and the effect of the
+  Imaging process on the Time.
+
+  22. What is the Inflection on BE?
+
+  27-29 and 37-39. Observe the Grouping, Pause, and
+  Inflection.
+
+  41. HAD CAST THEM FORTH. With what phrase is this
+  parallel? How does the voice express the parallelism?
+
+  42-44. Which line expresses the main thought? How is it
+  made prominent? (Introduction, p. 33.)
+
+  51. Where is the Pause?
+
+  65-67. Show the relative importance of the emphatic
+  words and phrases. (Introduction, pp. 30 and 31.)
+
+  69-78. Read these lines with a view to (_a_)
+  Perspective, (_b_) Inflection.
+
+  91. OLD, BENT. Account for the pause between these two
+  adjectives. (Introduction, pp. 7 and 8.)
+
+  95. What is the emphatic word? Why?
+
+  107-111. Note the difference in the sound of the letter
+  _a_ in the various words.
+
+  119-126. What feeling predominates? How are the Force,
+  Pitch, and Time affected?
+
+  137-140. How does the voice indicate the contrast
+  between the meagre and the sumptuous? (Introduction, pp.
+  34 and 35.)
+
+  141-142. Note the transition from the subjective to the
+  objective. How is it indicated in reading?
+
+  154-166. What atmosphere pervades this speech? What
+  Quality of voice suggests it? (Introduction, p. 35.)
+
+  167. Note the transition. What movement is suggested?
+  What is the Stress and Quality of voice?
+
+  168-172. What state of mind does this speech suggest?
+  What is the change in Stress and Quality?
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF GLADSTONE
+
+Delivered in the Canadian House of Commons, May 26, 1898
+
+
+England has lost the most illustrious of her sons; but the loss is not
+England's alone, nor is it confined to the great empire which
+acknowledges England's suzerainty, nor even to the proud race which
+can claim kinship with the people of England. The loss is the loss of
+mankind. Mr. Gladstone gave his whole life to his country; but the
+work which he did for his country, was conceived and carried out, on
+principles of such high elevation, for purposes so noble, and aims so
+lofty, that not his country alone, but the whole of mankind, benefited
+by his work. It is no exaggeration to say that he has raised the
+standard of civilization, and the world to-day is undoubtedly better
+for both the precept and the example of his life.
+
+His death is mourned not only by England, the land of his birth, not
+only by Scotland, the land of his ancestors, not only by Ireland for
+whom he did so much, and attempted so much more; but also by the
+people of the two Sicilies, for whose outraged rights he once aroused
+the conscience of Europe, by the people of the Ionian Islands, whose
+independence he secured, and by the people of Bulgaria and the
+Danubian Provinces, in whose cause he enlisted the sympathy of his own
+native country. Indeed, since the days of Napoleon, no man has lived
+whose name has travelled so far and so wide, over the surface of the
+earth; no man has lived whose name alone so deeply moved the hearts of
+so many millions of men. Whereas Napoleon impressed his tremendous
+personality upon peoples far and near, by the strange fascination
+which the genius of war has always exercised over the imagination of
+men in all lands and in all ages, the name of Gladstone had come to be
+in the minds of all civilized nations, the living incarnation of right
+against might--the champion, the dauntless, tireless champion, of the
+oppressed against the oppressor. It is, I believe, equally true to say
+that he was the most marvellous mental organization which the world
+has seen since Napoleon--certainly the most compact, the most active
+and the most universal.
+
+This last half century in which we live, has produced many able and
+strong men who, in different walks of life, have attracted the
+attention of the world at large; and of the men who have illustrated
+this age, it seems to me that in the eyes of posterity four will
+outlive and outshine all others--Cavour, Lincoln, Bismarck, and
+Gladstone. If we look simply at the magnitude of the results obtained,
+compared with the exiguity of the resources at command,--if we
+remember that out of the small Kingdom of Sardinia grew united Italy,
+we must come to the conclusion that Count Cavour was undoubtedly a
+statesman of marvellous skill and prescience. Abraham Lincoln, unknown
+to fame when he was elected to the presidency, exhibited a power for
+the government of men which has scarcely been surpassed in any age. He
+saved the American Union, he enfranchised the black race, and for the
+task he had to perform he was endowed in some respects almost
+miraculously. No man ever displayed a greater insight into the
+motives, the complex motives, which shape the public opinion of a free
+country, and he possessed almost to the degree of an instinct, the
+supreme quality in a statesman of taking the right decision, taking it
+at the right moment and expressing it in language of incomparable
+felicity. Prince Bismarck was the embodiment of resolute common sense,
+unflinching determination, relentless strength, moving onward to his
+end, and crushing everything in his way as unconcerned as fate itself.
+Mr. Gladstone undoubtedly excelled every one of these men. He had in
+his person a combination of varied powers of the human intellect,
+rarely to be found in one single individual. He had the imaginative
+fancy, the poetic conception of things, in which Count Cavour was
+deficient. He had the aptitude for business, the financial ability
+which Lincoln never exhibited. He had the lofty impulses, the generous
+inspirations which Prince Bismarck always discarded, even if he did
+not treat them with scorn. He was at once an orator, a statesman, a
+poet, and a man of business. As an orator he stands certainly in the
+very front rank of orators of his country or any country of his age or
+any age. I remember when Louis Blanc was in England, in the days of
+the Second Empire, he used to write to the press of Paris, and in one
+of his letters to "Le Temps" he stated that Mr. Gladstone would
+undoubtedly have been the foremost orator of England, if it were not
+for the existence of Mr. Bright. It may be admitted, and I think it is
+admitted generally, that on some occasions Mr. Bright reached heights
+of grandeur and pathos which even Mr. Gladstone did not attain. But
+Mr. Gladstone had an ability, a vigour, a fluency which no man in his
+age or any age ever rivalled or even approached. That is not all. To
+his marvellous mental powers he added no less marvellous physical
+gifts. He had the eye of a god, the voice of a silver bell; and the
+very fire of his eye, the very music of his voice swept the hearts of
+men even before they had been dazzled by the torrents of his
+eloquence.
+
+As a statesman, it was the good fortune of Mr. Gladstone that his
+career was not associated with war. The reforms which he effected, the
+triumphs which he achieved, were not won by the supreme arbitrament of
+the sword. The reforms which he effected and the triumphs which he
+achieved were the result of his power of persuasion over his
+fellow-men. The reforms which he achieved in many ways amounted to a
+revolution. They changed, in many particulars, the face of the realm.
+After Sir Robert Peel had adopted the great principle which eventually
+carried England from protection to free trade, it was Mr. Gladstone
+who created the financial system which has been admitted ever since by
+all students of finance, as the secret of Great Britain's commercial
+success. He enforced the extension of the suffrage to the masses of
+the nation, and practically thereby made the government of monarchical
+England as democratic as that of any republic. He disestablished the
+Irish church, he introduced reform into the land tenure and brought
+hope into the breasts of those tillers of the soil in Ireland who had
+for so many generations laboured in despair. And all this he did, not
+by force or violence, but simply by the power of his eloquence and the
+strength of his personality.
+
+Great, however, as were the acts of the man, after all he was of the
+human flesh, and for him, as for everybody else, there were trivial
+and low duties to be performed. It is no exaggeration to say that even
+in those low and trivial duties he was great. He ennobled the common
+realities of life. His was above all things a religious
+mind--essentially religious in the highest sense of the term. And the
+religious sentiment which dominated his public life and his speeches,
+that same sentiment, according to the testimony of those who knew him
+best, also permeated all his actions from the highest to the humblest.
+He was a man of strong and pure affections, of long and lasting
+friendship, and to describe the beauty of his domestic life, no words
+of praise can be adequate. It was simply ideally beautiful, and in the
+later years of his life, as touching as it was beautiful. May I be
+permitted, without any impropriety, to recall that it was my privilege
+to experience and to appreciate that courtesy, made up of dignity and
+grace, which was famous all the world over, but of which no one could
+have an appropriate opinion, unless he had been the recipient of it.
+In a character so complex and diversified, one may ask what was the
+dominant feature, what was the supreme quality, the one characteristic
+which marked the nature of the man. Was it his incomparable genius for
+finance? Was it his splendid oratorical powers? Was it his marvellous
+fecundity of mind? In my estimation it was not any one of these
+qualities. Great as they were, there was one still more marked, and if
+I have to give my own impression, I would say that the one trait which
+was dominant in his nature, which marked the man more distinctly than
+any other, was his intense humanity, his paramount sense of right, his
+abhorrence of injustice, wrong, and oppression wherever to be found or
+in whatever shape they might show themselves. Injustice, wrong,
+oppression acted upon him, as it were, mechanically, and aroused every
+fibre of his being, and from that moment to the repairing of the
+injustice, the undoing of the wrong, and the destruction of the
+oppression, he gave his mind, his heart, his soul, his whole life with
+an energy, with an intensity, with a vigour paralleled in no man
+unless it be the first Napoleon. There are many evidences of this in
+his life. When he was travelling in Southern Italy, as a tourist, for
+pleasure and for the benefit of the health of his family, he became
+aware of the abominable system which was there prevailing under the
+name of Constitutional Government. He left everything aside, even the
+object which had brought him to Italy, and applied himself to
+investigate and to collect evidence, and then denounced the abominable
+system in a trumpet blast of such power that it shook to its very
+foundations the throne of King Ferdinand and sent it tottering to its
+fall. Again, when he was sent as High Commissioner to the Ionian
+Islands, the injustice of keeping this Hellenic population separated
+from the rest of Greece, separated from the kingdom to which they were
+adjacent, and toward which all their aspirations were raised, struck
+his generous soul with such force that he became practically their
+advocate, and secured their independence. Again, when he had
+withdrawn from public life, and when, in the language of Thiers, under
+somewhat similar circumstances, he had returned to "ses chères
+études," the atrocities perpetrated by the Turks on the people of
+Roumania brought him back to public life with a vehemence, an
+impetuosity, and a torrent of fierce indignation that swept everything
+before it. If this be, as I think it is, the one distinctive feature
+of his character, it seems to explain away what are called the
+inconsistencies of his life. Inconsistencies there were none in his
+life. He had been brought up in the most unbending school of Toryism.
+He became the most active reformer of our times. But whilst he became
+the leader of the Liberal party and an active reformer, it is only due
+to him to say that in his complex mind there was a vast space for what
+is known as conservatism. His mind was not only liberal but
+conservative as well, and he clung to the affections of his youth
+until, in questions of practical moment, he found them clashing with
+that sense of right and abhorrence of injustice of which I have
+spoken. But the moment he found his conservative affections clash with
+what he thought right and just, he did not hesitate to abandon his
+former convictions and go the whole length of the reforms demanded.
+Thus he was always devotedly, filially, lovingly attached to the
+Church of England. He loved it, as he often declared. He adhered to it
+as an establishment in England, but the very reasons and arguments
+which, in his mind, justified the establishment of the Church in
+England, compelled him to a different course as far as that church was
+concerned in Ireland. In England the Church was the church of the
+majority, of almost the unanimity of the nation. In Ireland it was
+the church of the minority, and, therefore, he did not hesitate. His
+course was clear: he removed the one church and maintained the other.
+So it was with Home Rule. But coming to the subject of Home Rule,
+though there may be much to say, perhaps this is neither the occasion
+nor the place to say it. The Irish problem is dormant, not solved; but
+the policy proposed by Mr. Gladstone for the solution of this question
+has provoked too much bitterness, too deep division, even on the floor
+of this House, to make it advisable to say anything about it on this
+occasion.
+
+I notice it, however, simply because it is the last and everlasting
+monument of that high sense of justice which, above all things,
+characterized him. When he became convinced that Home Rule was the
+only method whereby the long-open wound could be healed, he did not
+hesitate one moment, even though he were to sacrifice friends, power,
+popularity. And he sacrificed friends, power, popularity, in order to
+give that supreme measure of justice to a long-suffering people.
+Whatever may be the views which men entertain upon the policy of Home
+Rule, whether they favour that policy or whether they oppose it,
+whether they believe in it or whether they do not believe in it, every
+man, whether friend or foe of that measure, must say that it was not
+only a bold, but it was a noble thought, that of attempting to cure
+discontent in Ireland by trusting to Irish honour and Irish
+generosity.
+
+Now, Sir, he is no more. England is to-day in tears, but fortunate is
+the nation which has produced such a man. His years are over; but his
+work is not closed; his work is still going on. The example which he
+gave to the world shall live for ever, and the seed which he has sown
+with such a copious hand shall still germinate and bear fruit under
+the full light of heaven.
+
+      --_Sir Wilfrid Laurier (By permission)_
+
+
+  In reading this speech, apply the principles of Pause,
+  Inflection, Grouping, Emphasis, and Perspective
+  illustrated in the preceding lessons.
+
+       *       *       *       *       *
+
+
+THE DOWNFALL OF WOLSEY
+
+From "King Henry VIII" Act III. Scene ii.
+
+
+  Farewell! a long farewell, to all my greatness!
+  This is the state of man: to-day he puts forth
+  The tender leaves of hope; to-morrow blossoms,
+  And bears his blushing honours thick upon him;
+  The third day comes a frost, a killing frost,                        5
+  And,--when he thinks, good easy man, full surely
+  His greatness is a-ripening,--nips his root,
+  And then he falls, as I do. I have ventured,
+  Like little wanton boys that swim on bladders,
+  This many summers in a sea of glory,                                10
+  But far beyond my depth: my high-blown pride
+  At length broke under me; and now has left me,
+  Weary, and old with service, to the mercy
+  Of a rude stream, that must for ever hide me.
+  Vain pomp and glory of this world, I hate ye:                       15
+  I feel my heart new open'd. O, how wretched
+  Is that poor man that hangs on princes' favours!
+  There is, betwixt that smile we would aspire to,
+  That sweet aspect of princes, and their ruin,
+  More pangs and fears than wars or women have;                       20
+  And when he falls, he falls like Lucifer,
+  Never to hope again.--
+
+[_Enter Cromwell, and stands amazed_]
+
+    Why, how now, Cromwell!
+
+  _Crom._ I have no power to speak, sir.
+
+  _Wol._ What! amaz'd
+  At my misfortunes? can thy spirit wonder
+  A great man should decline? Nay, an you weep,                       25
+  I am fall'n indeed.
+
+  _Crom._ How does your grace?
+
+  _Wol._ Why, well;
+  Never so truly happy, my good Cromwell.
+  I know myself now; and I feel within me
+  A peace above all earthly dignities,
+  A still and quiet conscience. The king has cur'd me,                30
+  I humbly thank his grace; and from these shoulders,
+  These ruin'd pillars, out of pity, taken
+  A load would sink a navy,--too much honour:
+  O, 't is a burden, Cromwell, 't is a burden,
+  Too heavy for a man that hopes for heaven!                          35
+
+  _Crom._ I am glad your grace has made that right
+  use of it.
+
+  _Wol._ I hope I have: I am able now, methinks,--
+  Out of a fortitude of soul I feel--
+  To endure more miseries, and greater far,
+  Than my weak-hearted enemies dare offer.                            40
+  What news abroad?
+
+  _Crom._ The heaviest, and the worst
+  Is your displeasure with the king.
+
+  _Wol._ God bless him!
+
+  _Crom._ The next is, that Sir Thomas More is chosen
+  Lord chancellor in your place.
+
+  _Wol._ That's somewhat sudden:
+  But he's a learned man. May he continue                             45
+  Long in his highness' favour, and do justice
+  For truth's sake, and his conscience; that his bones,
+  When he has run his course and sleeps in blessings,
+  May have a tomb of orphans' tears wept on 'em!--
+  What more?                                                          50
+
+  _Crom._ That Cranmer is return'd with welcome,
+  Install'd Lord Archbishop of Canterbury.
+
+  _Wol._ That's news indeed.
+
+  _Crom._                    Last, that the Lady Anne,
+  Whom the king hath in secrecy long married,
+  This day was view'd in open, as his queen,                          55
+  Going to chapel; and the voice is now
+  Only about her coronation.
+
+  _Wol._ There was the weight that pull'd me down.
+      O Cromwell,
+  The king has gone beyond me: all my glories
+  In that one woman I have lost for ever.                             60
+  No sun shall ever usher forth mine honours,
+  Or gild again the noble troops that waited
+  Upon my smiles. Go, get thee from me, Cromwell;
+  I am a poor fall'n man, unworthy now
+  To be thy lord and master. Seek the king;                           65
+  That sun, I pray, may never set! I have told him
+  What and how true thou art: he will advance thee;
+  Some little memory of me will stir him--
+  I know his noble nature--not to let
+  Thy hopeful service perish too. Good Cromwell,                      70
+  Neglect him not; make use now, and provide
+  For thine own future safety.
+
+  _Crom._                  O my lord,
+  Must I, then, leave you? must I needs forego
+  So good, so noble, and so true a master?
+  Bear witness, all that have not hearts of iron,                     75
+  With what a sorrow Cromwell leaves his lord.
+  The king shall have my service; but my prayers,
+  For ever and for ever, shall be yours.
+
+  _Wol._ Cromwell, I did not think to shed a tear
+  In all my miseries; but thou hast forced me,                        80
+  Out of thy honest truth, to play the woman.
+  Let's dry our eyes; and thus far hear me, Cromwell:
+  And--when I am forgotten, as I shall be,
+  And sleep in dull cold marble, where no mention
+  Of me more must be heard of--say, I taught thee,                    85
+  Say, Wolsey, that once trod the ways of glory,
+  And sounded all the depths and shoals of honour,
+  Found thee a way, out of his wrack, to rise in;
+  A sure and safe one, though thy master miss'd it.
+  Mark but my fall, and that that ruin'd me.                          90
+  Cromwell, I charge thee, fling away ambition:
+  By that sin fell the angels; how can man, then,
+  The image of his Maker, hope to win by 't?
+  Love thyself last; cherish those hearts that hate thee;
+  Corruption wins not more than honesty.                              95
+  Still in thy right hand carry gentle peace,
+  To silence envious tongues. Be just, and fear not:
+  Let all the ends thou aim'st at be thy country's,
+  Thy God's, and truth's: then if thou fall'st, O Cromwell,
+  Thou fall'st a blessed martyr. Serve the king;                     100
+  And--pr'ythee lead me in:
+  There take an inventory of all I have,
+  To the last penny; 't is the king's: my robe,
+  And my integrity to Heaven, is all
+  I dare now call my own. O Cromwell, Cromwell!                      105
+  Had I but served my God with half the zeal
+  I served my king, He would not in mine age
+  Have left me naked to mine enemies.
+
+  _Crom._ Good sir, have patience.
+
+  _Wol._                  So I have. Farewell                        110
+  The hopes of court! my hopes in heaven do dwell.
+
+        --_Shakespeare_
+
+
+  Compare the last words of Wolsey with those of Socrates
+  as found in Jowett's translation of _The Apology_, (p.
+  145.)
+
+  BE JUST ... MARTYR. Show that the life and death of
+  Socrates illustrates this ideal.
+
+  Compare the Pitch in which Wolsey utters his monologue
+  with that in which he addresses Cromwell. (Introduction,
+  p. 23.)
+
+  How is the parenthetical clause in ll. 6 and 7 kept in
+  the back-ground? (Introduction, p. 24.) Select similar
+  examples from Wolsey's speeches.
+
+  AND FROM THESE SHOULDERS ... NAVY. Supply the ellipses.
+
+  BY THAT SIN ... WIN BY 'T? Select the emphatic words and
+  account for the Emphasis in each case. (Introduction, p.
+  30.)
+
+       *       *       *       *       *
+
+
+THE ITALIAN IN ENGLAND
+
+
+  That second time they hunted me
+  From hill to plain, from shore to sea,
+  And Austria, hounding far and wide
+  Her blood-hounds thro' the country-side,
+  Breathed hot and instant on my trace.--                              5
+  I made, six days, a hiding-place
+  Of that dry green old aqueduct
+  Where I and Charles, when boys, have plucked
+  The fireflies from the roof above,
+  Bright creeping thro' the moss they love:                           10
+  --How long it seems since Charles was lost!
+  Six days the soldiers crossed and crossed
+  The country in my very sight;
+  And when that peril ceased at night,
+  The sky broke out in red dismay                                     15
+  With signal-fires. Well, there I lay
+  Close covered o'er in my recess,
+  Up to the neck in ferns and cress,
+  Thinking on Metternich our friend,
+  And Charles's miserable end,                                        20
+  And much beside, two days; the third,
+  Hunger o'ercame me when I heard
+  The peasants from the village go
+  To work among the maize: you know,
+  With us in Lombardy, they bring                                     25
+  Provisions packed on mules, a string
+  With little bells that cheer their task,
+  And casks, and boughs on every cask
+  To keep the sun's heat from the wine;
+  These I let pass in jingling line,                                  30
+  And, close on them, dear noisy crew,
+  The peasants from the village, too;
+  For at the very rear would troop
+  Their wives and sisters in a group
+  To help, I knew. When these had passed,                             35
+  I threw my glove to strike the last,
+  Taking the chance: she did not start,
+  Much less cry out, but stooped apart,
+  One instant rapidly glanced round,
+  And saw me beckon from the ground;                                  40
+  A wild bush grows and hides my crypt,
+  She picked my glove up while she stripped
+  A branch off, then rejoined the rest
+  With that; my glove lay in her breast:
+  Then I drew breath; they disappeared:                               45
+  It was for Italy I feared.
+
+  An hour, and she returned alone
+  Exactly where my glove was thrown.
+  Meanwhile came many thoughts; on me
+  Rested the hopes of Italy;                                          50
+  I had devised a certain tale
+  Which, when 't was told her, could not fail
+  Persuade a peasant of its truth;
+  I meant to call a freak of youth
+  This hiding, and give hopes of pay,                                 55
+  And no temptation to betray.
+  But when I saw that woman's face,
+  It's calm simplicity of grace,
+  Our Italy's own attitude
+  In which she walked thus far, and stood,                            60
+  Planting each naked foot so firm,
+  To crush the snake and spare the worm--
+  At first sight of her eyes, I said,
+  "I am that man upon whose head
+  They fix the price, because I hate                                  65
+  The Austrians over us; the State
+  Will give you gold--oh, gold so much!--
+  If you betray me to their clutch,
+  And be your death, for aught I know,
+  If once they find you saved their foe.                              70
+  Now, you must bring me food and drink,
+  And also paper, pen and ink,
+  And carry safe what I shall write
+  To Padua, which you'll reach at night
+  Before the duomo shuts; go in,                                      75
+  And wait till Tenebrae begin;
+  Walk to the third confessional,
+  Between the pillar and the wall,
+  And kneeling whisper, _Whence comes peace?_
+  Say it a second time, then cease;                                   80
+  And if the voice inside returns,
+  _From Christ and Freedom; what concerns
+  The cause of Peace?_--for answer, slip
+  My letter where you placed your lip;
+  Then come back happy we have done                                   85
+  Our mother service--I, the son,
+  As you the daughter of our land!"
+
+    Three mornings more, she took her stand
+  In the same place, with the same eyes:
+  I was no surer of sunrise                                           90
+  Than of her coming: we conferred
+  Of her own prospects, and I heard
+  She had a lover--stout and tall,
+  She said--then let her eyelids fall,
+  "He could do much"--as if some doubt                                95
+  Entered her heart,--then, passing out,
+  "She could not speak for others, who
+  Had other thoughts; herself she knew":
+  And so she brought me drink and food.
+  After four days, the scouts pursued                                100
+  Another path; at last arrived
+  The help my Paduan friends contrived
+  To furnish me: she brought the news.
+  For the first time I could not choose
+  But kiss her hand, and lay my own                                  105
+  Upon her head--"This faith was shown
+  To Italy, our mother; she
+  Uses my hand and blesses thee."
+  She followed down to the sea-shore;
+  I left and never saw her more.                                     110
+
+    How very long since I have thought
+  Concerning--much less wished for--aught
+  Beside the good of Italy,
+  For which I live and mean to die!
+  I never was in love; and since                                     115
+  Charles proved false, what shall now convince
+  My inmost heart I have a friend?
+  However, if I pleased to spend
+  Real wishes on myself--say, three--
+  I know at least what one should be.                                120
+  I would grasp Metternich until
+  I felt his red wet throat distil
+  In blood thro' these two hands. And next,
+  --Nor much for that am I perplexed--
+  Charles, perjured traitor, for his part,                           125
+  Should die slow of a broken heart
+  Under his new employers. Last,
+  --Ah, there, what should I wish? For fast
+  Do I grow old and out of strength.
+  If I resolved to seek at length                                    130
+  My father's house again, how scared
+  They all would look, and unprepared!
+  My brothers live in Austria's pay
+  --Disowned me long ago, men say;
+  And all my early mates who used                                    135
+  To praise me so--perhaps induced
+  More than one early step of mine--
+  Are turning wise: while some opine
+  "Freedom grows license", some suspect
+  "Haste breeds delay", and recollect                                140
+  They always said, such premature
+  Beginnings never could endure!
+  So, with a sullen "All's for best",
+  The land seems settling to its rest.
+  I think then, I should wish to stand                               145
+  This evening in that dear, lost land,
+  Over the sea the thousand miles,
+  And know if yet that woman smiles
+  With the calm smile; some little farm
+  She lives in there, no doubt: what harm                            150
+  If I sat on the door-side bench,
+  And, while her spindle made a trench
+  Fantastically in the dust,
+  Inquired of all her fortunes--just
+  Her children's ages and their names,                               155
+  And what may be the husband's aims
+  For each of them. I'd talk this out,
+  And sit there, for an hour about,
+  Then kiss her hand once more, and lay
+  Mine on her head, and go my way.                                   160
+
+  So much for idle wishing--how
+  It steals the time! To business now.
+
+      --_Robert Browning (By permission)_
+
+
+  PREPARATORY.--What is the historical back-ground of this
+  poem? Suggest the possible details of the exiled
+  patriot's life in England, his surroundings and frame of
+  mind at the moment of speaking.
+
+  Reconstruct for yourself the three scenes of which the
+  peasant woman is the centre.
+
+  What qualities did the Italian at once recognize in the
+  peasant woman which led him to intrust his safety to
+  her?
+
+  79. WHENCE COMES PEACE? In what Quality of voice is this
+  read? Give your reason. (Introduction, p. 34.)
+
+  95. HE COULD DO MUCH. How is the doubt in this speech
+  and in the one following indicated by the Inflection?
+  (Introduction, p. 18.)
+
+  111-112. With what is THOUGHT CONCERNING connected? How?
+
+  120-123. I KNOW AT LEAST ... HANDS. What Quality of
+  voice expresses the feeling here? What succeeding lines
+  have the same Quality? (Introduction, p. 35.) With what
+  is NEXT connected? How?
+
+  139-142. FREEDOM GROWS LICENSE ... ENDURE. How is the
+  irony of these lines indicated? (Introduction, pp. 21
+  and 30.)
+
+  How does the mood of the last two lines differ from the
+  preceding? What is the difference in vocal expression?
+
+       *       *       *       *       *
+
+
+ADVANTAGES OF IMPERIAL FEDERATION
+
+From an address delivered in Toronto, January 30th, 1891, under the
+auspices of the Imperial Federation League
+
+
+I now go on to mention another and greater advantage of Imperial
+Federation than the one which we have just been considering; an
+advantage too that is so connected with that of improved trade that
+the two must be considered together. In fact, in my opinion, the first
+is not likely to be obtained without the second. We cannot expect
+Britain to concede preferential trade to us, on the ground that we are
+part of the Empire, unless we are willing to share the
+responsibilities of the Empire. I say then, secondly, that only by
+some form of Imperial Federation can the independence of Canada be
+preserved, with due regard to self-respect.
+
+If this is true, if Imperial Federation can do this, and if it can be
+done in no other way, then the necessity for Imperial Federation is
+proved; for national independence is an advantage so great that no
+price can be named that is too great to give in payment. It is the
+same with a country as with a man. Independent he must be, or he
+ceases to be a man. Burns advises his young friend to "gather gear" in
+every honourable way, and what for?
+
+  Not for to hoard it in a dyke,
+    Not for a train attendant;
+  But for the glorious privilege
+    Of being independent.
+
+And that which is the supreme dignity of manhood is even more
+essential in the case of a nation.
+
+What do we mean when we speak of the independence of the country? We
+mean something beyond price, something that is the indispensable
+condition of true manhood in any country, something without which a
+country is poor in the present and a butt for the world's scorn in the
+future. There are men, or things that look like men, who say that as
+long as we put money in our purse, nothing else counts. How that class
+of men must have laughed some centuries ago at a fool called William
+Wallace! How clearly they could point out that it was much better to
+be part of the richer country to the south. When they heard of the
+fate of the patriot, did they not serenely say: "We told you so?" Did
+they not in their hearts envy the false Menteath the price he got for
+betraying the man who acted as true sentiment bade? But, give it time,
+and the judgment of the world is just. Even the blind can now see
+whether the patriot or the so-called "practical man" did most for
+Scotland's advantage. Now
+
+  At Wallace' name, what Scottish blood
+  But boils up in a springtime flood!
+  Oft have our fearless fathers strode
+        By Wallace' side,
+  Still pressing onward, red-wat shod,
+        Or glorious died.
+
+What has his memory been worth to Scotland! Would you estimate it in
+millions? Superior persons will tell me that Wallace is an
+anachronism. In form, yes; in spirit, never. It may be said that in
+the end Scotland did unite with England. Yes, but first, what a curse
+the union would have been if unaccompanied, as in the case of Ireland,
+with national self-respect! And, secondly, Canada is ready for union
+with the States any day on the same terms as those which Scotland got:
+(1) That the States accept our Queen or King as their head. (2) That
+we keep our own civil and criminal law and parliamentary constitution,
+as Scotland did. (3) That the whole Empire be included in the
+arrangement, as the whole of Scotland was in the union. Surely the men
+who are never tired of citing the case of Scotland and England as
+parallel to ours must admit that this is fair.
+
+But, here comes a question that must be faced. Is it worth while
+preserving the independence, the unity, and dignity of Canada? There
+are men who, for one reason or another, doubt whether it is. They have
+lost faith in the country, or rather they never had any faith to lose.
+It is this absence of faith that is at the bottom of all their
+arguments and all their unrest. Now, I do not wonder that there should
+be men who do not share our faith. Men who were brought up in England,
+and who have seen and tasted the best of it; who are proud of that
+"dear, dear land", as Shakespeare called it, proud of its history, its
+roll of saints, statesmen, heroes; of its cathedrals, colleges,
+castles; of its present might as well as its ancient renown; and who
+have then come to live in Canada,--well, they naturally look with
+amused contempt at our raw, rough ways, our homespun legislators and
+log colleges, combined with lofty ambitions expressed sometimes--it
+must be admitted--in bunkum. I do not wonder, either, that men who
+have been citizens of the United States, who exult in its vast
+population, its vast wealth, and its boundless energy, should think it
+madness on our part that we are not knocking untiringly at their door
+for admission, and that the only explanation of our attitude that they
+can give is that we are "swelled heads", or "the rank and file of
+jingoism." But, after all, they must know that this question is not to
+be settled by them. It must be settled by genuine Canadians. We, like
+Cartier, are Canadians _avant tout_. Most of us have been born in the
+land, have buried our fathers and mothers, and some of us our
+children, too, in the natal soil, and above the sacred dust we have
+pledged ourselves to be true to their memories and to the country they
+loved, and to those principles of honour that are eternal! God
+helping, we will do so, whether strangers help or hinder! We do not
+think so meanly of our country that we are willing to sell it for a
+mess of pottage. I know Canada well, from ocean to ocean; from the
+rich sea pastures on the Atlantic all the way across to Vancouver and
+Victoria. Every province and every territory of it, I know well. I
+know the people, too, a people thoroughly democratic and honest to the
+core. I would now plainly warn those who think that there is no such
+thing as Canadian sentiment that they are completely mistaken. They
+had better not reckon without their host. The silent vote is that
+which tells, and though it will not talk, it will vote solid all the
+time for those who represent national sentiment when the national life
+is threatened. I am not a party man. In my day, I have voted about
+evenly on both sides, for when I do vote, it is after consideration of
+the actual issues involved at the time. Both sides therefore rightly
+consider me unreliable, but, perhaps, both will listen when I point
+out that the independent vote is increasing, and that it is the only
+vote worth cultivating. The true Grit or Tory will vote with his
+party, right or wrong. No time, therefore, need be given to him. Let
+the wise candidate win the men who believe that the country is higher
+than party, and there is, I think, only one thing that these men will
+not forgive--lack of faith in the country. They have no doubt that it
+is worth while to preserve the unity, dignity, and independence of
+Canada.
+
+We are quite sure of this. Are we as sure that it is our duty to pay
+the price? The United States are paying three or four times our whole
+revenue in pensions to those who fought to keep the country united.
+They do not grudge this enormous price. They have besides a
+respectable army, and a fleet that will soon be formidable. What means
+do we find it necessary to use? In any trouble we simply call on the
+Mother Country. The present system is cheap. No! it is dear and nasty,
+and cannot last.
+
+What should we do? First, let us remember what Britain has dared for
+us within the last two or three years. Britain would fight the rest of
+the world rather than the United States,--not because the Republic
+could hurt her seriously, not because her trade with it is five times
+as much as with us, but because she is proud of her own eldest child
+and knows that a war between mother and daughter would be a blow
+struck at the world's heart. Yet, for us she spoke the decisive word
+from which there was no drawing back. For us, once and again, because
+we were in the right, she dared a risk which she hated with her whole
+soul.
+
+Let us show that we appreciate her attitude. Let us, at any rate, do
+what Australia has done--enter into a treaty, according to which we
+shall pay so much a year for a certain number of ships, to be on our
+own coasts in peace, and in war at the disposal of the Empire. That
+would be tantamount to saying: "You have shared our risks, we will
+share yours; we will pay part of the insurance that is necessary to
+guarantee peace; we are educating officers for the army, and we are
+willing to give a much needed addition to the fleet". That would be a
+first step toward the attainment of full citizenship. What would be
+the next? We could ask that our voice should be heard in some
+constitutional way before any war was decided on. And we would have
+the right standing ground from which to urge a wise system of
+preferential trade in the common interest. These three things are, in
+my opinion, connected, and I have ventured to indicate the order in
+which they should be taken.
+
+Would it pay? The experience of the world proves that nothing pays in
+the long run but duty-doing. How can a country grow great men if it is
+content to be in leading-strings, and to give plausible excuses to
+show that that state of things is quite satisfactory?
+
+Only by some form of Imperial Federation can the unity of the Empire
+be preserved.
+
+The previous advantages to which I referred concerned Canada directly.
+This one may appear, to some persons, far away from us, but it is not.
+In another speech I may enlarge on this advantage, but suffice it to
+say now, that we cannot isolate ourselves from humanity. Canada ought
+to be dearer to us than any other part of the Empire, but none the
+less we must admit that the Empire is more important to the world than
+any of its parts, and every true man is a citizen of the world.
+
+I will not speak to-night of what the Empire has done for us in the
+past, of the rich inheritance into which we have entered, and of the
+shame that falls on children who value lightly the honour of their
+family and race. Consider only the present position of affairs. The
+European nations are busy watching each other. Britain is detaching
+herself from them, understanding that she is an oceanic, colonizing,
+and world power, much more than a European state. The United States
+and Britain are the two Powers, one in essence, cradled in freedom,
+that have a great future before them. According to the last census,
+the first has a population of some fifty-four millions of whites. The
+census of next April will show that the other has nearly forty
+millions in the home islands and ten millions in the self-governing
+Colonies. The two Powers have thus about the same population of white
+men, and the two are likely to grow at the same rate.
+
+In Britain the rate of increase will be less, but in the Colonies it
+will be greater than in the States during the next half century. The
+States will keep united. They have stamped out disunion. We have to
+prove that we intend to keep the Empire united; but that can be done
+only by giving the ten millions a gradually increasing share in common
+privileges and responsibilities. Surely such a work is not beyond the
+resources of statesmanship. For a long time decentralization was
+needed. Now, all the signs of the times indicate the necessity to
+centralize. The days of small powers are over, and modern inventions
+make communication easy between east and west, as well as between
+north and south.
+
+If this is not done, what will certainly happen? Separation, first of
+one part then of another; weakness of each part and weakness all
+round. Think of the impetus that this would give to every force that
+makes for chaos among the three hundred millions over whom God in His
+providence has placed us. The work that the British Empire has in hand
+is far grander than the comparatively parochial duties with which the
+States are content to deal. Its problems are wider and more inspiring;
+yet, at the same time, the white race that alone, so far, has proved
+itself fit for self-government, lives by itself, instead of being
+commingled with a coloured race to which only nominal freedom is
+allowed. Any one who has lived either in South Africa or in the
+Southern States will understand what a free hand and what an
+unspeakable leverage this gives us. We need no Force Bill to ensure a
+free ballot in Britain, Canada, Australia, or New Zealand. Already our
+sons are taking their part in introducing civilization into Africa,
+under the aegis of the flag, and in preserving the _Pax Britannica_
+among the teeming millions of India and southeastern Asia, those
+peoples kindred to ourselves, who for centuries before had been the
+prey of successive spoilers. Think of the horizon that this opens up,
+and remember that in building a state we must think not of the present
+but of the future.
+
+In a generation all the best land on this continent will have been
+taken up. But, thanks to the far-reaching wisdom of our fathers, the
+greater part of the world will be open to the trade, to the
+colonizing, and to the enterprise of our children. We shall not be
+confined to a frozen north or to a single continent. We shall take
+part in work that is of world-wide significance, and shall act out our
+belief that God loves not North America only, but the whole world.
+Only on conditions of the British Empire standing, can this be done.
+This is the ideal that we should set before us, and remember that no
+people has ever been a great or permanent factor in the world that was
+without high ideals. I know that this advantage to which I am
+referring is not one that can be calculated in dollars, any more than
+the work of a Wallace or the poems of a Shakespeare, the life of
+Sydney or the death of Gordon; but it is an advantage none the less
+for which many of us are content to struggle and, if need be, to
+suffer. What are we in this world for? Surely for something higher
+than to still the daily craving of appetite. Surely for something
+higher than to accumulate money, though it should be to the extent of
+adding million to million. Surely we are in the world for something
+better! Yes, we are here to think great thoughts, to do great things,
+to promote great ideals. This can be done only through faithfulness to
+the best spirit of our fathers. Society is an organism, and must
+preserve its continuity. It must work, too, through instruments; and
+the most potent, keenest, best-tried instrument on earth for
+preserving peace, order, liberty and righteousness, is the Empire of
+which we are citizens. Shall we throw away that citizenship, or shall
+we maintain and strengthen that Empire?
+
+      --_George Monro Grant (By permission)_
+
+
+  Apply the principles of Emphasis, Inflection, Grouping,
+  and Perspective in reading this address. Give specific
+  illustrations of each.
+
+       *       *       *       *       *
+
+
+COLLECT FOR DOMINION DAY
+
+
+  Father of nations! Help of the feeble hand!
+    Strength of the strong! to whom the nations kneel!
+  Stay and destroyer, at whose just command
+    Earth's kingdoms tremble and her empires reel!
+  Who dost the low uplift, the small make great,                       5
+    And dost abase the ignorantly proud,
+  Of our scant people mould a mighty state,
+    To the strong, stern,--to Thee in meekness bowed!
+  Father of unity, make this people one!
+    Weld, interfuse them in the patriot's flame,--                    10
+  Whose forging on Thine anvil was begun
+    In blood late shed to purge the common shame;
+  That so our hearts, the fever of faction done,
+    Banish old feud in our young nation's name.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+       *       *       *       *       *
+
+
+ENGLAND
+
+
+  This royal throne of kings, this scepter'd isle,
+  This earth of majesty, this seat of Mars,
+  This other Eden, demi-paradise,
+  This fortress, built by Nature for herself
+  Against infection and the hand of war,
+  This happy breed of men, this little world,
+  This precious stone set in the silver sea.
+
+       *       *       *       *       *
+
+
+
+
+APPENDIX
+
+
+A
+
+EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION
+
+
+1. [=a] as in ate, fate, cave, made, glade, pale.
+
+   â as in air, fair, chair, hair, lair, pair, care, dare, bare,
+     share, bear, fairy, compare, parent, prayer, garish, there, heir.
+
+   [)a] as in at, that, and, damp, glad, bade, castle, baron, barrel.
+
+   ä as in far, arm, hark, charm, march, bard, calm, palm, psalm,
+     balm, half, alms, father, dark, wrath, path, marsh, laugh.
+
+   [.a] as in ask, grasp, fast, last, pass, past, branch, chance, dance,
+     mast, vast, gasp, quaff, craft, staff, chant, grass, mass.
+
+   [a:] as in all, talk, squall, dawn, warp, hawk, laurel, haughty, halt.
+
+   a obscure, in final medial syllables, unaccented, and closed by n,
+     l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan,
+     vacancy, mortal, loyal, valiant, guidance, husband, breakfast,
+     gallant, ballad, etc.
+
+   [=e] as in me, seem, reap, weed, lean, evil, redeem.
+
+   [)e] as in met, end, spell, debt, text, jest, when, merry, America,
+     ceremony.
+
+   [~e] (coalescent) as in her, fern, earth, mercy, verse, stern, earl,
+     pearl, term, verge, prefer, serge, earn, early.
+
+   [=i] as in time, tide, mile, wine, high, size.
+
+   [)i] as in pin, grim, king, gift, this, grip.
+
+   [=i] (coalescent) as in bird, girl, fir, stir, girdle, circle, virgin,
+     first.
+
+   [=o] as in note, old, spoke, pole, wrote, joke.
+
+   [)o] as in not, shot, top, odd, honest, comic, on, gone, off, often,
+     dog, (not "dawg"), God, soft, long, song, strong, coral, orange,
+     foreign, torrid, coronet, corridor, correlate.
+
+   ô as in corn, lord, stork, orb, form, forlorn, morn, short, adorn.
+
+   o as in word, work, worm, worry.
+
+   [.o] as in love, done, some, cover, brother, another, month, company,
+     Monday, front, covet, wonder, sponge, smother.
+
+   ö as in do, move, who, whose, lose, prove, too, bosom.
+
+   [=u] as in use, pure, duke, tune, tube, blue, duty, flew, new,
+     student, subdue, pursue, absolute, illumine, tumult, suit, during,
+     pursuit, presume, lunacy, Tuesday, numeral.
+
+   [)u] as in us, up, but, drum, dusk, trust.
+
+   [u:] as in rude, brute, fruit, sure, true, construe, recruit.
+
+   [u.] as in full, pull, put, push, cushion, bushel, pulpit, bullet.
+
+   û as in hurt, burr, cur, fur, furl, burst, purr, recur, curfew,
+     furlong, surge, urn.
+
+Note that ä in far and [.a] in ask are called long Italian _a_ and short
+Italian _a_ respectively. The quality of the sound is the same in each,
+but they differ in quantity, the latter being shorter.
+
+The following vowels have the same sound:
+
+   [~e] (coalescent) and [~i] (coalescent);
+
+   ö as in do, [u:] as in rude, and [oo=] as in food;
+
+   o as in word and û as in hurt;
+
+   [.o] as in love and û as in us.
+
+After marking the vowels diacritically read the following passages,
+paying special attention to the vowel sounds:
+
+
+  So Lord Howard passed away with five ships of war that day.
+
+  That desperate grasp thy frame might feel
+  Through bars of brass and triple steel.
+
+  The guide, abating of his pace,
+  Led slowly through the pass's jaws,
+  And asked Fitz-James by what strange cause
+  He sought these wilds, traversed by few
+  Without a pass from Roderick Dhu.
+
+  The hand cannot clasp the whole of his alms,
+  The heart outstretches its eager palms.
+
+  O listen, ladies, ladies gay!
+  No haughty feat of arms I tell;
+  Soft is the note, and sad the lay
+  That mourns the lovely Rosabelle.
+
+  And when the Angel met him on his way,
+  And half in earnest, half in jest, would say,
+  Sternly, though tenderly, that he might feel
+  The velvet scabbard held a sword of steel,
+  "Art thou the King?" the passion of his woe
+  Burst from him in resistless overflow,
+  And, lifting high his forehead, he would fling
+  The haughty answer back, "I am, I am the King!"
+
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward,
+  Till past Clan-Alpine's outmost guard,
+  'As far as Coilantogle's ford;
+  From thence thy warrant is thy sword.
+
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+
+2. Distinguish the sound of _[=u]_ in use, pure, duke, etc.,
+
+  from the sound of _oo_ in
+    food, hoof, mood, rood, roof, soot, aloof,
+  and from the sound of _oo_ in
+    book, good, nook, hood, rook, look, foot, crook.
+
+Read the following with special reference to these sounds:
+
+  Flew flashing under the blinding blue.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+  She look'd down to Camelot.
+
+  Singing the bridal of sap and shoot,
+  The tree's slow life between root and fruit.
+
+  ... helter-skelter through the blue
+  Like a crowd of frightened porpoises a shoal of sharks pursue.
+
+  While on dreary moorlands lonely curlew pipe.
+
+  My Lords, you have that true image of the primitive Church in
+      its ancient form, in its ancient ordinances, purified from
+      the superstitions and vices which a long succession of
+      ages will bring upon the best institutions.
+
+3. Double and triple consonant endings present difficulties of
+articulation:--Robbed, bragged, divulged, mends, breathed, gossips,
+casques, barracks, depths, heights, lengths, breadths, lists, aspects,
+seethes, thirsteth, breathest, sheath'st, melt'st, search'st, sixths,
+twelfths, tests.
+
+Read with special reference to the articulation of the final
+consonants:
+
+  You blocks, you stones, you worse than senseless things!
+
+  Scattering down the snow-flakes off the curdled sky.
+
+  With throats unslaked, with black lips baked.
+
+  The guests are met, the feast is set
+  May'st hear the merry din.
+
+  Who forgiveth all thine iniquities; who healeth all thy diseases;
+  Who satisfieth thy mouth with good things; so that thy youth
+      is renewed like the eagle's.
+
+  Spirit that breathest through my lattice,
+  Thou that cool'st the twilight of the sultry day.
+
+  He groped toward the door, but it was locked,
+  He cried aloud, and listened, and then knocked,
+  And uttered awful threatenings and complaints,
+  And imprecations upon men and saints.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from caverned Hawthornden.
+
+  Skilful artists thou employest,
+  And in chastest beauty joyest,
+  Forms most delicate, pure, and clear,
+  Frost-caught star-beams, fallen sheer
+  In the night, and woven here
+  In jewel-fretted tapestries.
+
+4. Sound distinctly the ending _ing_ in: Languishing, blackening,
+threatening, rushing, ascending, flashing, throbbing.
+
+  Roughening their crests and scattering high their spray,
+  And swelling the white sail.
+
+  Blazing with light and breathing with perfume.
+
+   . . . . a revolting shape
+  Shivering and chattering sat the wretched ape.
+  Lakelets' lisping wavelets lapping,
+  Round a flock of wild ducks napping,
+  And the rapturous-noted wooings,
+  And the molten-throated cooings
+  Of the amorous multitudes
+  Flashing through the dusky woods,
+  When a veering wind hath blown
+  A glare of sudden daylight down.
+
+  5. Sound final _d_ in "and":
+
+  Rest and a guide, and food and fire.
+
+  Away from the world, and its toils and its cares.
+
+  And the sun went down and the stars came out.
+
+  Peace, and order, and beauty draw
+  Round thy symbol of light and law.
+
+  East and west, and south and north
+    The messengers ride fast,
+  And tower, and town, and cottage,
+    Have heard the trumpet's blast.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!
+
+
+6. Articulate distinctly words in which the same or similar sounds
+immediately succeed each other:
+
+  Spanish ships of war at sea.
+
+  At Flores, in the Azores, Sir Richard Grenville lay.
+
+        Come Roderick Dhu,
+  And of his clan the boldest two.
+
+  Saint Fanny, my patroness sweet I declare.
+
+  Cast off earth's sorrows and know what I know,
+
+  When into the glad deep woods I go.
+
+  The silver vessels sparkle clean.
+
+  From the sails the dew did drip.
+
+  The sweetest songs are those that tell of saddest thought.
+
+  Thousands of their seamen looked down from their decks and laughed.
+
+
+7. Sound the letter _h_ in what, while, where, when, which, whether,
+white, whiten, whine, whist, etc.
+
+
+8. Avoid the sound of _u_ in:
+
+  for, from, was, because, when, what, etc.
+
+  for coalescent _e_ in:
+  her, earn, verse, mercy, verge, serge, prefer, ermine, etc.
+
+  for _[)e]_ in:
+  enemy, events, poem, etc.
+
+  for _[)i]_ in:
+  spirit, family, credible, visible, charity, unity, sanity,
+  humanity, ruin, promise, divide, divisible, dissolve, languid,
+  negative, similar, abominable, imitate, inimitable,
+  purity, native, etc.
+
+  for _i_ (coalescent) in:
+  sir, bird, girl, first, virgin, etc.
+
+  Vanity of vanities, saith the preacher; all is vanity.
+
+  Ruin seize thee, ruthless King!
+
+  A wind from the lands they had ruin'd.
+
+  Who was her father?
+  Who was her mother?
+  Had she a sister?
+  Had she a brother?
+  Or was there a dearer one
+  Still, and a nearer one
+  Yet, than all other?
+
+  Alas! for the rarity
+  Of Christian charity
+  Under the sun!
+  Oh! it was pitiful!
+  Near a whole city full
+  Home she had none.
+
+9. Avoid the sound of _ch_ for _t_ in: fortune, fortunate, future,
+futurity, nature, natural, picture, feature, etc.
+
+  King Robert's self in features, form and height.
+
+  For this man so vile and bent of stature
+  Rasped harshly against his dainty nature.
+
+  One more unfortunate
+  Weary of breath,
+  Rashly importunate
+  Gone to her death.
+
+
+
+
+B
+
+PHYSICAL EXERCISES
+
+
+(_These exercises form a course by themselves and should not be
+introduced into the regular reading lesson._)
+
+
+BREATHING.--The proper management of the breath is of the
+greatest importance in speaking and reading. Inhalation and exhalation
+should be gradual and natural, not spasmodic. The
+reader should never allow his supply of breath to be wholly exhausted,
+but should replenish it at regular intervals. Inhalation
+should be through the nostrils, not the mouth. This prevents
+gasping, and promotes and preserves a healthy condition of the
+vocal organs. It is not necessary to keep the mouth closed in
+order that the breath be inhaled through the nostrils. Inhalation
+may be effected when the mouth is open by allowing the tip of
+the tongue to touch the upper palate. All breathing exercises
+should be deep, commencing with the abdomen, and should expand
+the chest to the fullest capacity.
+
+
+_Exercise I._ Stand erect in a well ventilated room. Inhale
+slowly from the abdomen while counting five, hold the breath
+while counting five, and exhale while counting five.
+
+Repeat this exercise, gradually increasing the count by one
+until the maximum of ten or fifteen is reached.
+
+
+_Exercise II._ Practise the preceding exercise in the open air
+while walking, taking five steps while inhaling, holding the breath,
+and exhaling respectively. The count may be increased as in the
+preceding.
+
+
+_Exercise III._ Stand erect, arms akimbo, fingers pressing the
+abdominal muscles in front, thumbs on the dorsal muscles on each
+side of the spine. Rise slowly on the toes while inhaling, hold the
+breath while standing on tiptoe, and exhale while gradually resuming
+the original position. In each case regulate the count as
+in the preceding exercises.
+
+
+_Exercise IV._ Stand erect, arms hanging loosely at the sides.
+Inhale slowly, rising on the toes, clenching the fists with gradually
+increased intensity, and raising them to the arm-pits. Expel
+the breath suddenly, dropping back to the original position.
+
+
+CHEST AND LUNGS.--Gymnastic exercises, such as develop the
+chest and lungs, are of great importance, since they regulate the
+breathing capacity.
+
+_Exercise I._ Stand erect, arms hanging loosely at the sides.
+Raise the arms slowly to the vertical position over the head, making
+the hands meet with palms outward, the thumb of the left
+hand over the right, rising on the toes at the same time; then let
+the arms fall apart slowly to their original position, while coming
+down on the heels.
+
+_Exercise II._ Stand erect as in the preceding. Bring the
+arms slowly forward until the hands meet on a level with the
+mouth, bending forward slightly and rising on the toes; then
+throw back the arms in a circular movement, allowing them to
+fall to their original position, coming down on the heels at the
+same time.
+
+_Exercise III._ Raise the hands above the head; bring down
+the elbows to the sides; shoot out the hands in front; bring in
+the elbows to the sides; shoot down the hands toward the floor;
+firing up the elbows to the sides. Repeat. This exercise may
+be practised with hands clenched.
+
+THROAT AND NECK.--Exercises of the throat and neck develop
+and keep flexible the vocal cords, which are of prime importance
+in producing pure tones.
+
+_Exercise I._ Stand erect. Look at the ceiling; allow the head
+to drop backward as far as possible; then bring the head slowly
+forward until the chin rests on the chest. Repeat.
+
+_Exercise II._ Stand erect. Twist the head slowly to the
+left, without moving the shoulders, until the chin is parallel to the
+left shoulder; then slowly twist the head to the right, without
+moving the shoulders, until the chin is parallel to the right
+shoulder. Repeat.
+
+_Exercise III._ Press the head to the left until the left ear
+rests almost on the left shoulder, raising the right arm above the
+head at the same time. Practise this exercise, pressing the head
+to the right and raising the left arm. Repeat.
+
+MOUTH.--To produce the finest tones of the voice, three conditions
+of the mouth are necessary:
+
+(1) The mouth must be well opened.
+(2) The vocal aperture must be large.
+(3) The jaws must be flexible.
+
+If the mouth is well opened the tones are full; if partially
+closed they are muffled. The vocal aperture is the opening in the
+rear of the mouth produced by the elevation of the uvula, and
+the depression of the root of the tongue and the larynx. The
+purity and richness of the voice depend, to a great extent, upon
+the capacity of the vocal aperture. If it is of small capacity, or
+contracted, the tones are impure and nasal.
+
+The mode of producing pure tones can be studied best before
+a mirror placed so that the light falls upon the back part of the
+mouth.
+
+_Exercise I._ Open the mouth to the fullest extent and close
+rapidly. Repeat.
+
+_Exercise II._ Open the mouth to the fullest extent, so that
+the uvula rises and almost disappears, and the root of the tongue
+and larynx are depressed. The action is similar to yawning, and
+to accomplish it "think a yawn", if necessary.
+
+
+
+
+C
+
+LIST OF REFERENCE BOOKS.
+
+
+How to Teach Reading in the Public Schools. S. H. Clark.
+(Scott, Foresman & Co.)
+
+The Voice and Spiritual Education. Hiram Corson. (Macmillan
+& Co.)
+
+The Aims of Literary Study. Hiram Corson. (Macmillan
+& Co.)
+
+Practical Elocution. Fulton and Trueblood. (Ginn & Co.)
+
+Elementary Phonetics. A.W. Burt. (The Copp, Clark
+Co., Limited.)
+
+Enunciation and Articulation. Ella M. Boyce. (Ginn & Co.)
+
+Clear Speaking and Good Reading. Arthur Burrell. (Longmans,
+Green & Co.)
+
+Reading as a Fine Art. Ernest Legouvé. (Penn Publishing
+Co., Philadelphia.)
+
+Lessons in Vocal Expression. S. S. Curry. (The Expression
+Co., Boston.)
+
+
+
+
+
+End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+***** This file should be named 22795-8.txt or 22795-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/7/9/22795/
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/22795-8.zip b/22795-8.zip
new file mode 100644
index 0000000..a77c9fe
--- /dev/null
+++ b/22795-8.zip
diff --git a/22795-h.zip b/22795-h.zip
new file mode 100644
index 0000000..386eb6c
--- /dev/null
+++ b/22795-h.zip
diff --git a/22795-h/22795-h.htm b/22795-h/22795-h.htm
new file mode 100644
index 0000000..360007c
--- /dev/null
+++ b/22795-h/22795-h.htm
@@ -0,0 +1,14112 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta name="generator" content="HTML Tidy, see www.w3.org" />
+<meta http-equiv="Content-Type" content=
+"text/html;charset=iso-8859-1" />
+<title>The Project Gutenberg eBook of The Ontario High School
+Reader, by A. E. Marty.</title>
+<style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    p.two {  margin-top: 0em; margin-left: 4em; text-indent: -2em;
+         text-align: left;
+         margin-bottom: 0em;}
+
+    p.three {  margin-top: 0em; margin-bottom: 0em;}
+
+    p.four {  margin-top: 0em; margin-left: 4em; text-indent: -4em;
+         text-align: justify;/* 10%*/
+         margin-bottom: 0em;}
+    p.four_b {  margin-top: 0em; margin-left: 13%; text-indent: -4em;
+         text-align: justify;
+         margin-bottom: 0em;}
+
+    p.quotsig { text-align:right; margin-right: 2em;
+        margin-top: 0.5em; margin-bottom: 0.5em; font-size: 80%; }
+
+    p.quotsig2 { text-align:right; margin-right: 2em;
+        margin-top: 0.5em; margin-bottom: 0.5em; font-size: 100%; }
+
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both; font-weight:normal;
+         }
+    hr { width: 33%;
+     margin-top: 2em;
+     margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+    table.two {margin-left: 5%; margin-right: 0%;}
+
+    td.cell_small {vertical-align: bottom; font-size: 50%; }
+    td.cell_a { width: 10%; vertical-align: top; text-align: left; font-size: 100%;}
+    td.cell_b { width: 70%; text-align: left; font-size: 100%;}
+    td.cell_c { width: 10%; vertical-align: bottom; text-align: right; font-size: 100%;}
+    td.cell_d { width: 45%; vertical-align: bottom; text-align: left; font-size: 100%;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+                position: absolute;
+                left: 92%;
+                font-size: 80%;
+                text-align: right;
+              } /* page numbers */
+
+    .pagenum2  { /* uncomment the next line for invisible page numbers */
+                position: absolute;
+                left: 80%;
+                font-size: 100%;
+                text-align: right;
+              } /* page numbers */
+
+
+    .linenum  {position: absolute; top: auto; left: 4%;} /* poetry number */
+    .linenum2 { /* uncomment the next line for invisible page numbers */
+                position: absolute;
+                left: 82%;
+                text-align: right;
+              } /* line numbers */
+    .linenum3 { /* uncomment the next line for invisible page numbers */
+                position: absolute;
+                left: 90%;
+                text-align: right;
+              } /* line numbers */
+
+    .blockquot {margin-left: 0%; margin-right: 0%; font-size: 90%;}
+    .blockquot2 {margin-left: 5%; margin-right: 5%;}
+    .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em;
+               padding-left: .5em; padding-right: .5em; margin-left: 1em;
+               float: right; clear: right; margin-top: 1em;
+               font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;}
+
+    .bb       {border-bottom: solid 2px;}
+    .bl       {border-left: solid 2px;}
+    .bt       {border-top: solid 2px;}
+    .br       {border-right: solid 2px;}
+    .bbox     {border: solid 2px;}
+
+    .center   {text-align: center;}
+    .center1  {text-align: center; font-size: 90%; margin-top: 0em; margin-bottom: 1.5em;}
+    .center2  {text-align: center; font-size: 90%; margin-top: 0.5em; margin-bottom: 1.5em;}
+    .center2a  {text-align: center; font-size: 80%; margin-top: 0em; margin-bottom: 0em;}
+    .center3a  {text-align: center; font-size: 80%; margin-top: 0em; margin-bottom: 0em;}
+    .center3b  {text-align: center; font-size: 70%; margin-top: 0em; margin-bottom: 0em;}
+
+    .center3  {text-align: center; font-size: 150%; margin-top: 0.5em; margin-bottom: 0.5em;}
+    .center4  {text-align: center; font-size: 50%; margin-top: 0.5em; margin-bottom: 1.5em;}
+
+
+    .center_bold {text-align: center; font-weight: bold;}
+    .smcap    {font-variant: small-caps;}
+    .u        {text-decoration: underline;}
+
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+
+     img {border: 0;}
+     img.side_5 { width: 37em;}
+
+    .footnotes        {border: dashed 1px;}
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: .8em; text-decoration: none;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem0            {margin-left:5%; margin-right:10%; text-align: left;}
+    .poem0 span.i0    {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem2            {margin-left: 10%; margin-right: 10%; text-align: left;}
+
+    .poem3             {margin-left:18%; margin-right:10%; text-align: left;}
+    .poem3 span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem3 span.i1     {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;}
+    .poem3 span.i2     {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;}
+    .poem3 span.i9     {display: block; margin-left: 9em; padding-left: 3em; text-indent: -3em;}
+
+    .poem4             {margin-left:25%; margin-right:10%; text-align: left;}
+    .poem4 span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem4 span.i1     {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;}
+    .poem4 span.i2     {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;}
+
+    .poem3 span.i4     {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;}
+/*    .poem br           {display: none;}*/
+    .poem .stanza      {margin: 1em 0em 1em 0em;}
+
+    .poem span.i0      {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i0b     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -4em;}
+    .poem span.i0b     {display: block; margin-left: 0em; padding-left: 3em; text-indent: 0em;}
+
+    .poem span.i1     {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i3     {display: block; margin-left: 3em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i4     {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;}
+    // -->
+    /* XML end  ]]>*/
+
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Ontario High School Reader
+
+Author: A.E. Marty
+
+Release Date: September 28, 2007 [EBook #22795]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+
+
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+<p>&nbsp;</p>
+
+<h2>THE ONTARIO</h2>
+
+<h1><span class="smcap">High School Reader</span></h1>
+
+<p>&nbsp;</p>
+
+<div class="center4">BY</div>
+
+<div class="center3">A. E. MARTY, M.A.</div>
+
+<div class="center1">COLLEGIATE INSTITUTE, OTTAWA</div>
+
+<div class="figcenter"><img src="images/ornament.jpg" width="200px"
+alt="Printer's mark." title="" /></div>
+
+<p>&nbsp;</p>
+
+<div class="center2a"><span class="smcap">Authorized by the
+Minister of Education for Ontario</span></div>
+
+<div class="center2a"><span class="smcap">for use in</span></div>
+
+<div class="center2a"><span class="smcap">Continuation and High
+Schools and Collegiate Institutes</span></div>
+
+<p>&nbsp;</p>
+
+<div class="center">THE CANADA PUBLISHING COMPANY, LIMITED</div>
+
+<div class="center">TORONTO</div>
+
+<p>&nbsp;</p>
+
+<div class="center3b">Copyright, Canada, 1911, by</div>
+
+<div class="center3b"><span class="smcap">The Canada Publishing
+Company, Limited.</span></div>
+
+<hr style="width: 65%;" />
+<h3>PREFACE</h3>
+
+<p>After communication with many of the teachers who have been
+using the Principles and Practice of Oral Reading in their classes,
+the author has made a number of important additions and changes. In
+its amended form the book is published under the title of the
+"Ontario High School Reader."</p>
+
+<p>As the book is intended for the teaching of oral reading it
+contains an introductory chapter on the Principles of Reading, and
+selections for practice, with appended notes. An effort has also
+been made to grade the selections in the order of their difficulty.
+Accordingly, a number of selections, each illustrating in a marked
+degree only one, or at most two, of the various elements of Vocal
+Expression, have been placed at the beginning; these should, of
+course, be taught before the more complex selections are
+attempted.</p>
+
+<p>It is not intended that the pupil shall master the chapter on
+the principles before beginning to read the selections; he should
+become familiar with each topic as it is illustrated in the lesson.
+In dealing with each lesson the teacher should first ascertain the
+elements of vocal expression that it best exemplifies. He should
+then discuss these elements with the pupils, using the necessary
+paragraphs of the Introduction, and such black-board exercises as
+he may deem necessary, until he is satisfied that the pupils are
+ready to undertake the study of the selection. At the oral reading
+the pupils should be able to show their mastery of the principles
+thus taught. Toward the close of the course, they will naturally
+read connectedly the various sections of the Introduction, in order
+to obtain a comprehensive and systematic view of the
+principles.</p>
+
+<p>To secure good reading, systematic drill on the exercises in
+Vowel Sounds and in Articulation is also necessary.</p>
+
+<hr style="width: 65%;" />
+<h3>TABLE OF CONTENTS</h3>
+
+<table width="100%" border="0" summary="TOC">
+<tr>
+<td class="cell_a" colspan="3"><span class="smcap">Principles of
+Reading</span></td>
+<td class="cell_c"><a href="#Page_1">1-35</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">Importance of Oral Reading</td>
+<td class="cell_c"><a href="#Page_1">1</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">Mechanical Side of Oral Reading</td>
+<td class="cell_c"><a href="#Page_2">2</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b">Correct Pronunciation, Distinct
+Articulation.</td>
+<td class="cell_c">&nbsp;</td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">Expression</td>
+<td class="cell_c"><a href="#Page_3">3</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b">Concrete Thinking, Abstract Thinking,
+Emotion.</td>
+<td class="cell_c">&nbsp;</td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">Elements of Vocal Expression</td>
+<td class="cell_c"><a href="#Page_7">7</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b">Pause, Grouping, Time, Inflection, Pitch, Force,
+Stress, Emphasis, Shading, Perspective, Quality.</td>
+<td class="cell_c">&nbsp;</td>
+</tr>
+
+<tr>
+<td class="cell_a" colspan="4">&nbsp;</td>
+</tr>
+
+<tr>
+<td class="cell_a" colspan="3"><span class=
+"smcap">Selections</span></td>
+<td class="cell_c"><a href="#Page_36">36-305</a></td>
+</tr>
+</table>
+
+<table class="two" width="95%" border="0" summary="TOC">
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Banner of St. George</i></p>
+</td>
+<td class="cell_d">Shapcott Wensley</td>
+<td class="cell_c"><a href="#Page_36">36</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Jean Valjean and the Bishop</p>
+</td>
+<td class="cell_d">Victor Hugo</td>
+<td class="cell_c"><a href="#Page_38">38</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Well of St. Keyne</i></p>
+</td>
+<td class="cell_d">Robert Southey</td>
+<td class="cell_c"><a href="#Page_43a">43</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Faith, Hope and Charity</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_46">46</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Legend Beautiful</i></p>
+</td>
+<td class="cell_d">Henry W. Longfellow</td>
+<td class="cell_c"><a href="#Page_47a">47</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Vicar's Family Use Art</i></p>
+</td>
+<td class="cell_d">Oliver Goldsmith</td>
+<td class="cell_c"><a href="#Page_52">52</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Soldier's Dream</i></p>
+</td>
+<td class="cell_d">Oliver Goldsmith</td>
+<td class="cell_c"><a href="#Page_58a">58</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Van Elsen</i></p>
+</td>
+<td class="cell_d">Frederick George Scott</td>
+<td class="cell_c"><a href="#Page_60a">60</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Pibroch of Donuil Dhu</i></p>
+</td>
+<td class="cell_d">Sir Walter Scott</td>
+<td class="cell_c"><a href="#Page_61a">61</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Day is Done</i></p>
+</td>
+<td class="cell_d">Henry W. Longfellow</td>
+<td class="cell_c"><a href="#Page_63">63</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Schoolmaster and the Boys</p>
+</td>
+<td class="cell_d">Charles Dickens</td>
+<td class="cell_c"><a href="#Page_65">65</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Knights' Chorus</i></p>
+</td>
+<td class="cell_d">Alfred, Lord Tennyson</td>
+<td class="cell_c"><a href="#Page_70">70</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Northern Star</i></p>
+</td>
+<td class="cell_d">Unknown</td>
+<td class="cell_c"><a href="#Page_71a">71</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Indigo Bird</i></p>
+</td>
+<td class="cell_d">Ethelwyn Wetherald</td>
+<td class="cell_c"><a href="#Page_72a">72</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Pasture Field</i></p>
+</td>
+<td class="cell_d">Ethelwyn Wetherald</td>
+<td class="cell_c"><a href="#Page_73a">73</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Shipwrecked</p>
+</td>
+<td class="cell_d">Robert Louis Stevenson</td>
+<td class="cell_c"><a href="#Page_75">75</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>On His Blindness</i></p>
+</td>
+<td class="cell_d">John Milton</td>
+<td class="cell_c"><a href="#Page_80a">80</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Briggs in Luck</p>
+</td>
+<td class="cell_d">William M. Thackeray</td>
+<td class="cell_c"><a href="#Page_81a">81</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Laughing Sally</i></p>
+</td>
+<td class="cell_d">Charles G. D. Roberts</td>
+<td class="cell_c"><a href="#Page_84a">84</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Prodigal Son</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_88a">88</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Christmas at Sea</i></p>
+</td>
+<td class="cell_d">Robert Louis Stevenson</td>
+<td class="cell_c"><a href="#Page_90a">90</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Evening Wind</i></p>
+</td>
+<td class="cell_d">William Cullen Bryant</td>
+<td class="cell_c"><a href="#Page_93a">93</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Paradise and the Peri</i></p>
+</td>
+<td class="cell_d">Thomas Moore</td>
+<td class="cell_c"><a href="#Page_95a">95</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Lady of Shalott</i></p>
+</td>
+<td class="cell_d">Alfred, Lord Tennyson</td>
+<td class="cell_c"><a href="#Page_100a">100</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Home they brought her Warrior dead</i></p>
+</td>
+<td class="cell_d">Alfred, Lord Tennyson</td>
+<td class="cell_c"><a href="#Page_107a">107</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Sky</p>
+</td>
+<td class="cell_d">John Ruskin</td>
+<td class="cell_c"><a href="#Page_108a">108</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Return of the Swallows</i></p>
+</td>
+<td class="cell_d">Edmund W. Gosse</td>
+<td class="cell_c"><a href="#Page_111a">111</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Barbara Frietchie</i></p>
+</td>
+<td class="cell_d">John Greenleaf Whittier</td>
+<td class="cell_c"><a href="#Page_113a">113</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Bless the Lord, O My Soul</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_116a">116</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Eternal Goodness</i></p>
+</td>
+<td class="cell_d">John Greenleaf Whittier</td>
+<td class="cell_c"><a href="#Page_118a">118</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The King of Glory</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_119a">119</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Four-Horse Race</p>
+</td>
+<td class="cell_d">"Ralph Connor"</td>
+<td class="cell_c"><a href="#Page_121a">121</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Mrs. Malaprop's Views</i></p>
+</td>
+<td class="cell_d">Richard B. Sheridan</td>
+<td class="cell_c"><a href="#Page_126a">126</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Glove and the Lions</i></p>
+</td>
+<td class="cell_d">Leigh Hunt</td>
+<td class="cell_c"><a href="#Page_131">131</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Fickleness of a Roman Mob</i></p>
+</td>
+<td class="cell_d">William Shakespeare</td>
+<td class="cell_c"><a href="#Page_133">133</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Sir Peter and Lady Teazle</i></p>
+</td>
+<td class="cell_d">Richard B. Sheridan</td>
+<td class="cell_c"><a href="#Page_136">136</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Parting of Marmion and Douglas</i></p>
+</td>
+<td class="cell_d">Sir Walter Scott</td>
+<td class="cell_c"><a href="#Page_140a">140</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Columbus</i></p>
+</td>
+<td class="cell_d">Joaquin Miller</td>
+<td class="cell_c"><a href="#Page_143a">143</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">From the "Apology" of Socrates</p>
+</td>
+<td class="cell_d">Benjamin Jowett</td>
+<td class="cell_c"><a href="#Page_145a">145</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Highland Hospitality</i></p>
+</td>
+<td class="cell_d">Sir Walter Scott</td>
+<td class="cell_c"><a href="#Page_151">151</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Outlaw</i></p>
+</td>
+<td class="cell_d">Sir Walter Scott</td>
+<td class="cell_c"><a href="#Page_154a">154</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Of Studies</p>
+</td>
+<td class="cell_d">Francis, Lord Bacon</td>
+<td class="cell_c"><a href="#Page_157a">157</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Influence of Athens</p>
+</td>
+<td class="cell_d">Thomas Babington, Lord Macaulay</td>
+<td class="cell_c"><a href="#Page_159a">159</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">National Morality</p>
+</td>
+<td class="cell_d">John Bright</td>
+<td class="cell_c"><a href="#Page_161a">161</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Hamlet's Advice to the Players</i></p>
+</td>
+<td class="cell_d">William Shakespeare</td>
+<td class="cell_c"><a href="#Page_164a">164</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Rosabelle</i></p>
+</td>
+<td class="cell_d">Sir Walter Scott</td>
+<td class="cell_c"><a href="#Page_166a">166</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Island of the Scots</i></p>
+</td>
+<td class="cell_d">William E. Aytoun</td>
+<td class="cell_c"><a href="#Page_168a">168</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Cranford Society</p>
+</td>
+<td class="cell_d">Mrs. Gaskell</td>
+<td class="cell_c"><a href="#Page_178">178</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Sir Galahad</i></p>
+</td>
+<td class="cell_d">Alfred, Lord Tennyson</td>
+<td class="cell_c"><a href="#Page_182a">182</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Song for Saint Cecilia's Day</i></p>
+</td>
+<td class="cell_d">John Dryden</td>
+<td class="cell_c"><a href="#Page_186">186</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Day was Lingering</i></p>
+</td>
+<td class="cell_d">Charles Heavysege</td>
+<td class="cell_c"><a href="#Page_189">189</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>On First Looking into Chapman's Homer</i></p>
+</td>
+<td class="cell_d">John Keats</td>
+<td class="cell_c"><a href="#Page_189a">189</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Great Things Were Ne'er Begotten in an
+Hour</i></p>
+</td>
+<td class="cell_d">Sir Daniel Wilson</td>
+<td class="cell_c"><a href="#Page_190a">190</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>A Wood Lyric</i></p>
+</td>
+<td class="cell_d">William Wilfred Campbell</td>
+<td class="cell_c"><a href="#Page_191a">191</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>To Night</i></p>
+</td>
+<td class="cell_d">Percy Bysshe Shelley</td>
+<td class="cell_c"><a href="#Page_193">193</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Opening Scene at the Trial of Warren
+Hastings</p>
+</td>
+<td class="cell_d">Thomas Babington, Lord Macaulay</td>
+<td class="cell_c"><a href="#Page_194a">194</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Peroration of Opening Speech against Warren
+Hastings</p>
+</td>
+<td class="cell_d">Edmund Burke</td>
+<td class="cell_c"><a href="#Page_201a">201</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Song My Paddle Sings</i></p>
+</td>
+<td class="cell_d">E. Pauline Johnson</td>
+<td class="cell_c"><a href="#Page_203a">203</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Defence of the Bridge</i></p>
+</td>
+<td class="cell_d">Thomas Babington, Lord Macaulay</td>
+<td class="cell_c"><a href="#Page_206a">206</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">On the Death of King Edward VII</p>
+</td>
+<td class="cell_d">Sir Herbert Henry Asquith</td>
+<td class="cell_c"><a href="#Page_217">217</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Heroes of Magersfontein</p>
+</td>
+<td class="cell_d"><i>The London Daily News</i></td>
+<td class="cell_c"><a href="#Page_221">221</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Funeral of Julius C&aelig;sar</i></p>
+</td>
+<td class="cell_d">William Shakespeare</td>
+<td class="cell_c"><a href="#Page_225">225</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Revenge</i></p>
+</td>
+<td class="cell_d">Alfred, Lord Tennyson</td>
+<td class="cell_c"><a href="#Page_234a">234</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Herv&eacute; Riel</i></p>
+</td>
+<td class="cell_d">Robert Browning</td>
+<td class="cell_c"><a href="#Page_241a">241</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Handwriting on the Wall</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_248a">248</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Paul's Defence before King Agrippa</p>
+</td>
+<td class="cell_d">Bible</td>
+<td class="cell_c"><a href="#Page_251a">251</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Stranded Ship</i></p>
+</td>
+<td class="cell_d">Charles G. D. Roberts</td>
+<td class="cell_c"><a href="#Page_254a">254</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Sir Patrick Spens</i></p>
+</td>
+<td class="cell_d">Old Ballad</td>
+<td class="cell_c"><a href="#Page_258">258</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>King John and the Abbot of Canterbury</i></p>
+</td>
+<td class="cell_d">Old Ballad</td>
+<td class="cell_c"><a href="#Page_262a">262</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">The Key to Human Happiness</p>
+</td>
+<td class="cell_d">George Eliot</td>
+<td class="cell_c"><a href="#Page_266a">266</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Vision of Sir Launfal</i></p>
+</td>
+<td class="cell_d">James Russell Lowell</td>
+<td class="cell_c"><a href="#Page_271">271</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">On the Death of Gladstone</p>
+</td>
+<td class="cell_d">Sir Wilfrid Laurier</td>
+<td class="cell_c"><a href="#Page_278a">278</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Downfall of Wolsey</i></p>
+</td>
+<td class="cell_d">William Shakespeare</td>
+<td class="cell_c"><a href="#Page_286a">286</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>The Italian in England</i></p>
+</td>
+<td class="cell_d">Robert Browning</td>
+<td class="cell_c"><a href="#Page_290a">290</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two">Advantages of Imperial Federation</p>
+</td>
+<td class="cell_d">George Monro Grant</td>
+<td class="cell_c"><a href="#Page_296a">296</a></td>
+</tr>
+
+<tr>
+<td class="cell_d">
+<p class="two"><i>Collect for Dominion Day</i></p>
+</td>
+<td class="cell_d">Charles G. D. Roberts</td>
+<td class="cell_c"><a href="#Page_305">305</a></td>
+</tr>
+
+<tr>
+<td class="cell_d" colspan="3">&nbsp;</td>
+</tr>
+</table>
+
+<table width="100%" border="0" summary="Appendix">
+<tr>
+<td class="cell_a"><span class="smcap">Appendix</span></td>
+<td class="cell_b" colspan="2">
+<p class="two">A. Exercises in Vocalization and Articulation</p>
+</td>
+<td class="cell_c"><a href="#Page_306">306</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">
+<p class="two">B. Physical Exercises</p>
+</td>
+<td class="cell_c"><a href="#Page_312">312</a></td>
+</tr>
+
+<tr>
+<td class="cell_a">&nbsp;</td>
+<td class="cell_b" colspan="2">
+<p class="two">C. List of Reference Books</p>
+</td>
+<td class="cell_c"><a href="#Page_314a">314</a></td>
+</tr>
+</table>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg
+1]</a></span></p>
+
+<h3>PRINCIPLES OF READING</h3>
+
+<div class="center_bold">Importance of Oral Reading</div>
+
+<p>There are several reasons why every boy or girl should strive to
+become a good reader. In the first place, good oral reading is an
+accomplishment in itself. It affords a great deal of pleasure to
+others as well as to ourselves. In the second place, it improves
+our everyday speech and is also a preparation for public speaking;
+for the one who reads with distinctness and an accent of refinement
+is likely to speak in the same way, whether in private conversation
+or on the public platform. Moreover, it is only one step from
+reading aloud before the class to recitation, and another step from
+recitation to public speaking. Lastly, oral reading is the best
+method of bringing out and conveying to others and to oneself all
+that a piece of literature expresses. For example, the voice is
+needed to bring out the musical effects of poetry. The following
+lines will illustrate this point:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">But the sea-caves rung, and
+the wild winds sung</span> <span class="i0">The dirge of lovely
+Rosabelle.</span></div>
+</div>
+
+<p>Here the music of the rhythm and the harmony between sound and
+sense would be almost entirely lost in silent reading.</p>
+
+<p>The voice, too, is often the surest and most effective means of
+conveying differences of meaning and feeling in both prose and
+poetry. The following words from <i>Herv&eacute; Riel</i> (pp. <a
+href="#Page_241">241</a>-247) may be made to convey different
+meanings according to the intonation of the voice:</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Burn the fleet and ruin
+France?</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg
+2]</a></span></p>
+
+<p>This may be read to express hesitation and deliberation, or, as
+is the evident intention, shewn by the context as well as by the
+punctuation, to express Herv&eacute; Riel's surprise and
+indignation that such a thought should be entertained.<br />
+<br />
+</p>
+
+<div class="center_bold">Mechanical Side of Oral Reading</div>
+
+<p>Now in what does oral reading consist? It consists, first of
+all, in recognizing the words, pronouncing them correctly, and
+articulating them distinctly. The pupil in the First Book, who is
+learning to read, is trying to master this side of reading, which
+is the mechanical side. He cannot be too careful as to the habits
+of speech he forms; for correct position of the organs of speech
+and proper control of the breath make for correct pronunciation and
+distinct articulation, which are two of the foundation stones of
+good reading.</p>
+
+<p><b>By correct pronunciation</b>, we mean the pronunciation
+approved by a standard dictionary. Elegance and refinement of
+speech depend largely on the correct pronunciation of the vowel
+sounds. The vowel <i>a</i>, which is sounded in seven different
+ways in the English language, presents the greatest difficulty.
+Many people recognize at most, only the sound of a in <i>at</i>,
+<i>ate</i>, <i>all</i>, <i>far</i>, and <i>mortal</i> respectively.
+They ignore the sound as in <i>air</i>, and the shorter quantity of
+the Italian <i>a</i> in <i>ask</i>, giving the sound of a in
+<i>ate</i> to the former and of <i>a</i> in <i>at</i> or <i>a</i>
+in <i>all</i> or <i>a</i> in <i>far</i> to the latter. Another
+difficulty is that of distinguishing the sound of <i>oo</i> in
+<i>roof, food</i>, etc., from the sound of <i>oo</i> in <i>book</i>
+and <i>good</i>, and from the sound of <i>u</i> in such words as
+<i>pure</i> and <i>duke</i>.</p>
+
+<p>Pronunciation, when perfectly pure, should be free from what we
+call provincialisms; that is, from any peculiarity of tone, accent,
+or vowel sound, which would mark the speaker as coming from any
+particular locality. If our pronunciation is perfectly pure, it
+does not indicate, in the slightest degree, the part of the country
+in which we have lived.</p>
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg
+3]</a></span><b>Distinct articulation</b> requires that each
+syllable should receive its full value, and that the end of a word
+should be enunciated as distinctly as the beginning. It depends
+largely on the way in which we utter the consonants, just as
+correct pronunciation depends on the enunciation of the vowels.
+Final consonants are easily slurred, especially in the case of
+words ending in two or more consonants, which present special
+difficulties of articulation. Such words are <i>mends</i>,
+<i>seethes</i>, <i>thirsteth</i>, <i>breathed</i>, etc. Sometimes,
+too, the careless reader fails to articulate two consonants
+separately when the first word ends with the consonant or consonant
+sound with which the second begins; for example, <i>Sir Richard
+Grenville lay</i>, <i>Spanish ships</i>; or when the first word
+ends with a consonant and the second begins with a vowel, as in
+<i>eats apples</i>, <i>not at all</i>, <i>an ox</i>, etc. On the
+other hand, too evident an effort to secure the proper enunciation
+of the sound elements should be avoided, since a stilted mode of
+utterance is thus produced.</p>
+
+<p>Exercises for drill in the vowel sounds and in articulation are
+provided in Appendix <a href="#Page_306">A</a>.<br />
+<br />
+</p>
+
+<div class="center_bold">Expression</div>
+
+<p>Oral reading, however, even in its earliest stages, consists in
+more than recognizing words, pronouncing them correctly, and
+articulating them distinctly. It includes thinking thoughts, seeing
+mental pictures, (which is only another form of thinking) and
+feeling varied emotions&mdash;all while the mechanical act of
+reading is going on. To illustrate, let us take a line from <i>The
+Island of the Scots</i>:</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">High flew the spray above
+their heads, yet onward still they bore.</span></div>
+</div>
+
+<p>If we wish to read this line well, what must we do besides
+pronouncing the words correctly and articulating them distinctly?
+We must think about the meaning of what we read. <span class=
+'pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>This
+includes two kinds of thinking. In the example we first think the
+picture presented by the words; that is, we make a mental image of
+the little band of Scots, hand in hand, trying to ford the swiftly
+flowing waters of the swollen river. This is called <b>concrete
+thinking</b>. At the same time we form some judgment based on the
+picture. We think of the great determination and courage these men
+showed in struggling forward in spite of the danger. This is called
+<b>abstract thinking</b>. But, as we have said, a reader does more
+than think in these two ways&mdash;he feels; and feeling, or
+<b>emotion</b>, comes of itself, if the reader thinks in the two
+ways described, for emotion is the result of thinking. Especially
+is it the result of concrete thinking; for what we see, even if
+only with the mind's eye, stirs our emotions more than that of
+which we think in the abstract.</p>
+
+<p>While reading the line just quoted, there are three emotions
+which spring from the thinking. As we see these men struggling
+against the strong current we have an emotion of fear for them;
+then as we think of their determination and courage in the face of
+such great danger, an emotion of determination comes to us, for we
+identify ourselves with their fortunes; and lastly we are filled
+with admiration for their heroism. Thus we experience the three
+emotions of fear, determination, and admiration, while performing
+the mechanical act of reading the words. These emotions, together
+with the two kinds of thinking mentioned, affect the voice and the
+manner of reading, and determine what we call <b>expression</b>. If
+the words were simply repeated mechanically there would be no
+expression. Since expression involves the employment of so many
+different powers at one time, a mastery of the art of expression is
+much harder to acquire, than a mastery of merely the mechanical
+side of reading.</p>
+
+<p>Accordingly, good vocal expression springs primarily from
+something within ourselves&mdash;that is, from our mental and
+emotional state. It cannot be acquired by mechanical imitation,
+whether of the reading of another, or of the movements, sounds, and
+gestures indicated in the subject <span class='pagenum'><a name=
+"Page_5" id="Page_5">[Pg 5]</a></span>matter of what we read.
+Nevertheless it is very stimulating to hear a selection well read,
+not because a model is thus supplied for our imitation, but because
+we get a grasp of the selection as a whole, and because the voice,
+which possesses great power in stirring the imagination and the
+feelings, thus prepares within us the mental and emotional state
+necessary for the correct expression.</p>
+
+<p>In the same way, imitation of the movements, sounds, and
+gestures, suggested by the subject matter may be a stimulus to
+thought and feeling when preparing a selection, since what we have
+actually reproduced is more real to us than what we have only
+imagined. After such preparation, imitation, if it enters into the
+reading at all, will be spontaneous, and not intentional and
+forced. In reading <i>The Charge of the Light Brigade</i> or <i>The
+Ride from Ghent to Aix</i>, we do not designedly hurry along to
+imitate rapidity of movement; but, rather, the imagination having
+been kindled by the picture, our pulse is quickened, and the voice
+moves rapidly in sympathy with the feelings aroused.</p>
+
+<p>In the following extract (p. <a href="#Page_216">216</a>) the
+atmosphere is one of joy. The reader is moved through sympathy with
+Horatius, and his voice indicates the joy of the Romans, but he
+does not attempt to imitate vocally, or by gesture, the "shouts,"
+"clapping," and "weeping":</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Now round him throng the
+Fathers</span> <span class="i1">To press his gory hands;</span>
+<span class="i1">And now, with shouts and clapping,</span> <span
+class="i1">He enters through the River-Gate,</span> <span class=
+"i1">Borne by the joyous crowd.</span></div>
+</div>
+
+<p>Sometimes, as already stated, we imitate spontaneously:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Back darted Spurius
+Lartius;</span> <span class="i1">Herminius darted back:</span>
+<span class="i1">And, as they passed, beneath their feet</span>
+<span class="i1">They felt the timbers crack.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg
+6]</a></span></p>
+
+<p>Here we imitate spontaneously the movement expressive of sudden
+fear. Our action is prompted by our own fears for their safety.</p>
+
+<p>Sometimes the feeling is still more complex. In reading the
+following we spontaneously reproduce Sextus' alternate hate and
+fear which, moreover, we tinge with our own contempt:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Thrice looked he at the
+city;</span> <span class="i1">Thrice looked he at the dead;</span>
+<span class="i1">And thrice came on in fury,</span> <span class=
+"i1">And thrice turned back in dread:</span> <span class="i1">And,
+white with fear and hatred,</span> <span class="i1">Scowled at the
+narrow way</span> <span class="i1">Where, wallowing in a pool of
+blood,</span> <span class="i1">The bravest Tuscans
+lay.</span></div>
+</div>
+
+<p>In reading the little poem from <i>The Princess</i>, (page <a
+href="#Page_107">107</a>) note how we are influenced by the tense
+emotion of the attendants who speak. We do not try to imitate them;
+but having made the scene stand out before us, we speak as we in
+imagination hear them, in an aspirated tone of voice:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">She must weep or she will
+die.</span></div>
+</div>
+
+<p>In the last line it would savour of melodrama to try to
+impersonate the lady as she says:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Sweet my child, I live for
+thee.</span></div>
+</div>
+
+<p>The important point is to show intelligent sympathy with her
+speech, not to imitate her manner of uttering it.</p>
+
+<p>On the other hand we must not make the mistake of supposing that
+if we get the thought and the emotion, the true vocal expression
+will follow. One who has a fine appreciation of a piece of
+literature may, notwithstanding, read it very indifferently. Even
+in conversation where we are interpreting vocally our own thoughts
+and feelings, we sometimes <span class='pagenum'><a name="Page_7"
+id="Page_7">[Pg 7]</a></span>misplace emphasis or employ the wrong
+inflection. How much more likely we are to fall into such errors
+when we attempt to interpret vocally from a book the thoughts of
+another.</p>
+
+<div class="center_bold">Elements of Vocal Expression</div>
+
+<p>In order to criticise ourselves or understand intelligent
+criticism, we must have a knowledge of the laws that govern
+speech&mdash;that is, we must know what properties of tone or what
+acts of the voice correspond to certain mental and emotional
+states. For example, the amount and character of thinking done
+while we read determines the rate of utterance; the purpose or
+motive of the thought and its completeness or incompleteness are
+indicated by an upward or downward slide of the voice; the nervous
+tension expresses itself in a certain key; the physical and mental
+energy, in a certain power or volume of the voice; and the
+character of the emotion is reflected in the quality. These
+principles of vocal expression are known technically as the
+elements of <b>time</b>, <b>inflection</b>, <b>pitch</b>,
+<b>force</b>, and <b>quality</b>. Closely connected with these
+elements are <b>pause</b>, <b>grouping</b>, <b>stress</b>,
+<b>emphasis</b>, <b>shading</b>, and <b>perspective</b>.</p>
+
+<p><b>Pause.</b> It must be quite clear that when we are reading
+silently, for the purpose of getting the thought for ourselves, our
+minds are at work as has been described. We shall now examine how
+this work done by the mind affects the voice and produces what we
+call good expression when we are reading aloud for the purpose of
+conveying thought to others. As an illustration we shall take an
+example from <i>The Glove and the Lions</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">The nobles fill'd the benches
+round, the ladies by their side,</span> <span class="i0">And
+'mongst them Count de Lorge, with one he hoped to make his
+bride.</span></div>
+</div>
+
+<p>In these lines there are certain words or phrases which stand
+out prominently, since they call up mental pictures, namely:
+"nobles," "benches round," "Count de Lorge," and <span class=
+'pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>"one." In
+order to give time to make these mental pictures, we naturally
+pause after each one. At the end of the first line we combine the
+details, making a larger mental image, with the result that we make
+a long pause after "side." In reading the second line, the eye and
+the mind run ahead of the voice, and the reader, wishing to impress
+the listener with the new and important idea "Count de Lorge,"
+pauses before it as well as after it. In the same way he pauses
+before the phrase, "he hoped to make his bride," to prepare the
+mind of the listener to receive the impression. Thus we see that,
+if the mind is working, a pause occurs after a word while we are
+making a mental image or trying to realize the idea more fully, and
+also often before we express an important idea, in order to prepare
+the mind of the listener for what is to come.</p>
+
+<p>A very useful exercise in the study of pause is to image the
+pictures in selections such as the following:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Come from deep glen (picture)
+and</span> <span class="i1">From mountain so rocky;
+(picture)</span> <span class="i0">The war pipe and pennon
+(picture)</span> <span class="i1">Are at Inverlocky.</span> <span
+class="i0">Come every hill-plaid, and</span> <span class="i1">True
+heart that wears one; (picture)</span> <span class="i0">Come every
+steel blade, (picture) and</span> <span class="i1">Strong hand that
+bears one. (picture)</span><br />
+<span class="i0">Leave untended the herd, (picture)</span> <span
+class="i1">The flock without shelter; (picture)</span> <span class=
+"i0">Leave the corpse uninterred, (picture)</span> <span class=
+"i1">The bride at the altar; (picture)</span> <span class=
+"i0">Leave the deer, (picture) leave the steer, (picture)</span>
+<span class="i1">Leave nets and barges: (picture)</span> <span
+class="i0">Come with your fighting gear,</span> <span class=
+"i1">Broadswords and targes, (picture)</span></div>
+</div>
+
+<p>Then, too, in passing from one idea or thought to another, the
+mind requires time to make the transition:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Stout Lartius hurled down
+Aunus</span> <span class="i1">Into the stream beneath:</span> <span
+class="i0"><span class='pagenum'><a name="Page_9" id="Page_9">[Pg
+9]</a></span>Herminius struck at Seius,</span> <span class="i1">And
+clove him to the teeth:</span> <span class="i0">At Picus brave
+Horatius</span> <span class="i1">Darted one fiery thrust;</span>
+<span class="i0">And the proud Umbrian's gilded arms</span> <span
+class="i1">Clashed in the bloody dust.</span></div>
+</div>
+
+<p>Here the mind passes in succession from the action of Lartius to
+that of Herminius and that of Horatius. A long pause is required
+after "beneath," "teeth," and "dust," with a shorter pause after
+"Seius" and after "thrust." Further, if the thoughts concern
+actions far apart, more time is required to make the transition,
+and hence a longer pause:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">All day long that free flag
+toss'd</span> <span class="i1">Over the heads of the rebel
+host.</span><br />
+<span class="i1">Ever its torn folds rose and fell</span> <span
+class="i1">On the loyal winds that loved it well;</span><br />
+<span class="i1">And through the hill-gaps, sunset light</span>
+<span class="i1">Shone over it with a warm good-night.</span><br />
+<span class="i1">Barbara Frietchie's work is o'er,</span> <span
+class="i1">And the Rebel rides on his raids no more.</span></div>
+</div>
+
+<p>Note the transition in thought from the day on which these
+stirring events are supposed to have taken place to the present
+time. This is indicated by a long pause after "warm
+good-night."</p>
+
+<p>Sometimes the mind requires time to fill in ideas suggested but
+not expressed:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Forty flags with their crimson
+bars,</span> <span class="i1">Flapped in the morning wind: the
+sun</span> <span class="i1">Of noon look'd down and saw not
+one.</span></div>
+</div>
+
+<p>Here, the tearing down of the flags between the morning and
+noon, is suggested to the mind; hence a long pause after
+"wind."</p>
+
+<p><span class='pagenum'><a name="Page_10" id="Page_10">[Pg
+10]</a></span></p>
+
+<p>Where an ellipsis occurs and the meaning is not obvious, there
+is a pause to give time to realize the logical connection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">I'd rather rove with Edmund
+there</span> <span class="i1">Than reign our English
+queen.</span><br />
+<span class="i1">Here's the English can and will!</span></div>
+</div>
+
+<p>Note the pauses after "reign," and "English" (second
+example).</p>
+
+<p>In such examples as the following where the meaning is obvious,
+the pauses after "them," "one," "weary," and "wounded," make
+prominent the important idea following:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">And 'mongst them Count de
+Lorge, with one he hoped to make his bride.</span><br />
+<span class="i1">The weary to sleep and the wounded to
+die.</span></div>
+</div>
+
+<p>When preparing to read a selection, it is of great importance to
+make the leading thoughts stand out clearly in the mind so that we
+may be able to present them one by one. The poem <i>Barbara
+Frietchie</i> (p. <a href="#Page_113">113.</a>) could be divided
+into paragraphs with some such titles as the following: (1) the
+town of Frederick and its surroundings, (2) the approach of the
+army, (3) the tearing down of the flags, (4) the raising of Barbara
+Frietchie's flag, (5) Stonewall Jackson and his men, and so on.
+Each of the paragraphs is a complete section of the poem, and
+requires a well-marked pause before passing on to the next one.</p>
+
+<p><b>Grouping.</b> In the extract from <i>The Glove and the
+Lions</i>, used above to illustrate pause, the mental pictures and
+important ideas are suggested in nearly every ease by a single
+word. Ideas are, however, suggested as often by groups of words as
+by single words. These groups are treated as single words, and may
+take pauses before or after them as the case may be. The reader,
+who is thinking as he <span class='pagenum'><a name="Page_11" id=
+"Page_11">[Pg 11]</a></span>reads, will group together words that
+express one idea, or symbolize one picture, presenting these ideas
+and pictures to himself and to the listener one by one, and
+separating by a pause, of greater or less length, those not closely
+connected.</p>
+
+<div class="blockquot2">
+<p>A slouched leather cap|| half hid his face| bronzed by the sun
+and wind| and dripping with sweat.|| He wore a cravat twisted like
+a rope|| coarse blue trousers| worn and shabby| white on one knee|
+and with holes in the other;|| an old ragged gray blouse| patched
+on one side with a piece of green cloth| sewed with twine;|| upon
+his back| was a well-filled knapsack,|| in his hand| he carried an
+enormous knotted stick;|| his stockingless feet| were in hobnailed
+shoes;|| his hair was cropped|| and his beard long.</p>
+</div>
+
+<p>Here the double vertical lines mark off groups of words which
+express one idea or symbolize one picture, and which are therefore
+each separated from the other by a well-marked pause. The single
+vertical lines indicate a shorter pause between the subdivisions of
+each group. The phrase "an old ragged gray blouse patched on one
+side with a piece of green cloth sewed with twine" presents one
+picture by itself, and is separated from the context by a long
+pause, but each detail in this picture is presented in turn to the
+mind's eye, hence the shorter pauses after "blouse," "cloth," and
+"twine."</p>
+
+<p>The reader should be careful not to allow pause and grouping to
+produce a jerky effect, thus interfering with the rhythm. This
+applies especially to poetry, which demands, in order to preserve
+the rhythm, that the caesural pause should not be slighted, and
+that there should be a more or less marked pause at the end of each
+line:</p>
+
+<p class="two">And they had trod the Pass once more, and stoop'd on
+either side</p>
+
+<p class="two">To pluck the heather from the spot where he had
+dropped and died.</p>
+
+<p><span class='pagenum'><a name="Page_12" id="Page_12">[Pg
+12]</a></span> In the second line, the caesural pause occurs after
+"spot," but the phrase "from the spot where he had dropped and
+died" expresses one idea and must be given as a whole. The rhythm
+and the grouping appear to be at variance; but the difficulty is
+easily overcome by making the caesural pause shorter than the pause
+after "heather" which introduces the group, and at the same time,
+by not allowing the voice to fall on the word "spot."</p>
+
+<p>The following affords another instance where the grouping
+appears to interfere with the rhythm:</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">If the husband of this gifted
+well</span> <span class="i0">Shall drink before his wife,</span>
+<span class="i0">A happy man thenceforth is he,</span> <span class=
+"i0">For he shall be master for life.</span></div>
+</div>
+
+<p>"Of this gifted well" is evidently not connected in thought with
+"husband." It must be separated from "husband" by a pause and
+attached to "shall drink" at the beginning of the next line. To do
+this, it is not, however, necessary to omit the pause at the end of
+the line; for this would mar the effect of the rhythm. The
+difficulty is again overcome by making the pause at the end of the
+line shorter than the pauses which mark the grouping, and by not
+allowing the voice to fall on "well."</p>
+
+<p><b>Time</b> is the rate at which we read. It is fast or slow
+according to the number and the length of the pauses between words
+and phrases, and also according to the length of time the reader
+dwells on the words themselves. There is perhaps no more frequent
+criticism made on reading than that it is too fast. What does this
+mean? It means that the reader is not doing enough thinking as he
+repeats the words. Consequently, he does not dwell on words that
+are full of meaning, nor pause before and after words and phrases
+to make the mental picture and to grasp the thought more fully.
+Moreover, for the benefit of the listener, the reading should be
+slower than is required by the reader for himself. The <span class=
+'pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>reader,
+with his eye on the page, can allow his eye and mind to run ahead
+of his voice, and can thus realize the thought in less time than
+the listener. The following line calls for a comparatively small
+amount of thinking:</p>
+
+<p class="two">High flew the spray above their heads, yet onward
+still they bore.</p>
+
+<p>Here, there is little except what is on the surface, and the
+thoughts suggested by the words are of the kind to make the mind
+think rapidly. Hence the line is read in faster time than the
+average rate. Reading may, accordingly, be fast from one or both of
+two causes. First, when there is no background of thought for the
+mind to dwell upon, and second when the nature of the thoughts
+themselves, such as the narration of the rapid succession of
+events, impels to quick mental action. The following lines from
+<i>Pibroch of Donuil Dhu</i> (p. <a href="#Page_61">61</a>) will
+serve as an illustration:</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Faster come, faster
+come,</span> <span class="i1">Faster and faster,</span> <span
+class="i0">Chief, vassal, page and groom,</span> <span class=
+"i1">Tenant and master.</span> <span class="i0">Fast they come,
+fast they come;</span> <span class="i1">See how they gather!
+etc.</span></div>
+</div>
+
+<p>So, too, reading may be slow from the exact opposite of these
+two reasons. First, when there is a great back-ground of thought
+suggested by the words, and second, when the reflective and
+meditative nature of the thought leads to slow action on the part
+of the mind. In some selections both of these conditions are
+present; in others only one of them. In <i>The Day is Done</i> (p.
+<a href="#Page_63">63</a>) there is little thought below the
+surface; but the reading is slow because the quiet, meditative
+nature of the thought tends to slow mental action:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">And the night shall be filled
+with music,</span> <span class="i1">And the cares that infest the
+day,</span> <span class="i0">Shall fold their tents, like the
+Arabs,</span> <span class="i1">And as silently steal
+away.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[Pg
+14]</a></span></p>
+
+<p>Both conditions, however, exist in the lines from <i>Barbara
+Frietchie</i> which describe the effect produced on Stonewall
+Jackson by Barbara Frietchie's heroic action and daring speech:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">A shade of sadness, a blush of
+shame,</span> <span class="i0">Over the face of the leader
+came.</span></div>
+</div>
+
+<p>A great many thoughts are suggested by these two lines. The
+heart of the gallant Southerner is touched at the sight of this
+weak, decrepit old woman with the courage and boldness of youth,
+ready to die for her principles. His stern features relax and a
+look of sadness passes over his face. The taunting words "spare
+your country's flag" have struck home. The tragic side of civil war
+is forced upon him&mdash;father fighting against son, and brother
+against brother, the sons of freedom firing at their own
+star-spangled banner. The sorrow and the shame of it all rise
+before him, and the crimson flush mounts to his brow. With this
+undercurrent of thought in the mind, it is impossible to read
+rapidly. Besides, the reflective nature of the thoughts themselves
+tends to make one repeat the words slowly.</p>
+
+<p>Sometimes, again, reading is faster than the moderate rate
+because of the unimportance of the events or facts:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">He spoke of the grass, the
+flowers and the trees,</span> <span class="i0">Of the singing birds
+and the humming bees;</span> <span class="i0">Then talked of the
+haying, and wondered whether</span> <span class="i0">The cloud in
+the west would bring foul weather.</span></div>
+</div>
+
+<p>Note the lightness with which the unimportant details of
+conversation are skimmed over.</p>
+
+<p><b>Inflection.</b> If we listen to the speech of the people
+around us, we can easily detect an upward slide of the voice on
+some words, a downward slide on others, and on others again a
+combination of the two. This slide of the voice on
+words&mdash;generally on the accented syllable of an emphatic <span
+class='pagenum'><a name="Page_15" id="Page_15">[Pg
+15]</a></span>word&mdash;is called <b>inflection</b>, and the
+various inflections are known as <i>rising</i> (/), <i>falling</i>
+(\), <i>rising circumflex</i> (\/), and <i>falling</i> circumflex
+(/\).</p>
+
+<p>Each inflection has a definite and fixed meaning recognized by
+every one, and it is because of the laws of inflection that we can
+tell what meaning a speaker intends to convey when he uses certain
+words; for often the same words may carry two or three different
+meanings according to the inflection. The simple word "Yes," with
+an abrupt downward slide, expresses decided affirmation. When
+spoken with an upward slide, it expresses interrogation and is
+equivalent to "Is that really so?" When it has a combination of the
+downward and upward slide or a rising circumflex inflection, the
+meaning is no longer simple but complex. There is an assertion
+combined with doubt. It is equivalent to saying: "I think so but I
+am not really sure." In such a sentence as: "Do not say 'yes,'"
+where the idea "but say 'no,'" is merely implied, but not formally
+expressed, the word "yes" has a combination of the upward and
+downward slide or a falling circumflex inflection.</p>
+
+<p>If we take an idea for its own sake, if it is independent and
+complete in itself, the voice has the downward slide or falling
+inflection on the words which stand for the central idea:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">My good blade carves the
+casques of men,</span> <span class="i1">My tough lance thrusteth
+sure,</span> <span class="i0">My strength is as the strength of
+ten,</span> <span class="i1">Because my heart is pure.</span> <span
+class="i0">The shattering trumpet shrilleth high,</span> <span
+class="i1">The hard brands shiver on the steel,</span> <span class=
+"i0">The splinter'd spear-shafts crack and fly,</span> <span class=
+"i1">The horse and rider reel.</span></div>
+</div>
+
+<p>Each statement is complete in itself and has the falling
+inflection.</p>
+
+<p>Sometimes there is a slight downward slide before the statement
+is completed, because the mind feels that the ideas <span class=
+'pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>already
+expressed are of sufficient force to give them the value of
+completeness:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">My strength is as the strength
+of t&egrave;n,</span> <span class="i1">Because my heart is
+pure.</span><br />
+<span class="i0">And the sick men down in the hold were most of
+them stark and c&ograve;ld,</span> <span class="i0">And the pikes
+were all broken or b&egrave;nt, and the powder was all of it
+sp&egrave;nt;</span> <span class="i0">And the masts and the rigging
+were lying over the side.</span></div>
+</div>
+
+<p>Note the momentary completeness on "ten," "cold," "bent," and
+"spent," requiring the falling inflection.</p>
+
+<p>If on the other hand an idea is incomplete, either pointing
+forward to some other idea or being subordinate, the voice has the
+upward slide or rising inflection. The rising inflection, like the
+falling, may be long or short, more or less abrupt, according to
+the importance of the thought:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Sh&eacute;, with all a
+monarch's pr&iacute;de,</span> <span class="i0">Felt them in her
+bosom glow.</span></div>
+</div>
+
+<p>"She" points forward to the predicate "felt" and because of the
+importance of the idea it takes a long rising inflection; "with all
+a monarch's pride" being subordinate and incomplete also requires
+the voice to be kept up, but takes a shorter rising inflection.</p>
+
+<p>It is of the greatest importance to know the exact purpose of
+the thought, so that the voice may, of itself, give the
+corresponding inflection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">And you may gather
+garl&aacute;nds th&eacute;re</span> <span class="i0">Would grace a
+summer qu&egrave;en.</span></div>
+</div>
+
+<p>The sense is evidently not complete in the first line, the
+intention being to emphasize the beauty of the garlands to be
+gathered, and not merely to state that they may be gathered <span
+class='pagenum'><a name="Page_17" id="Page_17">[Pg
+17]</a></span>there. When the reader understands the exact meaning
+he will convey it by keeping the rising inflection on
+"garlands."</p>
+
+<p>Similar to the foregoing is the following:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">There is not a w&iacute;fe in
+the w&eacute;st c&oacute;untry</span> <span class="i0">But has
+heard of the W&egrave;ll of St. K&egrave;yne.</span></div>
+</div>
+
+<p>The sense is not complete until we read the second line. The
+rising inflection on "country" indicates this and connects the
+first line with the second, bringing out the meaning, that every
+wife in the west country has heard of the Well of St. Keyne.</p>
+
+<p>Sometimes we have a series of rising inflections, all pointing
+forward to the leading statement which is to follow and which is
+necessary to complete the sense, for example:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Of man's first
+disob&eacute;dience and the fr&uacute;it</span> <span class="i0">Of
+that forbidden tr&eacute;e, whose mortal t&aacute;ste</span> <span
+class="i0">Brought d&eacute;ath into the w&oacute;rld, and all our
+w&oacute;e,</span> <span class="i0">With loss of &Eacute;den, till
+one greater m&aacute;n</span> <span class="i0">Rest&oacute;re us,
+and reg&aacute;in the blissful s&eacute;at,</span> <span class=
+"i0">Sing, he&agrave;venly M&ugrave;se.</span></div>
+</div>
+
+<p>Incompleteness may be suggested by a negative statement or its
+equivalent:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">N&oacute;t from the grand old
+m&aacute;sters,</span> <span class="i1">N&oacute;t from the
+b&aacute;rds sublime,</span> <span class="i0">Whose distant
+footsteps echo</span> <span class="i1">Through the corridors of
+Time.</span><br />
+<span class="i0">I do not know what I was pl&aacute;ying,</span>
+<span class="i1">Or what I was dr&eacute;aming th&eacute;n,</span>
+<span class="i0">But I struck one chord of music</span> <span
+class="i1">Like the sound of a great Amen.</span></div>
+</div>
+
+<p>Note the rising inflection on these negative clauses.</p>
+
+<p><span class='pagenum'><a name="Page_18" id="Page_18">[Pg
+18]</a></span></p>
+
+<p>On the same principle the rising inflection is used on the
+negative statements of persuasive argument as in the <i>Apology of
+Socrates</i> (p. <a href="#Page_145">145</a>).</p>
+
+<div class="blockquot2">
+<p>But I thought that I ought not to do anything common or mean, in
+the hour of danger: nor do I now repent of the manner of my
+defence.</p>
+
+<p>For neither in war nor yet at law ought any man to use every way
+of escaping death.</p>
+
+<p>Not so; the deficiency which led to my conviction was not of
+words&mdash;certainly not.</p>
+</div>
+
+<p>Doubt and hesitation also imply incompleteness:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">He surely would do desperate
+things to show his love of me!</span> <span class="i0">King,
+ladies, lovers, all look on; the chance is wondrous fine;</span>
+<span class="i0">I'll drop my glove to prove his love; great glory
+will be mine!</span></div>
+</div>
+
+<p>Note the rising inflection on the first two lines where the lady
+is still in doubt as to what shall be the test of De Lorge's love,
+and the falling inflection on the last one when she has reached a
+decision.</p>
+
+<p>Pleading and entreaty also convey a sense of incompleteness and
+take the rising inflection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Good friends, sweet friends,
+let me not stir you up</span> <span class="i0">To such a sudden
+flood of mutiny.</span> <span class="i0b">&nbsp;</span> <span
+class="i0">Good Sir Richard, tell us now,</span> <span class=
+"i0">For to fight is but to die!</span></div>
+</div>
+
+<p>A direct interrogation, that is, one that can be answered by
+"Yes" or "No", implies incompleteness in the mind of the questioner
+and requires a decided rising inflection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Is your name
+Sh&yacute;lock?</span> <span class="i0b">&nbsp;</span> <span class=
+"i0">May you st&eacute;ad me? Will you pl&eacute;asure me? Shall I
+kn&oacute;w your &aacute;nswer?</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg
+19]</a></span></p>
+
+<p>Questions that require an explanatory answer and cannot be
+answered by "Yes" or "No," do not convey an idea of incompleteness,
+being merely equivalent to the statement of a desire for certain
+information. Consequently they take the falling inflection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0"><i>Flav.</i> Spe&agrave;k,
+wh&agrave;t tr&agrave;de art th&ograve;u?</span> <span class=
+"i0"><i>1st Cit.</i> Why, sir, a carpenter.</span> <span class=
+"i0"><i>Mar.</i> Where is thy leather &agrave;pron, and thy
+r&ugrave;le?</span> <span class="i0">What dost thou with thy best
+app&agrave;rel &ograve;n?&mdash;</span> <span class="i0">You, sir,
+wh&agrave;t tr&agrave;de are yo&ugrave;?</span></div>
+</div>
+
+<p>The purpose or motive of a question must be considered. We must
+know whether the question is asked for information, or whether its
+purpose is to give information; that is, whether it is only another
+way of making an assertion&mdash;what is sometimes called a
+question of appeal. When Shylock asks Portia: "Shall I not have
+barely my principal?" he does so with the direct purpose of
+learning his sentence. His question can be answered by "Yes" or
+"No" and the rising inflection is used. But when he asks: "On what
+compulsion must I?" he means simply to give the information that
+there is no power on earth to compel him. This is a complete
+thought, hence the falling inflection. Other examples are:</p>
+
+<p class="two">Have you e'er heard of gallant like young
+Lochinvar?</p>
+
+<div class="poem">
+<div class="stanza"><span class="i2">God of battles, was ever a
+battle like this in the world before?</span><br />
+<span class="i2">What conquest brings he home?</span> <span class=
+"i2">What tributaries follow him to Rome,</span> <span class=
+"i2">To grace in captive bonds his chariot wheels?</span></div>
+</div>
+
+<p>The opposite inflections on antithetical words or phrases are
+also due to this law of completeness and incompleteness. The first
+part of the antithesis usually has the rising <span class=
+'pagenum'><a name="Page_20" id="Page_20">[Pg
+20]</a></span>inflection marking incompleteness, and the second,
+the falling, marking completeness.</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">H&iacute;s blast is heard at
+merry m&oacute;rn,</span> <span class="i0">And m&igrave;ne at
+d&egrave;ad of n&igrave;ght.</span></div>
+</div>
+
+<div class="blockquot2">
+<p>For this thy brother was d&eacute;ad, and is &agrave;live again;
+and was l&oacute;st, and is fo&ugrave;nd.</p>
+</div>
+
+<p>Similarly, in a series of words or phrases parallel in
+construction, all have the rising inflection but the last:</p>
+
+<div class="blockquot2">
+<p>As C&aelig;sar l&oacute;ved me, I w&eacute;ep for him; as he was
+fort&uacute;nate, I rej&oacute;ice at it; as he was
+v&aacute;l&iacute;ant, I h&oacute;nour him; but as he was
+amb&igrave;tious, I sl&egrave;w him! There is te&aacute;rs for his
+l&oacute;ve; j&oacute;y for his f&oacute;rtune; h&oacute;nour for
+his v&aacute;lour; and de&agrave;th for his amb&igrave;tion.</p>
+
+<p>Cr&aacute;fty men cont&eacute;mn studies; s&iacute;mple men
+adm&iacute;re them; and w&igrave;se men &ugrave;se them.</p>
+</div>
+
+<p>If one part of the antithesis is a negation, it takes the rising
+inflection, whether it comes first or second. This is owing to the
+fact that, as illustrated above, a negation implies incompleteness.
+The other part then takes the falling inflection:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Fall into the hands of
+G&ograve;d, not into the hands of Sp&aacute;in.</span><br />
+<span class="i0">I come to b&ugrave;ry C&aelig;sar, not to
+pr&aacute;ise him.</span><br />
+<span class="i0">I said an &egrave;lder soldier, not a
+b&eacute;tter.</span></div>
+</div>
+
+<p>Often only one part of the antithesis is expressed, the contrast
+being implied. In such a case, the voice brings out the contrast by
+placing a combination of the two inflections of the regularly
+expressed antithesis on the one word <span class='pagenum'><a name=
+"Page_21" id="Page_21">[Pg 21]</a></span>which does duty for both
+parts: Cassius says: "I said an elder soldier, not a better" in
+reply to Brutus' speech&mdash;"You say you are a better soldier."
+The antithesis is fully expressed, and the voice places the falling
+inflection on "elder" and the rising inflection on "better." If
+Cassius had omitted the words "not a better," the very same meaning
+could have been conveyed by placing a combination of the rising and
+the falling inflection or a falling circumflex on the word "elder,"
+thus&mdash;"I said an &ecirc;lder soldier." In the next line he
+goes on to say "Did I say b&#277;tter?" Here, there is an implied
+contrast with "elder," which is expressed by a combination of the
+falling and the rising inflection or a rising circumflex. From
+these two examples, we can see that the law of completeness and
+incompleteness holds good with the compound or circumflex
+inflection, just as it does with the simple inflection, and
+determines whether the circumflex shall be rising or falling.</p>
+
+<p>A very common mistake in reading is to use the circumflex
+inflection in emphasizing a word, thus making a contrast where none
+is intended. "Ramped and roared the lions" with a falling
+circumflex inflection on "lions," instead of a simple falling
+inflection, suggests that the tigers or some other animals did not
+ramp and roar. For similar reasons, avoid the circumflex when
+emphasizing "hand" and "feet" in "put a ring on his hand and shoes
+on his feet."</p>
+
+<p>As has already been stated, it is necessary to know the motive
+behind the words. When Shylock says: "O wise and upright judge,"
+his intention is evidently to bestow sincere praise. The reader,
+knowing this, instinctively gives a straight slide. Later, when
+Gratiano says: "O upright judge, O learned judge!" his intention is
+to taunt and hold up to ridicule; there is a double meaning
+conveyed, which finds its natural expression in a curved
+inflection.</p>
+
+<p>Compare the curved inflections in the cobbler's speeches in Act
+I. Scene I, of <i>Julius C&aelig;sar</i> (p. <a href=
+"#Page_133">133</a>) when he is fencing with Marullus, with the
+straight inflections of his final speech <span class='pagenum'><a
+name="Page_22" id="Page_22">[Pg 22]</a></span>when he has thrown
+aside his raillery and speaks with sincerity:</p>
+
+<table width="80%" border="0" summary="inflections">
+<tr>
+<td class="cell_small"><img class="side_5" src="images/p028.jpg"
+alt="" /></td>
+</tr>
+
+<tr>
+<td>Truly, sir, to wear out their shoes, to get myself</td>
+</tr>
+
+<tr>
+<td class="cell_small"><img class="side_5" src="images/p028b.jpg"
+alt="" /></td>
+</tr>
+
+<tr>
+<td>in more work. But, inde&egrave;d, sir, we make h&ograve;liday
+to</td>
+</tr>
+
+<tr>
+<td>&nbsp;</td>
+</tr>
+
+<tr>
+<td>see Ca&egrave;sar, and to rejo&igrave;ce in his
+tri&ugrave;mph.</td>
+</tr>
+</table>
+
+<p>One writer has said: "Where there is simple and genuine thought,
+deep and sincere feeling, wherever the eye is single, the
+inflections of the voice are straight; a crook in the mind however
+is indicated by a crook in the voice."</p>
+
+<p><b>Pitch</b> is the key of the voice. A change of pitch is a
+leap from one key to another during silence. Inflection, as we have
+seen, is a gradual change in the key while the voice is speaking.
+The pitch or key depends upon the muscular tension of the vocal
+chords, which act like the strings of a musical instrument: the
+greater the tension, the higher the key. Muscular tension implies
+nervous tension and this is dependent upon the mental state. If the
+mind is calm, the nervous and muscular tension is normal, and the
+speaker uses the key habitual to him in his ordinary speech. If the
+mental state is one of excitement, the key is higher because of
+greater nervous and muscular tension. If, on the other hand, the
+mental state is one of depression, the key is lower because of
+relaxed muscular tension.</p>
+
+<p>In <i>The Defence of the Bridge</i> (p. <a href=
+"#Page_206">206</a>) the Romans, seeing the danger of the heroes,
+are wrought up to a high state of nervous tension which finds its
+natural expression in the high-pitched voice:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">"Come back, come back
+Horatius!"</span> <span class="i0">&nbsp;Loud cried the Fathers
+all.</span> <span class="i0">"Back, Lartius! back Herminius!</span>
+<span class="i0">&nbsp;Back, ere the ruin fall!"</span></div>
+</div>
+
+<p>Contrast with this the lower key of Horatius, who is calm and
+self-controlled:</p>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg
+23]</a></span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">"O Tiber! Father Tiber!</span>
+<span class="i1">To whom the Romans pray,</span> <span class="i0">A
+Roman's life, a Roman's arms,</span> <span class="i1">Take thou in
+charge this day!"</span></div>
+</div>
+
+<p>Observe the gradual rise in pitch with the increase of tension
+or excitement in the following:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">And now he feels the
+bottom;</span> <span class="i1">Now on dry earth he stands;</span>
+<span class="i0">Now round him throng the Fathers</span> <span
+class="i1">To press his gory hands;</span> <span class="i0">And
+now, with shouts and clapping,</span> <span class="i1">And noise of
+weeping loud,</span> <span class="i0">He enters through the
+River-Gate,</span> <span class="i1">Borne by the joyous
+crowd.</span></div>
+</div>
+
+<p>In the following lines, where the Douglas holds communion with
+himself, the tension is low chiefly because of his great mental
+depression, and, consequently, he speaks in a low key:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Yes! all is true my fears
+could frame;</span> <span class="i0">A prisoner lies the noble
+Graeme,</span> <span class="i0">And fiery Roderick soon will
+feel</span> <span class="i0">The vengeance of the royal
+steel.</span> <span class="i0">I, only I, can ward their
+fate,&mdash;</span> <span class="i0">God grant the ransom come not
+late.</span> <span class="i0">The abbess hath her promise
+given.</span> <span class="i0">My child shall be the bride of
+Heaven:&mdash;</span> <span class="i0">Be pardoned one repining
+tear!</span> <span class="i0">For he, who gave her, knows how
+dear,</span> <span class="i0">How excellent! but that is by,</span>
+<span class="i0">And now my business is&mdash;to die.</span></div>
+</div>
+
+<p>The low pitch is also partly due to the fact that the Douglas is
+speaking to himself, and has no desire to communicate his thoughts
+to another; for the effort to communicate thought causes increased
+tension.</p>
+
+<p>Again, it requires greater effort to address a person who is at
+a distance than one close at hand, or to address a large <span
+class='pagenum'><a name="Page_24" id="Page_24">[Pg
+24]</a></span>audience than a small one. Observe the comparatively
+high pitch in which Antony (p. <a href="#Page_225">225</a>) begins
+his oration:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Friends, Romans, countrymen,
+lend me your ears;</span> <span class="i0">I come to bury
+C&aelig;sar, not to praise him.</span></div>
+</div>
+
+<p>If the reader wishes to give prominence to a thought, the effort
+put forth causes muscular tension, resulting in a higher pitch. On
+the other hand, a thought, which the reader regards as not of
+special importance to the listener, finds expression in lower
+pitch, more as if he were addressing himself:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Bold words!&mdash;but, though
+the beast of game</span> <span class="i0">The privilege of chase
+may claim,</span> <span class="i0">Though space and law the stag we
+lend,</span> <span class="i0">Ere hound we slip, or bow we
+bend,</span> <span class="i0">Who ever recked, where, how, or
+when,</span> <span class="i0">The prowling fox was trapped or
+slain?</span></div>
+</div>
+
+<p>Observe the lower pitch of the subordinate clauses in the first
+four lines, and the higher pitch in the last two lines which
+project the leading thought.</p>
+
+<div class="blockquot2">
+<p>"I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this
+afternoon."</p>
+</div>
+
+<p>Similarly, the narrative clause "said the schoolmaster" which
+interrupts the direct speech is read in lower pitch and is
+separated by a marked pause before and after.</p>
+
+<p>Parenthetical expressions, also for the same reason, are read in
+lower pitch.</p>
+
+<div class="blockquot2">
+<p>She had not perceived&mdash;how could she until she had lived
+longer?&mdash;the inmost truth of the old monk's outpourings, that
+renunciation remains sorrow, though a sorrow borne willingly.</p>
+</div>
+
+<div class="blockquot2">
+<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg
+25]</a></span> He (Mr. Pickwick) would not deny that he was
+influenced by human passions, and human feelings,
+(cheers)&mdash;possibly by human weaknesses&mdash;(loud cries of
+"No"); but this he would say, that if ever the fire of
+self-importance broke out in his bosom, the desire to benefit the
+human race in preference, effectually quenched it.</p>
+</div>
+
+<p>Passages which are collateral or co-ordinate in construction,
+and equally balanced, will find their natural vocal expression in
+the same pitch and, of course, the pitch varies as the attitude of
+the mind changes:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Forty flags with their silver
+stars,</span> <span class="i0">Forty flags with their crimson
+bars,</span> <span class="i0">Flapped in the morning wind: the
+sun</span> <span class="i0">Of noon looked down and saw not
+one.</span></div>
+</div>
+
+<p>The first two lines have the same pitch, because there is no
+difference in intensity of feeling or in the mental conception.
+There is, however, an entire change of thought beginning with "the
+sun." This is accompanied by a change of pitch.</p>
+
+<p><b>Force.</b> Force is vocal energy; in other words, it is the
+power or volume of the voice, and is determined by the amount of
+physical and mental energy exerted by the speaker.</p>
+
+<p>The language of everyday conversation, when not marked by
+intensity of feeling or purpose, requires only a moderate amount of
+physical and mental energy and is expressed by <i>moderate
+force</i>. Intensity of feeling or purpose, on the other hand, is
+accompanied by a great expenditure of energy, and finds its natural
+outlet in <i>strong force</i>. In the following lines, (p. <a href=
+"#Page_132">132</a>) the king's emphatic approval of De Lorge's
+action and his vehement condemnation of the lady's vanity find
+expression in strong force:</p>
+
+<p class="two">"In truth!" cried Francis, "rightly done!" and he
+rose from where he sat:</p>
+
+<p class="two">"No love," quoth he, "but vanity, sets love a task
+like that!"</p>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg
+26]</a></span></p>
+
+<p>Compare the moderate amount of energy expended in uttering the
+narrative clauses "cried Francis," "and he rose from where he sat,"
+and "quoth he," which should be read with moderate force.</p>
+
+<p>More physical energy is expended in making one's self understood
+at a distance than near at hand, and in addressing a large audience
+than a small one; hence strong force is used in the following where
+it is accompanied by a loud tone of voice:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">"Come back, come back
+Horatius!"</span> <span class="i0">&nbsp;Loud cried the Fathers
+all.</span></div>
+</div>
+
+<p>But strong force does not necessarily imply a loud tone of
+voice:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">"Curse on him!" quoth false
+Sextus;</span> <span class="i1">"Will not the villain drown?</span>
+<span class="i0">But for this stay, ere close of day</span> <span
+class="i1">We should have sacked the town!"</span></div>
+</div>
+
+<p>Here Sextus gives vent to his concentrated hate for Horatius and
+speaks with strong force, but not in a loud tone of voice.</p>
+
+<p>The effort to influence the mind and action of others draws on a
+great fund of mental energy; hence commands, persuasion, and
+argument, all find their vocal expression in strong force.
+Herv&eacute; Riel, urging the captains to allow him to pilot the
+ships, speaks with strong force:</p>
+
+<p class="two">Sirs, they know I speak the truth! Sirs, believe me
+there's a way!</p>
+
+<p class="two">Only let me lead the line,</p>
+
+<p>When the mental or physical energy is at a low ebb we speak with
+<i>weak force</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">But all that I could think of,
+in the darkness and the cold,</span> <span class="i0">Was just that
+I was leaving home, and my folks were growing old.</span> <span
+class="i0"><span class='pagenum'><a name="Page_27" id="Page_27">[Pg
+27]</a></span>Take me out, sink me deep in the green
+profound,</span> <span class="i0">To sway with the long-weed, swing
+with the drowned,</span> <span class="i0">Where the change of the
+soft tide makes no sound,</span> <span class="i0">Far below the
+keels of the outward bound.</span></div>
+</div>
+
+<p>For the same reason such poems as <i>The Day is Done</i>, (p. <a
+href="#Page_63">63</a>) and Part IV, of <i>The Lady of Shalott</i>,
+(p. <a href="#Page_200">200</a>) are read with gentle force.</p>
+
+<p>A change in force often accompanies a change in pitch. The lower
+pitch of parenthetical expressions, and narrative clauses which
+interrupt direct discourse, is accompanied by weaker force, and the
+higher pitch resulting from the efforts to make one's self heard at
+a distance is accompanied by stronger force.</p>
+
+<p><b>Stress</b> is force applied to the vowel sound. When we are
+taken by surprise and give expression to it by means of the one
+word "Oh," we apply the force or volume of the voice to the
+beginning of the vowel sound. This is called <i>initial or radical
+stress</i> (&gt;) to a statement, or to insist on a refusal to some
+persistent request we say "No," gradually increasing the force of
+the voice to the last part of the vowel sound. This is called
+<i>final</i> or <i>vanishing stress</i> (&lt;). Again, if our minds
+are uplifted with wonder and delight at something we have heard or
+seen, we exclaim "Oh" applying the force to the middle of the vowel
+sound. This swell of the vowel sound is called <i>median stress</i>
+(&lt;&gt;).</p>
+
+<p>It has already been pointed out that force depends upon the
+<i>amount</i> of energy. The above examples show that stress or the
+location of force depends upon the <i>kind</i> of mental energy, or
+the attitude of mind, whether it be that of abruptness, of
+insistence, or of uplift.</p>
+
+<p>All speech has a slight tendency toward initial stress, because
+the effort made by the vocal chords to articulate sound is
+characterized by abruptness. If, in addition, the mental energy of
+the speaker possesses abruptness through sudden impulse or emotion,
+or through unconscious imitation <span class='pagenum'><a name=
+"Page_28" id="Page_28">[Pg 28]</a></span>of sound or movement, the
+initial stress is very prominent:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0"><i>Where</i> is thy leather
+apron, and thy rule?</span> <span class="i0"><i>What</i> dost thou
+with thy best apparel on?&mdash;</span> <span class=
+"i0"><i>You</i>, sir, <i>what trade</i> are
+<i>you</i>?</span><br />
+<span class="i0"><i>Quick</i>, as it fell, from the broken
+staff</span> <span class="i0">Dame Barbara <i>snatched</i> the
+silken scarf.</span><br />
+<span class="i0">She leaned far out on the window-sill,</span>
+<span class="i0">And <i>shook</i> it forth with a royal
+will.</span></div>
+</div>
+
+<p class="two">While I nodded, nearly napping, suddenly there came
+a tapping,</p>
+
+<p class="two">As of some one gently rapping, rapping at my chamber
+door.</p>
+
+<p>If the speaker desires to impress on others his own feelings or
+convictions, the final stress is the result. Such insistence is
+found in the expression of anger, scorn, indignation, and
+determination:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0"><i>Burn</i> the fleet and
+<i>ruin</i> France?</span> <span class="i0">That were <i>worse</i>
+than <i>fifty</i> Hogues!</span> <span class="i0">Sirs, they
+<i>know</i> I speak the truth!</span> <span class="i0">Sirs,
+<i>believe</i> me, <i>there's a way</i>!</span></div>
+</div>
+
+<p>In the first two lines Herv&eacute; Riel wishes to make others
+feel his own indignation at the thought of burning the fleet. In
+the last two, he tries to impress them with his conviction that
+there is a way out of the difficulty. Hence the final stress in
+each case.</p>
+
+<p>Sometimes the speaker tries to enforce his own opinion by
+peevishness, whining, or complaining, with the result that he uses
+the final stress:</p>
+
+<div class="blockquot2">
+<p><i>Lady Teazle</i>. Then <i>why</i> will you <i>endeavour</i> to
+make yourself so <i>disagreeable</i> to me, and <i>thwart</i> me in
+<i>every little elegant expense</i>?</p>
+
+<p><i>Sir Peter</i>. Madam, I say, had you any of these little
+elegant expenses when you married me?</p>
+
+<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg
+29]</a></span><i>Lady Teazle</i>. <i>Sir Peter!</i> would you have
+me be <i>out of the fashion</i>?</p>
+</div>
+
+<p>If the mental energy or mental attitude is one of uplift or
+exaltation, expressing itself in adoration of the Deity, or in
+admiration and love of the beautiful, or in sympathy and tenderness
+toward mankind, the median stress is used:</p>
+
+<p class="two">Bless the Lord, O my soul: and all that is within
+me, bless his holy name.</p>
+
+<p class="two"><i>Roll on</i>, thou <i>deep</i> and <i>dark</i>
+blue ocean&mdash;<i>roll</i>!</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Dear lost companions of my
+tuneful art,</span> <span class="i1">Dear as the light that visits
+these sad eyes,</span> <span class="i0">Dear as the ruddy drops
+that warm my heart,</span> <span class="i1">Ye died amidst your
+dying country's cries.</span></div>
+</div>
+
+<p>Determination and settled conviction in the speaker's mind,
+especially when accompanied by a marked degree of dignity,
+calmness, and self-control, cause equal stress on every part of the
+vowel sound. This is called <i>thorough stress</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">If every ducat in six thousand
+ducats</span> <span class="i0">Were in six parts, and every part a
+ducat,</span> <span class="i0">I would not draw them; I would have
+my bond.</span></div>
+</div>
+
+<p>It is the stress of quiet strength and great reserve force:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Though the water flashed
+around them,</span> <span class="i1"><i>Not an eye was seen to
+quiver</i>;</span> <span class="i0">Though the shot flew sharp and
+deadly,</span> <span class="i1"><i>Not a man relax'd his
+hold</i>.</span></div>
+</div>
+
+<p>In a more marked degree, it is also the stress used in
+calling:</p>
+
+<p class="two">Then rose a warning cry behind, a joyous shout
+before:</p>
+
+<p class="two">"The current's strong,&mdash;the way is
+long,&mdash;they'll never reach the shore!</p>
+
+<p class="two">See, see! they stagger in the midst, they waver in
+their line!</p>
+
+<p class="two">Fire on the madmen! break their ranks, and whelm
+them in the Rhine!"</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg
+30]</a></span></p>
+
+<p>If the speaker's attitude of mind is not straightforward and
+sincere, if he speaks with a double meaning, in irony or sarcasm,
+the stress is a combination of the radical and final, known as
+<i>compound stress</i> (&gt;&lt;). This is analogous to the
+compound inflection. See page <a href="#Page_21">21</a>.</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Now welcome, welcome,
+Sextus!</span> <span class="i1">Now welcome to thy home!</span>
+<span class="i0">Why dost thou stay, and turn away?</span> <span
+class="i1">Here lies the road to Rome.</span></div>
+</div>
+
+<p>Accordingly, the compound stress is used when the intention is
+to taunt or to ridicule:</p>
+
+<div class="blockquot2">
+<p><i>Sir Peter</i>. Ay&mdash;there again&mdash;taste! Zounds!
+Madam, you had no taste when you married me!</p>
+
+<p><i>Lady Teazle</i>. <i>That's very true</i>, indeed, Sir Peter!
+and after having married <i>you</i>, I should <i>never pretend to
+taste again</i>, I allow.</p>
+</div>
+
+<p><b>Emphasis</b>&mdash;The importance of an idea, whether this
+idea is expressed by a single word, or by a phrase or clause, is
+indicated by a variation of pitch, force, or time. This change in
+pitch, force, or time, by attracting attention to that idea, is a
+means of emphasis. It is the new idea, or the idea which is
+important through contrast either expressed or implied, which will
+attract the reader's attention and which he will make prominent in
+this way:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0b"><i>Brutus</i>. You say you
+are a <i>better soldier</i>:</span> <span class="i2">Let it
+<i>appear</i> so; make your vaunting <i>true</i>,</span> <span
+class="i2">And it shall <i>please me well</i>: for mine own
+part,</span> <span class="i2">I shall be <i>glad</i> to learn of
+noble men.</span><br />
+<span class="i0b"><i>Cassius</i>. You <i>wrong</i> me every way;
+you <i>wrong</i> me, Brutus;</span> <span class="i2">I said, an
+<i>elder</i> soldier, not a <i>better</i>:</span></div>
+</div>
+
+<p>"better soldier," "appear," and "true" are central ideas; they
+express important ideas not mentioned before. When Cassius replies
+he at once throws the idea of "soldier" in the back-ground and
+emphasizes "better" by contrasting it with <span class='pagenum'><a
+name="Page_31" id="Page_31">[Pg 31]</a></span>"elder." He also
+introduces the new idea "wrong" which he makes still more emphatic
+by repetition. Brutus also introduces the new idea "please me well"
+which he makes emphatic by repeating it in the word "glad." Other
+examples of words and phrases becoming more emphatic through
+repetition are:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Faster come, faster
+come;</span> <span class="i1">Faster and faster,</span> <span
+class=
+"i0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</span>
+<span class="i0">Fast they come, fast they come;</span></div>
+</div>
+
+<div class="poem">
+<div class="stanza"><span class=
+"i0">"<i>Jump</i>&mdash;far&mdash;out boy into the wave,</span>
+<span class="i1"><span class="smcap">Jump</span>, or I fire," he
+said,</span> <span class="i0">"This chance alone your life can
+save:</span> <span class="i1">JUMP, JUMP."</span></div>
+</div>
+
+<p>In the case of a climax, the emphasis grows stronger on each
+member of the series:</p>
+
+<p class="two">"Take the helm, lead the line, save the squadron!"
+cried its chief.</p>
+
+<p class="two">&nbsp;</p>
+
+<p class="two">It is enthron&eacute;d in the hearts of Kings,</p>
+
+<p class="two">It is an attribute to God himself.</p>
+
+<p class="two">&nbsp;</p>
+
+<p class="two">When a wind from the lands they had ruin'd awoke
+from sleep,</p>
+
+<p class="two">And the water began to heave and the weather to
+moan,</p>
+
+<p class="two">And or ever that evening ended a great gale
+blew,</p>
+
+<p class="two">And a wave like the wave that is raised by an
+earthquake grew,</p>
+
+<p class="two">Till it smote on their hulls and their sails and
+their masts and their flags.</p>
+
+<p>However, if a word is repeated, it is not necessarily emphatic
+each time:</p>
+
+<p class="two">The German heart is stout and true, the German arm
+is strong;</p>
+
+<p class="two">The German foot goes seldom back where arm&egrave;d
+foemen throng.</p>
+
+<p><span class='pagenum'><a name="Page_32" id="Page_32">[Pg
+32]</a></span></p>
+
+<p>In the phrase "The German heart" the chief emphasis is on
+"heart," with a slighter emphasis on German. The emphasis is then
+transferred to "arm" and "foot" through contrast with "heart." To
+emphasize "German" again would weaken the effect.</p>
+
+<p>Compare the repetition, in the following, of the syllable "un,"
+also of the phrase "this year":</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Unwatched along
+Clitumnus</span> <span class="i1">Grazes the milk-white
+steer;</span> <span class="i0">Unharmed the water-fowl may
+dip</span> <span class="i1">In the Volsinian mere.</span><br />
+<span class="i0">The harvests of Arretium,</span> <span class=
+"i1">This year, old men shall reap,</span> <span class="i0">This
+year young boys in Umbro</span> <span class="i1">Shall plunge the
+struggling sheep;</span> <span class="i0">And in the vats of
+Luna,</span> <span class="i1">This year, the must shall foam</span>
+<span class="i0">Round the white feet of laughing girls</span>
+<span class="i1">Whose sires have marched to Rome.</span></div>
+</div>
+
+<p>Words and phrases are emphatic quite as often through contrast
+implied as through contrast expressed. It is evident that such a
+sentence as: "Will you ride to town to-day?" may have a number of
+different meanings according to the words emphasized. This
+difference of meaning is due to an implied contrast. If "you" is
+emphatic, it is because there is a mental contrast between "you"
+and some other person. If "ride" is emphatic, it is because riding
+is being contrasted with walking or driving and so on. The
+following contain examples of emphasis through implied
+contrast:</p>
+
+<p class="two"><i>Great</i> things were ne'er begotten in an
+hour.</p>
+
+<p class="two">But <i>now</i> no sound of laughter was heard among
+the foes.</p>
+
+<p>As already shown on page <a href="#Page_21">21</a>, the
+emphasis, in the case of implied contrast, is brought out by the
+circumflex inflection.</p>
+
+<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg
+33]</a></span></p>
+
+<p><b>Shading</b> and <b>Perspective</b>. These deal with the
+relative importance of words, phrases, or clauses. According as an
+idea suggested by a word or group of words is regarded as principal
+or subordinate, the voice either projects it or holds it in the
+back-ground as an artist shades his picture:</p>
+
+<p class="two">And, though the legend does not live,&mdash;for
+legends lightly die&mdash;</p>
+
+<p class="two">The peasant, as he sees the stream in winter rolling
+by,</p>
+
+<p class="two">And foaming o'er its channel-bed between him and the
+spot</p>
+
+<p class="two">Won by the warriors of the sword, still calls that
+deep and dangerous ford</p>
+
+<p class="two">The Passage of the Scot.</p>
+
+<p>The principal statement, "The peasant still calls that deep and
+dangerous ford the Passage of the Scot," is projected or emphasized
+by higher pitch and stronger force, the thought being sustained,
+and the connection made between "The peasant" and "still calls" by
+means of the rising inflection. The subordinate statements, "though
+the legend does not live" and "as he sees the stream in winter
+rolling by ... sword," are kept in the back-ground by slightly
+lower pitch and moderate force. The parenthetical clause, "for
+legends lightly die," is subordinate to the subordinate statement
+and is thrown still more into the back-ground in the same way as
+the preceding.</p>
+
+<p>Strictly speaking, the term "shading" is used to indicate the
+value of individual phrases or clauses; "perspective," to indicate
+the values of several phrases or clauses viewed relatively.</p>
+
+<p>The <b>quality</b>, or timbre, of the voice reveals the
+speaker's emotions, their character, number, and intensity. The
+voice is affected by the muscular texture of the throat, just as
+the tone of an instrument is affected by the texture of the
+material of which it is made. This muscular texture is affected by
+nerve and muscular vibrations which are caused by emotion, the
+result of mental impressions. Whatever be the <span class=
+'pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>quality
+of voice peculiar to the individual, it is greatly modified by his
+emotions. The man of few emotions has few vocal vibrations; hence
+his monotonous voice. The man whose emotions are habitually cruel,
+has a harsh, hard muscular texture through contraction of the
+muscles; hence the hard voice. It is plain that the natural voice
+is an index to the character. If the imagination and soul are
+cultivated, the voice will gain in richness and fulness. If, in
+reading that which expresses the sublime, noble, and grand, the
+imagination is kindled, the voice will express by its vibrations
+the largeness of our conception. This full, rich voice is called
+the <i>orotund</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">These are the gardens of the
+Desert, these</span> <span class="i0">The unshorn fields, boundless
+and beautiful,</span> <span class="i0">For which the speech of
+England has no name&mdash;</span> <span class="i0">The
+prairies.</span></div>
+</div>
+
+<p class="two">For as the heaven is high above the earth, so great
+is his mercy toward them that fear him.</p>
+
+<p class="two">As far as the east is from the west, so far hath he
+removed our transgressions from us.</p>
+
+<p>In thinking of what is stern, severe, harsh, cruel, or base, the
+muscles of the throat contract and produce the rigid, throaty tone
+known as the <i>guttural</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">On what compulsion must I?
+Tell me that.</span><br />
+<span class="i0">"Curse on him!" quoth false Sextus</span> <span
+class="i1">"Will not the villain drown?</span> <span class="i0">But
+for this stay, ere close of day,</span> <span class="i1">We should
+have sacked the town!"</span></div>
+</div>
+
+<p>Certain states of mind, such as awe, caution, secrecy, fear,
+etc., produce in greater or less degree an aspirated or "breathy"
+quality, called the <i>whisper</i> or <i>aspirate</i>:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">When Jubal struck the chorded
+shell,</span> <span class="i1">His listening brethren stood
+around,</span> <span class="i0">And, wondering, on their faces
+fell</span> <span class="i1">To worship that celestial
+sound.</span> <span class="i0">&nbsp;<span class='pagenum'><a name=
+"Page_35" id="Page_35">[Pg 35]</a></span></span> <span class=
+"i0">The red rose cries, "She is near, she is near;"</span> <span
+class="i1">And the white rose weeps, "She is late;"</span> <span
+class="i0">The larkspur listens, "I hear, I hear;"</span> <span
+class="i1">And the lily whispers, "I wait."</span></div>
+</div>
+
+<p>The atmosphere of hush and repose expresses itself by a partial
+whisper:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Ne'er saw I, never felt, a
+calm so deep!</span> <span class="i1">The river glideth at his own
+sweet will:</span> <span class="i0">Dear God! the very houses seem
+asleep;</span> <span class="i1">And all that mighty heart is lying
+still!</span></div>
+</div>
+
+<p>It must not be supposed that the whisper is always associated
+with moderate or with weak force as in the preceding examples.
+Strong force is used with the whisper to express intensity of
+feeling or vehemence:</p>
+
+<p class="two">Whispering with white lips: the foe! they come! they
+come!</p>
+
+<p class="two">&nbsp;</p>
+
+<p class="two">Hush, I say, hush!</p>
+
+<p>Other emotional states have their corresponding qualities of
+voice, such, for example, as the quality of oppressed feeling and
+the quality expressing agitation.</p>
+
+<p>To conclude: it must be carefully borne in mind that the reader
+should never strive to produce a certain quality apart from the
+emotion which should precede. By force alone, for example, he will
+succeed in producing mere sound without the quality. Nor are any of
+the examples given above, in dealing with the various elements of
+vocal expression, intended for practice in voice gymnastics apart
+from the preliminary state of which they are the vocal expression.
+They are intended merely as illustrations of the laws which govern
+correct speech.</p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_36" id="Page_36">[Pg
+36]</a></span></p>
+
+<h2>THE HIGH SCHOOL READER</h2>
+
+<h3>THE BANNER OF ST. GEORGE</h3>
+
+<div class="center2">Words by Shapcott Wensley: music by Sir Edward
+Elgar</div>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">It comes from the misty
+ages,</span> <span class="i0">The banner of England's might,</span>
+<span class="i0">The blood-red cross of the brave St.
+George,</span> <span class="i0">That burns on a field of
+white!</span> <span class="i0">It speaks of the deathless
+heroes<span class='linenum2'>5</span></span> <span class="i0">On
+fame's bright page inscrolled,</span> <span class="i0">And bids
+great England ne'er forget</span> <span class="i0">The glorious
+deeds of old!</span><br />
+<span class="i0">O'er many a cloud of battle</span> <span class=
+"i0">The banner has floated wide;<span class=
+'linenum2'>10</span></span> <span class="i0">It shone like a star
+o'er the valiant hearts</span> <span class="i0">That dashed the
+Armada's pride!</span> <span class="i0">For ever amid the
+thunders</span> <span class="i0">The sailor could do or die,</span>
+<span class="i0">While tongues of flame leaped forth below,<span
+class='linenum2'>15</span></span> <span class="i0">And the flag of
+St. George was high!</span><br />
+<span class="i0">O ne'er may the flag beloved</span> <span class=
+"i0">Unfurl in a strife unblest,</span> <span class="i0">But ever
+give strength to the righteous arm,</span> <span class="i0">And
+hope to the hearts oppressed!<span class=
+'linenum2'>20</span></span> <span class="i0">It says to the passing
+ages:</span> <span class="i0">"Be brave if your cause be
+right,</span> <span class="i0">Like the soldier saint whose cross
+of red</span> <span class="i0">Still burns on your banner
+white!"</span><br />
+<span class="i0"><span class='pagenum'><a name="Page_37" id=
+"Page_37">[Pg 37]</a></span></span> <span class="i0">Great race,
+whose empire of splendour<span class='linenum2'>25</span></span>
+<span class="i0">Has dazzled the wondering world!</span> <span
+class="i0">May the flag that floats o'er thy wide domains</span>
+<span class="i0">Be long to all winds unfurled!</span> <span class=
+"i0">Three crosses in concord blended,</span> <span class="i0">The
+banner of Britain's might!<span class='linenum2'>30</span></span>
+<span class="i0">But the central gem of the ensign fair</span>
+<span class="i0">Is the cross of the dauntless Knight!</span></div>
+</div>
+
+<p class="quotsig"><i>&mdash;By permission of the publishers,
+Novello &amp; Co.</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>&mdash;Divide the poem
+into two parts, giving to each part a descriptive title.</p>
+
+<p>What feelings are aroused by this poem?</p>
+
+<p>What lines in stanzas i and iv call up a mental picture of the
+flag?</p>
+
+<p>What three phrases in stanza i suggest the important ideas to be
+associated with the flag? How does the voice indicate the
+importance of these ideas? (Introduction, p. <a href=
+"#Page_8">8</a>.)</p>
+
+<p>Of what phrases in stanza i is stanza ii only an
+elaboration?</p>
+
+<p>What wish is contained in stanza iii? What sentences express
+it?</p>
+
+<p>What additional idea does stanza iv add to this wish?</p>
+
+<p><span class="smcap">star, valiant, armada, central</span>. Make
+a distinction in the sound of the letter <i>a</i> in these words,
+and elsewhere in the poem. (Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p><span class="smcap">George, cross, forget, forth,
+concord</span>. What sound has the letter <i>o</i> in each word?
+(Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p>Articulate with energy the final consonantal combinations of all
+such words as: <span class="smcap">England's, burns, speaks,
+inscrolled, floated, hearts, dashed, leaped, unblest, strength,
+dazzled, unfurled, blended</span>. (Appendix <a href="#A_3">A,
+3</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_38" id="Page_38">[Pg
+38]</a></span></p>
+
+<h3>JEAN VALJEAN AND THE BISHOP</h3>
+
+<div class="center2">From "Les Mis&eacute;rables"</div>
+
+<p>At the bishop's house, his housekeeper, Mme. Magloire was
+saying:</p>
+
+<p>"We say that this house is not safe at all; and, if Monseigneur
+will permit me, I will go on and tell the locksmith to come and put
+the old bolts in the door again. I say, than a door which opens by
+a latch on the outside to the first comer, nothing could be more
+horrible; and then Monseigneur has the habit of always saying:
+'Come in,' even at midnight. But, my goodness, there is no need to
+even ask leave&mdash;&mdash;"</p>
+
+<p>At this moment there was a violent knock on the door.</p>
+
+<p>"Come in!" said the bishop.</p>
+
+<p>The door opened.</p>
+
+<p>It opened quickly, quite wide, as if pushed by some one boldly
+and with energy.</p>
+
+<p>A man entered.</p>
+
+<p>That man we know already; it was the traveller we have seen
+wandering about in search of a lodging.</p>
+
+<p>He came in, took one step, and paused, leaving the door open
+behind him. He had his knapsack on his back, his stick in his hand,
+and a rough, hard, and fierce look in his eyes. He was hideous.</p>
+
+<p>The bishop looked upon the man with a tranquil eye. As he was
+opening his mouth to speak, doubtless to ask the stranger what he
+wanted, the man, leaning with both hands on his club, glanced from
+one to another in turn, <span class='pagenum'><a name="Page_39" id=
+"Page_39">[Pg 39]</a></span>and, without waiting for the bishop to
+speak, said, in a loud voice:</p>
+
+<p>"See here! my name is Jean Valjean. I am a convict; I have been
+nineteen years in the galleys. Four days ago I was set free, and
+started for Pontarlier; during these four days I have walked from
+Toulon. To-day I have walked twelve leagues. When I reached this
+place this evening I went to an inn, and they sent me away on
+account of my yellow passport, which I had shown at the Mayor's
+office, as was necessary. I went to another inn; they said, 'Get
+out!' It was the same with one as with another; nobody would have
+me. I went to the prison and the turnkey would not let me in. I
+crept into a dog kennel, the dog bit me, and drove me away as if he
+had been a man; you would have said that he knew who I was. I went
+into the fields to sleep beneath the stars, there were no stars. I
+thought it would rain, and there was no good God to stop the drops,
+so I came back to the town to get the shelter of some doorway.
+There in the square I laid down upon a stone; a good woman showed
+me your house, and said: 'Knock there!' I have knocked. What is
+this place? Are you an inn? I have money; my savings, one hundred
+and nine francs and fifteen sous, which I have earned in the
+galleys by my work for nineteen years. I will pay. What do I care?
+I have money, I am very tired&mdash;twelve leagues on
+foot&mdash;and I am so hungry. Can I stay?"</p>
+
+<p>"Mme. Magloire," said the bishop, "put on another plate."</p>
+
+<p>The man took three steps and came near the lamp which stood on
+the table. "Stop," he exclaimed; as if he had not been understood;
+"not that, did you understand me? I am a galley slave&mdash;a
+convict&mdash;I am just <span class='pagenum'><a name="Page_40" id=
+"Page_40">[Pg 40]</a></span>from the galleys." He drew from his
+pocket a large sheet of yellow paper, which he unfolded. "There is
+my passport, yellow, as you see. That is enough to have me kicked
+out wherever I go. Will you read it? See, here is what they have
+put on my passport: Jean Valjean, a liberated convict; has been
+nineteen years in the galleys; five years for burglary; fourteen
+years for having attempted four times to escape. This man is very
+dangerous. There you have it! Everybody has thrust me out; will you
+receive me? Is this an inn? Can you give me something to eat and a
+place to sleep? Have you a stable?"</p>
+
+<p>"Mme. Magloire," said the bishop, "put some sheets on the bed in
+the alcove."</p>
+
+<p>The bishop turned to the man:</p>
+
+<p>"Monsieur, sit down and warm yourself; we are going to take
+supper presently, and your bed will be made ready while you
+sup."</p>
+
+<p>At last the man quite understood; his face, the expression of
+which till then had been gloomy, and hard, now expressed
+stupefaction, doubt and joy, and became absolutely wonderful. He
+began to stutter like a madman.</p>
+
+<p>"True? What? You will keep me? you won't drive me away&mdash;a
+convict? You call me monsieur and don't say, 'Get out, dog!' as
+everybody else does. I shall have a supper! a bed like other
+people, with mattress and sheets&mdash;a bed! It is nineteen years
+that I have not slept on a bed. You are good people! Besides, I
+have money; I will pay well. I beg your pardon, M. Innkeeper, what
+is your name? I will pay all you say. You are a fine man. You are
+an innkeeper, is it not so?"</p>
+
+<p>"I am a priest who lives here," said the bishop.</p>
+
+<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg
+41]</a></span></p>
+
+<p>"A priest," said the man. "Oh, noble priest! Then you do not ask
+any money?"</p>
+
+<p>"No," said the bishop, "keep your money. How much have you?"</p>
+
+<p>"One hundred and nine francs and fifteen sous," said the
+man.</p>
+
+<p>"One hundred and nine francs and fifteen sous. And how long did
+it take you to earn that?"</p>
+
+<p>"Nineteen years."</p>
+
+<p>"Nineteen years!"</p>
+
+<p>The bishop sighed deeply, and shut the door, which had been left
+wide open.</p>
+
+<p>Mme. Magloire brought in a plate and set it on the table.</p>
+
+<p>"Mme Magloire," said the bishop, "put this plate as near the
+fire as you can." Then turning toward his guest he added: "The
+night wind is raw in the Alps; you must be cold, monsieur."</p>
+
+<p>Every time he said the word <i>monsieur</i> with his gentle,
+solemn and heartily hospitable voice, the man's countenance lighted
+up. <i>Monsieur</i> to a convict is a glass of water to a man dying
+of thirst at sea.</p>
+
+<p>"The lamp," said the bishop, "gives a very poor light."</p>
+
+<p>Mme. Magloire understood him, and, going to his bedchamber, took
+from the mantel the two silver candlesticks, lighted the candles
+and placed them on the table.</p>
+
+<p>"M. le Cur&eacute;," said the man, you are good; "you don't
+despise me. You take me into your house; you light your candles for
+me, and I haven't hid from you where I come from, and how miserable
+I am."</p>
+
+<p>The bishop touched his hand gently and said: "You need not tell
+me who you are. This is not my house; it <span class='pagenum'><a
+name="Page_42" id="Page_42">[Pg 42]</a></span>is the house of
+Christ. It does not ask any comer whether he has a name, but
+whether he has an affliction. You are suffering; you are hungry and
+thirsty; be welcome. And do not thank me; do not tell me that I
+take you into my house. This is the home of no man except him who
+needs an asylum. I tell you, who are a traveller, that you are more
+at home here than I; whatever is here is yours. What need have I to
+know your name? Besides, before you told me, I knew it."</p>
+
+<p>The man opened his eyes in astonishment.</p>
+
+<p>"Really? You knew my name?"</p>
+
+<p>"Yes," answered the bishop, "your name is my brother."</p>
+
+<p>"Stop, stop, M. le Cur&eacute;," exclaimed the man, "I was
+famished when I came in, but you are so kind that now I don't know
+what I am; that is all gone."</p>
+
+<p>The bishop looked at him again and said:</p>
+
+<p>"You have seen much suffering?"</p>
+
+<p>"Oh, the red blouse, the ball and chain, the plank you sleep on,
+the heat, the cold, the galley's screw, the lash, the double chain
+for nothing, the dungeon for a word&mdash;even when sick in bed,
+the chain. The dogs, the dogs are happier! nineteen years! and I am
+forty-six, and now a yellow passport. That is all."</p>
+
+<p>"Yes," answered the bishop, "you have left a place of suffering.
+But listen, there will be more joy in heaven over the tears of a
+repentant sinner than over the white robes of a hundred good men.
+If you are leaving that sorrowful place with hate and anger against
+men, you are worthy of compassion; if you leave it with good-will,
+gentleness, and peace, you are better than any of us."</p>
+
+<p class="quotsig">&mdash;<i>Victor Hugo</i></p>
+
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg
+43]</a></span></p>
+
+<div class="blockquot">
+<p>This lesson can be used as an exercise on Pause springing from
+(1) Visualization and Grouping, (Introduction, pp. <a href=
+"#Page_7">7</a> and <a href="#Page_8">8</a>); (2) Narrative which
+breaks in upon the direct discourse. (Introduction, p. <a href=
+"#Page_24">24</a>.)</p>
+
+<p><span class="smcap">That man we know already</span>.
+(Introduction, p. <a href="#Page_11">11</a>.)</p>
+
+<p>"<span class="smcap">See here ... Can I stay</span>?" This
+paragraph is an exercise on Emphasis. Make a list of the words
+which are emphatic (1) because they express new and important
+ideas, (2) because of contrast. Why is <span class=
+"smcap">galleys</span> not emphatic? Where is the emphasis placed
+in that sentence?</p>
+</div>
+
+<h3><a name="Page_43a" id="Page_43a"></a>THE WELL OF ST. KEYNE</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">A well there is in the west
+country,</span> <span class="i1">And a clearer one never was
+seen;</span> <span class="i0">There is not a wife in the west
+country</span> <span class="i1">But has heard of the well of St.
+Keyne.</span><br />
+<span class="i0">An oak and an elm-tree stand beside,<span class=
+'linenum2'>5</span></span> <span class="i1">And behind doth an
+ash-tree grow,</span> <span class="i0">And a willow from the bank
+above</span> <span class="i1">Droops to the water
+below.</span><br />
+<span class="i0">A traveller came to the well of St. Keyne;</span>
+<span class="i1">Joyfully he drew nigh,<span class=
+'linenum2'>10</span></span> <span class="i0">For from cock-crow he
+had been travelling,</span> <span class="i1">And there was not a
+cloud in the sky.</span><br />
+<span class="i0">He drank of the water so cool and clear,</span>
+<span class="i1">For thirsty and hot was he;</span> <span class=
+"i0">And he sat down upon the bank,<span class=
+'linenum2'>15</span></span> <span class="i1">Under the
+willow-tree.</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_44" id="Page_44">[Pg 44]</a></span></span> <span class=
+"i0">There came a man from the house hard by,</span> <span class=
+"i1">At the well to fill his pail;</span> <span class="i0">On the
+well-side he rested it,</span> <span class="i1">And he bade the
+stranger hail.<span class='linenum2'>20</span></span><br />
+<span class="i0">"Now, art thou a bachelor, stranger?" quoth
+he;</span> <span class="i1">"For, an if thou hast a wife,</span>
+<span class="i0">The happiest draught thou hast drank this
+day</span> <span class="i1">That ever thou didst in thy
+life.</span><br />
+<span class="i0">"Or has thy good woman, if one thou hast,<span
+class='linenum2'>25</span></span> <span class="i1">Ever here in
+Cornwall been?</span> <span class="i0">For, an if she have, I'll
+venture my life</span> <span class="i1">She has drank of the well
+of St. Keyne."</span><br />
+<span class="i0">"I have left a good woman who never was
+here,"</span> <span class="i1">The stranger he made reply;<span
+class='linenum2'>30</span></span> <span class="i0">"But that my
+draught should be the better for that,</span> <span class="i1">I
+pray you answer me why."</span><br />
+<span class="i0">"St. Keyne," quoth the Cornish-man, many a
+time</span> <span class="i1">Drank of this crystal well;</span>
+<span class="i0">And before the angel summoned her,<span class=
+'linenum2'>35</span></span> <span class="i1">She laid on the water
+a spell,&mdash;</span><br />
+<span class="i0">"If the husband of this gifted well</span> <span
+class="i1">Shall drink before his wife,</span> <span class="i0">A
+happy man thenceforth is he,</span> <span class="i1">For he shall
+be master for life;<span class='linenum2'>40</span></span> <span
+class="i0">&nbsp;<span class='pagenum'><a name="Page_45" id=
+"Page_45">[Pg 45]</a></span></span> <span class="i0">"But, if the
+wife should drink of it first,</span> <span class="i1">God help the
+husband then!"&mdash;</span> <span class="i0">The stranger stooped
+to the well of St. Keyne,</span> <span class="i1">And drank of the
+water again.</span><br />
+<span class="i0">"You drank of the well, I warrant, betimes?"<span
+class='linenum2'>45</span></span> <span class="i1">He to the
+Cornish-man said;</span> <span class="i0">But the Cornish-man
+smiled as the stranger spake,</span> <span class="i1">And
+sheepishly shook his head:&mdash;</span><br />
+<span class="i0">"I hastened, as soon as the wedding was
+done,</span> <span class="i1">And left my wife in the porch;<span
+class='linenum2'>50</span></span> <span class="i0">But i' faith she
+had been wiser than me,</span> <span class="i1">For she took a
+bottle to church."</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Robert Southey</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Select the lines
+that (<i>a</i>) describe the scene, (<i>b</i>) indicate the action,
+(<i>c</i>) give the dialogue.</p>
+
+<p>Show by recasting this ballad into dramatic form that it is a
+miniature drama.</p>
+
+<p>Give examples of Pause springing from (<i>a</i>) Visualization,
+in ll. 1, 5, 6, 7, 9, 13, 17, 19, (<i>b</i>) narrative which
+interrupts direct discourse, in ll. 21, 29, 33, 45.</p>
+
+<p>Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14, 21, 29,
+31, 38, 45, 46? Give your reasons and show how they are made
+emphatic. (Introduction, p. <a href="#Page_30">30</a>.)</p>
+
+<p>l. 3. What is the Inflection on 'country,' l. 3? (Introduction,
+p. <a href="#Page_17">17</a>.)</p>
+
+<p>ll. 37-38. Note the Grouping and Pause. (Introduction, p. <a
+href="#Page_12">12</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_46" id="Page_46">[Pg
+46]</a></span></p>
+
+<h3>FAITH, HOPE AND CHARITY</h3>
+
+<div class="center2">1 Corinthians xiii</div>
+
+<p>Though I speak with the tongues of men and of angels, and have
+not charity, I am become as sounding brass, or a tinkling cymbal.
+And though I have the gift of prophecy, and understand all
+mysteries, and all knowledge; and though I have all faith, so that
+I could remove mountains, and have not charity, I am nothing. And
+though I bestow all my goods to feed the poor, and though I give my
+body to be burned, and have not charity, it profiteth me
+nothing.</p>
+
+<p>Charity suffereth long, and is kind; charity envieth not;
+charity vaunteth not itself, is not puffed up, doth not behave
+itself unseemly, seeketh not her own, is not easily provoked,
+thinketh no evil; rejoiceth not in iniquity, but rejoiceth in the
+truth; beareth all things, believeth all things, hopeth all things,
+endureth all things.</p>
+
+<p>Charity never faileth: but whether there be prophecies, they
+shall fail; whether there be tongues, they shall cease; whether
+there be knowledge, it shall vanish away. For we know in part, and
+we prophesy in part. But when that which is perfect is come, then
+that which is in part shall be done away. When I was a child, I
+spake as a child, I understood as a child, I thought as a child:
+but when I became a man I put away childish things. For now we see
+through a glass, darkly; but then face to face: now I know in part;
+but then shall I know even as also I am known.</p>
+
+<p><span class='pagenum'><a name="Page_47" id="Page_47">[Pg
+47]</a></span></p>
+
+<p>And now abideth faith, hope and charity, these three; but the
+greatest of these is charity.</p>
+
+<div class="blockquot">
+<p><span class="smcap">Charity, suffereth, profiteth.</span>
+(Appendix <a href="#A_8">A, 8</a> and <a href="#A_3">3</a>.)</p>
+
+<p>Show by examples from this selection how completeness and
+incompleteness of thought affect the Inflection. (Introduction, pp.
+<a href="#Page_15">15</a> and <a href="#Page_16">16.</a>)</p>
+
+<p>What Inflection does a negative statement usually require? Give
+examples from the second paragraph. (Introduction, p. <a href=
+"#Page_17">17</a>.)</p>
+
+<p>Give examples, from the second paragraph, of momentary
+completeness. (Introduction, pp. <a href="#Page_15">15</a> and <a
+href="#Page_16">16.</a>)</p>
+
+<p>Select the words which are emphatic because they express
+(<i>a</i>) new and important ideas. (<i>b</i>) contrast.</p>
+
+<p><span class="smcap">beareth all things, etc.</span> How may the
+repetition of a word or phrase affect the Emphasis? (Introduction,
+pp. <a href="#Page_31">31</a> and <a href="#Page_32">32.</a>)</p>
+
+<p>How are the principal clauses in the first three sentences made
+prominent? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_47a" id="Page_47a"></a>THE LEGEND BEAUTIFUL</h3>
+
+<div class="center2">From "Tales of a Wayside Inn"</div>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">"Hadst thou stayed, I must
+have fled!"</span> <span class="i0">That is what the Vision
+said.</span><br />
+<span class="i0">In his chamber all alone,</span> <span class=
+"i0">Kneeling on the floor of stone,</span> <span class="i0">Prayed
+the Monk in deep contrition<span class='linenum2'>5</span></span>
+<span class="i0">For his sins of indecision,</span> <span class=
+"i0">Prayed for greater self-denial</span> <span class="i0">In
+temptation and in trial;</span> <span class="i0">It was noonday by
+the dial,</span> <span class="i0">And the Monk was all alone.<span
+class='linenum2'>10</span></span><br />
+<span class="i0">Suddenly, as if it lightened,</span> <span class=
+"i0">An unwonted splendour brightened</span> <span class="i0">All
+within him and without him</span> <span class="i0">In that narrow
+cell of stone;</span> <span class="i0"><span class='pagenum'><a
+name="Page_48" id="Page_48">[Pg 48]</a></span>And he saw the
+Blessed Vision<span class='linenum2'>15</span></span> <span class=
+"i0">Of our Lord, with light Elysian</span> <span class="i0">Like a
+vesture wrapped about Him,</span> <span class="i0">Like a garment
+round Him thrown.</span> <span class="i0">Not as crucified and
+slain,</span> <span class="i0">Not in agonies of pain,<span class=
+'linenum2'>20</span></span> <span class="i0">Not with bleeding
+hands and feet,</span> <span class="i0">Did the Monk his Master
+see;</span> <span class="i0">But as in the village street,</span>
+<span class="i0">In the house or harvest-field,</span> <span class=
+"i0">Halt and lame and blind He healed,<span class=
+'linenum2'>25</span></span> <span class="i0">When He walked in
+Galilee.</span><br />
+<span class="i0">In an attitude imploring,</span> <span class=
+"i0">Hands upon his bosom crossed,</span> <span class=
+"i0">Wondering, worshipping, adoring,</span> <span class="i0">Knelt
+the Monk in rapture lost.<span class='linenum2'>30</span></span>
+<span class="i0">Lord, he thought, in heaven that reignest,</span>
+<span class="i0">Who am I, that thus Thou deignest</span> <span
+class="i0">To reveal Thyself to me?</span> <span class="i0">Who am
+I, that from the centre</span> <span class="i0">Of Thy glory Thou
+shouldst enter<span class='linenum2'>35</span></span> <span class=
+"i0">This poor cell, my guest to be?</span><br />
+<span class="i0">Then amid his exaltation,</span> <span class=
+"i0">Loud the convent bell appalling,</span> <span class="i0">From
+its belfry calling, calling,</span> <span class="i0">Rang through
+court and corridor<span class='linenum2'>40</span></span> <span
+class="i0">With persistent iteration</span> <span class="i0">He had
+never heard before.</span> <span class="i0">It was now the
+appointed hour</span> <span class="i0">When alike in shine or
+shower,</span> <span class="i0">Winter's cold or summer's
+heat,<span class='linenum2'>45</span></span> <span class="i0"><span
+class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>To
+the convent portals came</span> <span class="i0">All the blind and
+halt and lame,</span> <span class="i0">All the beggars of the
+street,</span> <span class="i0">For their daily dole of food</span>
+<span class="i0">Dealt them by the brotherhood;<span class=
+'linenum2'>50</span></span> <span class="i0">And their almoner was
+he</span> <span class="i0">Who upon his bended knee,</span> <span
+class="i0">Rapt in silent ecstasy</span> <span class="i0">Of
+divinest self-surrender,</span> <span class="i0">Saw the Vision and
+the Splendour.<span class='linenum2'>55</span></span><br />
+<span class="i0">Deep distress and hesitation</span> <span class=
+"i0">Mingled with his adoration;</span> <span class="i0">Should he
+go or should he stay?</span> <span class="i0">Should he leave the
+poor to wait</span> <span class="i0">Hungry at the convent
+gate,<span class='linenum2'>60</span></span> <span class="i0">Till
+the Vision passed away?</span> <span class="i0">Should he slight
+his radiant guest,</span> <span class="i0">Slight this visitant
+celestial,</span> <span class="i0">For a crowd of ragged,
+bestial</span> <span class="i0">Beggars at the convent gate?<span
+class='linenum2'>65</span></span> <span class="i0">Would the Vision
+there remain?</span> <span class="i0">Would the Vision come
+again?</span> <span class="i0">Then a voice within his
+breast</span> <span class="i0">Whispered, audible and clear</span>
+<span class="i0">As if to the outward ear:<span class=
+'linenum2'>70</span></span> <span class="i0">"Do thy duty; that is
+best;</span> <span class="i0">Leave unto thy Lord the
+rest!"</span><br />
+<span class="i0">Straightway to his feet he started,</span> <span
+class="i0">And with longing look intent</span> <span class="i0">On
+the Blessed Vision bent,<span class='linenum2'>75</span></span>
+<span class="i0"><span class='pagenum'><a name="Page_50" id=
+"Page_50">[Pg 50]</a></span>Slowly from his cell departed,</span>
+<span class="i0">Slowly on his errand went.</span><br />
+<span class="i0">At the gate the poor were waiting,</span> <span
+class="i0">Looking through the iron grating,</span> <span class=
+"i0">With that terror in the eye<span class=
+'linenum2'>80</span></span> <span class="i0">That is only seen in
+those</span> <span class="i0">Who amid their wants and woes</span>
+<span class="i0">Hear the sound of doors that close,</span> <span
+class="i0">And of feet that pass them by;</span> <span class=
+"i0">Grown familiar with disfavour,<span class=
+'linenum2'>85</span></span> <span class="i0">Grown familiar with
+the savour</span> <span class="i0">Of the bread by which men
+die!</span> <span class="i0">But to-day, they knew not why,</span>
+<span class="i0">Like the gate of Paradise</span> <span class=
+"i0">Seemed the convent gate to rise,<span class=
+'linenum2'>90</span></span> <span class="i0">Like a sacrament
+divine</span> <span class="i0">Seemed to them the bread and
+wine.</span> <span class="i0">In his heart the Monk was
+praying,</span> <span class="i0">Thinking of the homeless
+poor,</span> <span class="i0">What they suffer and endure;<span
+class='linenum2'>95</span></span> <span class="i0">What we see not,
+what we see;</span> <span class="i0">And the inward voice was
+saying:</span> <span class="i0">"Whatsoever thing thou doest</span>
+<span class="i0">To the least of Mine and lowest,</span> <span
+class="i0">That thou doest unto Me!"<span class=
+'linenum2'>100</span></span><br />
+<span class="i0">Unto Me! but had the Vision</span> <span class=
+"i0">Come to him in beggar's clothing,</span> <span class="i0">Come
+a mendicant imploring,</span> <span class="i0">Would he then have
+knelt adoring,</span> <span class="i0">Or have listened with
+derision,<span class='linenum2'>105</span></span> <span class=
+"i0">And have turned away with loathing?</span> <span class=
+"i0"><span class='pagenum'><a name="Page_51" id="Page_51">[Pg
+51]</a></span>Thus his conscience put the question,</span> <span
+class="i0">Full of troublesome suggestion,</span> <span class=
+"i0">As at length, with hurried pace,</span> <span class=
+"i0">Toward his cell he turned his face,<span class=
+'linenum2'>110</span></span> <span class="i0">And beheld the
+convent bright</span> <span class="i0">With a supernatural
+light,</span> <span class="i0">Like a luminous cloud
+expanding</span> <span class="i0">Over floor and wall and
+ceiling.</span> <span class="i0">But he paused with awestruck
+feeling<span class='linenum2'>115</span></span> <span class="i0">At
+the threshold of his door,</span> <span class="i0">For the Vision
+still was standing</span> <span class="i0">As he left it there
+before,</span> <span class="i0">When the convent bell
+appalling,</span> <span class="i0">From its belfry calling,
+calling,<span class='linenum2'>120</span></span> <span class=
+"i0">Summoned him to feed the poor.</span> <span class="i0">Through
+the long hour intervening</span> <span class="i0">It had waited his
+return,</span> <span class="i0">And he felt his bosom burn,</span>
+<span class="i0">Comprehending all the meaning,<span class=
+'linenum2'>125</span></span> <span class="i0">When the Blessed
+Vision said,</span> <span class="i0">"Hadst thou stayed, I must
+have fled!"</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Henry Wadsworth Longfellow</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Hadst, lightened, brightened, reignest,
+deignest, divinest</span>. (Appendix, <a href="#A_3">A, 3</a>.)</p>
+
+<p>ll. 29, 38-39, 78-79. (Appendix, <a href="#A_4">A, 4</a>.)</p>
+
+<p>How can the reader show that the first two lines are merely
+introductory?</p>
+
+<p>Divide the poem proper into five parts, giving to each part a
+suggestive title. How can the reader make each part stand out by
+itself? (Introduction, p. <a href="#Page_10">10</a>.)</p>
+
+<p>Select the principal statement in each stanza and show how the
+voice may make it prominent. (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+
+<p>What Inflection is placed on the principal statement? What
+Inflection on the subordinate phrases and clauses? (Introduction,
+p. <a href="#Page_15">15</a>.)</p>
+
+<p>Select examples of momentary completeness from the poem.</p>
+
+<p>ll. 19-22. What is the Inflection on these negative phrases?
+(Introduction, pp. <a href="#Page_17">17</a> and <a href=
+"#Page_18">18.</a>)</p>
+
+<p>What is the Inflection on the various questions throughout the
+poem? (Introduction, p. <a href="#Page_18">18</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_52" id="Page_52">[Pg
+52]</a></span></p>
+
+<h3>THE VICAR'S FAMILY USE ART</h3>
+
+<div class="center2">From "The Vicar of Wakefield"</div>
+
+<p>1. Whatever might have been Sophia's sensations, the rest of the
+family was easily consoled for Mr. Burchell's absence by the
+company of our landlord, whose visits now became more frequent, and
+longer. Though he had been disappointed in procuring my daughters
+the amusements of the town, as he designed, he took every
+opportunity of supplying them with those little recreations which
+our retirement would admit of. He usually came in the morning; and
+while my son and I followed our occupations abroad, he sat with the
+family at home, and amused them by describing the town, with every
+part of which he was particularly acquainted. He could repeat all
+the observations that were retailed in the atmosphere of the
+play-houses, and had all the good things of the high wits by rote,
+long before they made their way into the jest-books. The intervals
+between conversation were employed in teaching my daughters piquet,
+or sometimes in setting my two little ones to box, to make them
+<i>sharp</i>, as he called it; but the hopes of having him for a
+son-in-law, in some measure blinded us to all his imperfections. It
+must be owned, that my wife laid a thousand schemes to entrap him;
+or, to speak it more tenderly, used every art to magnify the merit
+of her daughter. If the cakes at tea ate short and crisp, they were
+made by Olivia; if the gooseberry wine was well knit, the
+gooseberries were of her gathering; <span class='pagenum'><a name=
+"Page_53" id="Page_53">[Pg 53]</a></span>it was her fingers that
+gave the pickles their peculiar green; and in the composition of a
+pudding, it was her judgment that mixed the ingredients. Then the
+poor woman would sometimes tell the Squire that she thought him and
+Olivia extremely of a size, and would bid both stand up to see
+which was tallest. These instances of cunning, which she thought
+impenetrable, yet which everybody saw through, were very pleasing
+to our benefactor, who gave every day some new proofs of his
+passion, which, though they had not risen to proposals of marriage,
+yet we thought fell but little short of it; and his slowness was
+attributed sometimes to native bashfulness, and sometimes to his
+fear of offending his uncle. An occurrence, however, which happened
+soon after, put it beyond a doubt that he designed to become one of
+our family; my wife even regarded it as an absolute promise.</p>
+
+<p>2. My wife and daughters happening to return a visit at
+neighbour Flamborough's, found that family had lately got their
+pictures drawn by a limner, who travelled the country, and took
+likenesses for fifteen shillings a head. As this family and ours
+had long a sort of rivalry in point of taste, our spirit took the
+alarm at this stolen march upon us; and notwithstanding all I could
+say, and I said much, it was resolved that we should have our
+pictures done too. Having, therefore, engaged the limner&mdash;for
+what could I do?&mdash;our next deliberation was to shew the
+superiority of our taste in the attitudes. As for our neighbour's
+family, there were seven of them, and they were drawn with seven
+oranges&mdash;a thing quite out of taste, no <span class=
+'pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>variety
+in life, no composition in the world. We desired to have something
+in a brighter style; and after many debates, at length came to an
+unanimous resolution of being drawn together, in one large
+historical family piece. This would be cheaper, since one frame
+would serve for all, and it would be infinitely more genteel; for
+all families of any taste were now drawn in the same manner. As we
+did not immediately recollect an historical subject to hit us, we
+were contented each with being drawn as independent historical
+figures. My wife desired to be represented as Venus, and the
+painter was desired not to be too frugal of his diamonds in her
+stomacher and hair. Her two little ones were to be as Cupids by her
+side; while I, in my gown and band, was to present her with my
+books on the Whistonian controversy. Olivia would be drawn as an
+Amazon, sitting upon a bank of flowers, dressed in a green joseph
+richly laced with gold, and a whip in her hand. Sophia was to be a
+shepherdess, with as many sheep as the painter could put in for
+nothing; and Moses was to be dressed out with an hat and white
+feather. Our taste so much pleased the Squire that he insisted on
+being put in as one of the family, in the character of Alexander
+the Great, at Olivia's feet. This was considered by us all as an
+indication of his desire to be introduced into the family, nor
+could we refuse his request. The painter was therefore set to work,
+and as he wrought with assiduity and expedition, in less than four
+days the whole was completed. The piece was large, and it must be
+owned he did not spare his colours; for which my wife gave him
+great encomiums. We were all perfectly satisfied with his
+performance; but an unfortunate circumstance <span class=
+'pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>which
+had not occurred till the picture was finished, now struck us with
+dismay. It was so very large that we had no place in the house to
+fix it. How we all came to disregard so material a point is
+inconceivable; but certain it is, we had been all greatly remiss.
+The picture, therefore, instead of gratifying our vanity, as we
+hoped, leaned, in a most mortifying manner, against the kitchen
+wall, where the canvas was stretched and painted, much too large to
+be got through any of the doors, and the jest of all our
+neighbours. One compared it to Robinson Crusoe's long-boat, too
+large to be removed; another thought it more resembled a reel in a
+bottle; some wondered how it could be got out. but still more were
+amazed how it ever got in.</p>
+
+<p>3. But though it excited the ridicule of some, it effectually
+raised more malicious suggestions in many. The Squire's portrait
+being found united with ours, was an honour too great to escape
+envy. Scandalous whispers began to circulate at our expense, and
+our tranquillity was continually disturbed by persons, who came as
+friends, to tell us what was said of us by enemies. These reports
+we always resented with becoming spirit; but scandal ever improves
+by opposition.</p>
+
+<p>4. We once again, therefore, entered into a consultation upon
+obviating the malice of our enemies, and at last came to a
+resolution which had too much cunning to give me entire
+satisfaction. It was this: as our principal object was to discover
+the honour of Mr. Thornhill's addresses, my wife undertook to sound
+him, by pretending to ask his advice in the choice of an husband
+for her eldest daughter. If this was not <span class='pagenum'><a
+name="Page_56" id="Page_56">[Pg 56]</a></span>found sufficient to
+induce him to a declaration, it was then resolved to terrify him
+with a rival. To this last step, however, I would by no means give
+my consent, till Olivia gave me the most solemn assurances that she
+would marry the person provided to rival him upon this occasion, if
+he did not prevent it by taking her himself. Such was the scheme
+laid, which, though I did not strenuously oppose, I did not
+entirely approve.</p>
+
+<p>5. The next time, therefore, that Mr. Thornhill came to see us,
+my girls took care to be out of the way, in order to give their
+mamma an opportunity of putting her scheme in execution; but they
+only retired to the next room, whence they could overhear the whole
+conversation. My wife artfully introduced it, by observing, that
+one of the Miss Flamboroughs was like to have a very good match of
+it in Mr. Spanker. To this the Squire assenting, she proceeded to
+remark, that they who had warm fortunes were always sure of getting
+good husbands: "But heaven help," continued she, "the girls that
+have none! What signifies beauty, Mr. Thornhill? or what signifies
+all the virtue, and all the qualifications in the world, in this
+age of self-interest? It is not, What is she? but, What has she? is
+all the cry."</p>
+
+<p>6. "Madam," returned he, "I highly approve the justice, as well
+as the novelty, of your remarks, and if I were a king, it should be
+otherwise. It should then, indeed, be fine times for the girls
+without fortunes: our two young ladies should be the first for whom
+I would provide."</p>
+
+<p>7. "Ah, sir," returned my wife, "you are pleased to be
+facetious: but I wish I were a queen, and then I <span class=
+'pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>know
+where my eldest daughter should look for an husband. But now that
+you have put it into my head, seriously, Mr. Thornhill, can't you
+recommend me a proper husband for her? She is now nineteen years
+old, well grown and well educated, and, in my humble opinion, does
+not want for parts."</p>
+
+<p>8. "Madam," replied he, "if I were to choose, I would find out a
+person possessed of every accomplishment that can make an angel
+happy. One with prudence, fortune, taste, and sincerity; such,
+madam, would be, in my opinion, the proper husband."&mdash;"Ay,
+sir," said she, "but do you know of any such person?"&mdash;"No,
+Madam," returned he, "it is impossible to know any person that
+deserves to be her husband: she's too great a treasure for one
+man's possession: she's a goddess! Upon my soul, I speak what I
+think, she's an angel!"&mdash;"Ah, Mr. Thornhill, you only flatter
+my poor girl: but we have been thinking of marrying her to one of
+your tenants, whose mother is lately dead, and who wants a manager;
+you know whom I mean, Farmer Williams; a warm man, Mr. Thornhill,
+able to give her good bread; and who has several times made her
+proposals" (which was actually the case); "but, sir," concluded
+she, "I should be glad to have your approbation of our
+choice."&mdash;"How, Madam," replied he, "my approbation!&mdash;my
+approbation of such a choice! Never. What! Sacrifice so much
+beauty, and sense, and goodness, to a creature insensible of the
+blessing! Excuse me, I can never approve of such a piece of
+injustice. And I have my reasons."&mdash;"Indeed, sir," cried
+Deborah, "If you have your reasons, that's another affair; but I
+should be glad to know those <span class='pagenum'><a name=
+"Page_58" id="Page_58">[Pg 58]</a></span>reasons."&mdash;"Excuse
+me, Madam," returned he, "they lie too deep for discovery" (laying
+his hand upon his bosom); "they remain buried, rivetted here."</p>
+
+<p>9. After he was gone, upon a general consultation, we could not
+tell what to make of these fine sentiments. Olivia considered them
+as instances of the most exalted passion; but I was not quite so
+sanguine; yet, whatever they might portend, it was resolved to
+prosecute the scheme of Farmer Williams, who, from my daughter's
+first appearance in the country, had paid her his addresses.</p>
+
+<p class="quotsig">&mdash;<i>Oliver Goldsmith</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">absolute, resolution, introduced</span>,
+(Appendix, <a href="#A_2">A, 2</a>.) <span class="smcap">visits,
+native, infinitely, Cupids, vanity, gratifying, mortifying,
+sanguine</span>. (Appendix, <a href="#A_8">A, 8</a>.) <span class=
+"smcap">unfortunate, fortune, virtue</span>. (Appendix, <a href=
+"#A_9">A, 9</a>.)</p>
+
+<p>Show by numerous examples from this selection that the dependent
+clause of a sentence takes the rising Inflection&mdash;whilst the
+principal clause takes the falling. Which of the two has the
+heavier shading? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>How are such parenthetical clauses as <span class="smcap">as he
+designed</span>, in the second sentence, kept in the back-ground?
+(Introduction, pp. <a href="#Page_24">24</a> and <a href=
+"#Page_27">27.</a>) Give similar examples from this selection.</p>
+
+<p>What Inflection is placed on the rhetorical questions in par. v?
+(Introduction, p. <a href="#Page_19">19</a>.)</p>
+
+<p>How is the effect of the climax in par. viii brought out?
+(Introduction, p. <a href="#Page_31">31</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_58a" id="Page_58a"></a>THE SOLDIER'S DREAM</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Our bugles sang
+truce&mdash;for the night-cloud had lowered</span> <span class=
+"i0">And the sentinel stars set their watch in the sky;</span>
+<span class="i0">And thousands had sunk on the ground
+overpowered,</span> <span class="i0">The weary to sleep, and the
+wounded to die.</span><br />
+<span class="i0">When reposing that night on my pallet of
+straw,<span class='linenum2'>5</span></span> <span class="i0">By
+the wolf-scaring faggot that guarded the slain,</span> <span class=
+"i0"><span class='pagenum'><a name="Page_59" id="Page_59">[Pg
+59]</a></span>At the dead of the night a sweet vision I saw,</span>
+<span class="i0">And thrice ere the morning I dreamt it
+again.</span><br />
+<span class="i0">Methought from the battlefield's dreadful
+array,</span> <span class="i0">Far, far I had roamed on a desolate
+track;<span class='linenum2'>10</span></span> <span class=
+"i0">'Twas autumn&mdash;and sunshine arose on the way</span> <span
+class="i0">To the home of my fathers, that welcomed me
+back.</span><br />
+<span class="i0">I flew to the pleasant fields traversed so
+oft</span> <span class="i0">In life's morning march, when my bosom
+was young;</span> <span class="i0">I heard my own mountain-goats
+bleating aloft,<span class='linenum2'>15</span></span> <span class=
+"i0">And knew the sweet strain that the corn-reapers
+sung.</span><br />
+<span class="i0">Then pledged we the wine-cup, and fondly I
+swore</span> <span class="i0">From my home and my weeping friends
+never to part;</span> <span class="i0">My little ones kissed me a
+thousand times o'er,</span> <span class="i0">And my wife sobbed
+aloud in her fulness of heart.<span class=
+'linenum2'>20</span></span><br />
+<span class="i0">"Stay, stay with us&mdash;rest, thou art weary and
+worn;"</span> <span class="i0">And fain was their war-broken
+soldier to stay;</span> <span class="i0">But sorrow returned with
+the dawning of morn,</span> <span class="i0">And the voice in my
+dreaming ear melted away.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Thomas Campbell</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Describe the
+picture suggested by this poem.</p>
+
+<p>Compare the soldier's dream with the vision of <i>The Private of
+the Buffs</i> in the hour of danger, or with <i>The Slave's
+Dream</i> in Longfellow's poem.</p>
+
+<p>Divide the poem into three distinct parts, giving to each a
+descriptive title.</p>
+
+<p>Expand the thoughts contained in the last two lines of the poem,
+using, if possible, illustrations from literature or real life.
+What feelings do these lines arouse?</p>
+
+<p>Observe the difficulties of Articulation in ll. 1, 2, 13 and 16.
+(Appendix <a href="#A_6">A, 6</a> and <a href="#A_3">3</a>.)</p>
+
+<p>How can each part of the poem be made to stand out by itself?
+(Introduction, p. <a href="#Page_10">10</a>.)</p>
+
+<p><span class='pagenum'><a name="Page_60" id="Page_60">[Pg
+60]</a></span></p>
+
+<p>2. <span class="smcap">SENTINEL STARS.</span> Select other
+phrases which call up mental images.</p>
+
+<p>How does the process of mental imagery affect the Time?
+(Introduction, p. <a href="#Page_12">12</a>.)</p>
+
+<p>3. How can it be shown that <span class=
+"smcap">OVERPOWERED</span> and <span class="smcap">GROUND</span>
+are disconnected? (Introduction, p. <a href="#Page_7">7</a>.)</p>
+
+<p>4. Why do we pause after <span class="smcap">WEARY</span> and
+<span class="smcap"><span class="smcap">wounded</span></span>?
+(Introduction, p. <a href="#Page_10">10</a>.)</p>
+
+<p>6. Why is there no pause after <span class=
+"smcap">FAGGOT</span>? (Introduction, p. <a href=
+"#Page_11">11</a>.)</p>
+
+<p>What lines of stanza ii contain the leading thought? How does
+the voice indicate this? (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+
+<p>9. How is the mind prepared for the description of the
+dream?</p>
+
+<p>21. What feeling does the voice express? Does Imitation play any
+part here? (Introduction, pp. <a href="#Page_5">5</a> and <a href=
+"#Page_6">6</a>.)</p>
+
+<p>22. Expand the thought of this line, and show how your thinking
+affects the Time. (Introduction, p. <a href="#Page_14">14</a>.)
+Compare with the Time of l. 21, and explain the difference.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_60a" id="Page_60a"></a>VAN ELSEN</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">God spake three times and
+saved Van Elsen's soul;</span> <span class="i0">He spake by
+sickness first, and made him whole;</span> <span class="i4">Van
+Elsen heard him not,</span> <span class="i4">Or soon
+forgot.</span><br />
+<span class="i0">God spake to him by wealth; the world
+outpoured<span class='linenum2'>5</span></span> <span class=
+"i0">Its treasures at his feet, and called him lord;</span> <span
+class="i4">Van Elsen's heart grew fat</span> <span class="i4">And
+proud thereat.</span><br />
+<span class="i0">God spake the third time when the great world
+smiled,</span> <span class="i0">And in the sunshine slew his little
+child;<span class='linenum2'>10</span></span> <span class="i4">Van
+Elsen like a tree</span> <span class="i4">Fell
+hopelessly.</span><br />
+<span class="i0">Then in the darkness came a voice which
+said,</span> <span class="i0">"As thy heart bleedeth, so My heart
+hath bled;</span> <span class="i4">As I have need of thee<span
+class='linenum2'>15</span></span> <span class="i4">Thou needest
+Me."</span> <span class="i0">&nbsp;<span class='pagenum'><a name=
+"Page_61" id="Page_61">[Pg 61]</a></span></span> <span class=
+"i0">That night Van Elsen kissed the baby feet,</span> <span class=
+"i0">And kneeling by the narrow winding-sheet</span> <span class=
+"i4">Praised him with fervent breath</span> <span class="i4">Who
+conquered death.&nbsp;<span class='linenum2'>20</span></span></div>
+</div>
+
+<p class="quotsig"><i>-Frederick George Scott</i> (<i>By
+permission</i>)</p>
+
+<div class="blockquot">
+<p>By what means is the introductory line kept distinct from the
+rest of the poem? (Introduction, p. <a href="#Page_10">10</a>.)</p>
+
+<p>How does the reader indicate the comparatively long space of
+time which elapses between the events of the first, second, and
+third stanzas respectively? (Introduction, p. <a href=
+"#Page_9">9</a>.)</p>
+
+<p>Show that each of the first three stanzas falls according to
+meaning, into two parts. How does the reader indicate this
+division?</p>
+
+<p>Why should the last two stanzas, in this respect, be together
+treated as one of the preceding? Illustrate by means of Pause.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_61a" id="Page_61a"></a>PIBROCH OF DONUIL DHU</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Pibroch of Donuil Dhu,</span>
+<span class="i1">Pibroch of Donuil,</span> <span class="i0">Wake
+thy wild voice anew,</span> <span class="i1">Summon Clan
+Conuil.</span> <span class="i0">Come away, come away,<span class=
+'linenum2'>5</span></span> <span class="i1">Hark to the
+summons!</span> <span class="i0">Come in your war array,</span>
+<span class="i1">Gentles and commons.</span><br />
+<span class="i0">Come from deep glen, and</span> <span class=
+"i1">From mountains so rocky,<span class=
+'linenum2'>10</span></span> <span class="i0">The war-pipe and
+pennon</span> <span class="i1">Are at Inverlocky.</span> <span
+class="i0">Come every hill-plaid, and</span> <span class="i1">True
+heart that wears one,</span> <span class="i0">Come every steel
+blade, and<span class='linenum2'>15</span></span> <span class=
+"i1">Strong hand that bears one.</span> <span class=
+"i0">&nbsp;<span class='pagenum'><a name="Page_62" id="Page_62">[Pg
+62]</a></span></span> <span class="i0">Leave untended the
+herd,</span> <span class="i1">The flock without shelter;</span>
+<span class="i0">Leave the corpse uninterr'd</span> <span class=
+"i1">The bride at the altar;<span class='linenum2'>20</span></span>
+<span class="i0">Leave the deer, leave the steer,</span> <span
+class="i1">Leave nets and barges:</span> <span class="i0">Come with
+your fighting gear,</span> <span class="i1">Broadswords and
+targes.</span><br />
+<span class="i0">Come as the winds come, when<span class=
+'linenum2'>25</span></span> <span class="i1">Forests are
+rended,</span> <span class="i0">Come as the waves come, when</span>
+<span class="i1">Navies are stranded;</span> <span class=
+"i0">Faster come, faster come,</span> <span class="i1">Faster and
+faster,<span class='linenum2'>30</span></span> <span class=
+"i0">Chief, vassal, page and groom,</span> <span class="i1">Tenant
+and master.</span><br />
+<span class="i0">Fast they come, fast they come;</span> <span
+class="i1">See how they gather!</span> <span class="i0">Wide waves
+the eagle plume,<span class='linenum2'>35</span></span> <span
+class="i1">Blended with heather.</span> <span class="i0">Cast your
+plaids, draw your blades,</span> <span class="i1">Forward each man
+set!</span> <span class="i0">Pibroch of Donuil Dhu</span> <span
+class="i1">Knell for the onset!<span class=
+'linenum2'>40</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Walter Scott</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">HERD, UNINTERR'D.</span> What sound has the
+vowel <i>e</i>? (Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p><span class="smcap">Gentles and commons</span>; <span class=
+"smcap">nets and barges</span>; <span class="smcap">fighting
+gear</span>; <span class="smcap">Broadswords and targes</span>;
+<span class="smcap">Forests are rended</span>; <span class=
+"smcap">Navies are stranded</span>. (Appendix <a href="#A_3">A,
+3</a> and <a href="#A_6">A, 6</a>.)</p>
+
+<p>For Pause read (Introduction, pp. <a href="#Page_7">7</a> and <a
+href="#Page_8">8</a>.)</p>
+
+<p>How is the gradually increasing excitement and energy indicated
+in Time, Pitch, and Force? (Introduction, pp. <a href=
+"#Page_13">13</a>, <a href="#Page_23">23</a>, and <a href=
+"#Page_27">27</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg
+63]</a></span></p>
+
+<h3>THE DAY IS DONE</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">The day is done, and the
+darkness</span> <span class="i1">Falls from the wings of
+Night,</span> <span class="i0">As a feather is wafted
+downwards</span> <span class="i1">From an eagle in its
+flight.</span><br />
+<span class="i0">I see the lights of the village<span class=
+'linenum2'>5</span></span> <span class="i1">Gleam through the rain
+and the mist,</span> <span class="i0">And a feeling of sadness
+comes o'er me,</span> <span class="i1">That my soul cannot
+resist:</span><br />
+<span class="i0">A feeling of sadness and longing,</span> <span
+class="i1">That is not akin to pain,<span class=
+'linenum2'>10</span></span> <span class="i0">And resembles sorrow
+only</span> <span class="i1">As the mist resembles the
+rain.</span><br />
+<span class="i0">Come, read to me some poem,</span> <span class=
+"i1">Some simple and heartfelt lay,</span> <span class="i0">That
+shall soothe this restless feeling,<span class=
+'linenum2'>15</span></span> <span class="i1">And banish the
+thoughts of day.</span><br />
+<span class="i0">Not from the grand old masters,</span> <span
+class="i1">Not from the bards sublime,</span> <span class=
+"i0">Whose distant footsteps echo</span> <span class="i1">Through
+the corridors of Time.<span class='linenum2'>20</span></span><br />
+<span class="i0">For, like strains of martial music,</span> <span
+class="i1">Their mighty thoughts suggest</span> <span class=
+"i0">Life's endless toil and endeavour;</span> <span class="i1">And
+to-night I long for rest.</span> <span class="i0">&nbsp;<span
+class='pagenum'><a name="Page_64" id="Page_64">[Pg
+64]</a></span></span> <span class="i0">Read from some humbler
+poet,<span class='linenum2'>25</span></span> <span class="i1">Whose
+songs gushed from his heart,</span> <span class="i0">As showers
+from the clouds of summer,</span> <span class="i1">Or tears from
+the eyelids start;</span><br />
+<span class="i0">Who, through long days of labour,</span> <span
+class="i1">And nights devoid of ease,<span class=
+'linenum2'>30</span></span> <span class="i0">Still heard in his
+soul the music</span> <span class="i1">Of wonderful
+melodies.</span><br />
+<span class="i0">Such songs have power to quiet</span> <span class=
+"i1">The restless pulse of care,</span> <span class="i0">And come
+like the benediction<span class='linenum2'>35</span></span> <span
+class="i1">That follows after prayer.</span><br />
+<span class="i0">Then read from the treasured volume</span> <span
+class="i1">The poem of thy choice,</span> <span class="i0">And lend
+to the rhyme of the poet</span> <span class="i1">The beauty of thy
+voice.<span class='linenum2'>40</span></span><br />
+<span class="i0">And the night shall be filled with music,</span>
+<span class="i1">And the cares that infest the day,</span> <span
+class="i0">Shall fold their tents, like the Arabs,</span> <span
+class="i1">And as silently steal away.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Henry Wadsworth Longfellow</i></p>
+
+<div class="blockquot">
+<p>What is the atmosphere of this poem? Compare it in this respect
+with <i>Pibroch of Donuil Dhu</i>.</p>
+
+<p>How does it differ from the latter in expression, so far as
+Time, Pitch, and Force are concerned? (Introduction, pp. <a href=
+"#Page_13">13</a>, <a href="#Page_22">22</a> and <a href=
+"#Page_26">26</a>.)</p>
+
+<p><span class="smcap">WAFTED</span>, <span class=
+"smcap">AFTER</span>, <span class="smcap">MASTERS</span>, <span
+class="smcap">POEM</span>, <span class="smcap">CORRIDORS</span>,
+<span class="smcap">SORROW</span>. (Appendix <a href="#A_1">A,
+1</a>.)</p>
+
+<p>Observe the difficulties of Articulation in ll. 3, 11, 15, 18,
+22, 26, 28 and 31. (Appendix <a href="#A_3">A, 3</a> and <a href=
+"#A_6">A, 6</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg
+65]</a></span></p>
+
+<h3>THE SCHOOLMASTER AND THE BOYS</h3>
+
+<div class="center2">From "The Old Curiosity Shop"</div>
+
+<p>1. The schoolmaster had scarcely arranged the room in due order,
+and taken his seat behind his desk, when a white-headed boy with a
+sunburnt face appeared at the door, and stopping there to make a
+rustic bow, came in and took his seat upon one of the forms. The
+white-headed boy then put an open book, astonishingly dog-eared,
+upon his knees, and thrusting his hands into his pockets, began
+counting the marbles with which they were filled. Soon afterwards
+another white-headed little boy came straggling in, and after him a
+red-headed lad, and after him two more with white heads, and then
+one with a flaxen poll, and so on until there were about a dozen
+boys in all, with heads of every colour but gray, and ranging in
+their ages from four years old to fourteen years or more; for the
+legs of the youngest were a long way from the floor when he sat
+upon the form, and the eldest was a heavy, good-tempered, foolish
+fellow, about half a head taller than the schoolmaster.</p>
+
+<p>2. At the top of the first form&mdash;the post of honour in the
+school&mdash;was the vacant place of the little sick scholar, and
+at the head of the row of pegs on which the hats and caps were
+hung, one peg was left empty. No boy attempted to violate the
+sanctity of seat or peg, but many a one looked from the empty
+spaces to the schoolmaster, and whispered to his idle neighbour
+behind his hand.</p>
+
+<p>3. Then began the hum of conning over lessons and getting them
+by heart, the whispered jest and stealthy <span class='pagenum'><a
+name="Page_66" id="Page_66">[Pg 66]</a></span>game, and all the
+noise and drawl of school; and in the midst of the din sat the poor
+schoolmaster, the very image of meekness and simplicity, vainly
+attempting to fix his mind upon the duties of the day, and to
+forget his little sick friend. But the tedium of his office
+reminded him more strongly of the willing scholar, and his thoughts
+were rambling from his pupils&mdash;it was plain. None knew this
+better than the idlest boys, who, growing bolder with impunity,
+waxed louder and more daring&mdash;eating apples under the master's
+eye, pinching each other in sport or malice, and cutting their
+autographs in the very legs of his desk. The puzzled dunce, who
+stood beside it to say his lesson out of book, looked no longer at
+the ceiling for forgotten words, but drew closer to the master's
+elbow and boldly cast his eyes upon the page. If the master did
+chance to rouse himself and seem alive to what was going on, the
+noise subsided for a moment, and no eyes met his but wore a
+studious and deeply humble look; but, the instant he relapsed
+again, it broke out afresh, and ten times louder than before.</p>
+
+<p>4. Oh, how some of those idle fellows longed to be outside, and
+how they looked at the open door and window, as if they half
+meditated rushing violently out, plunging into the woods, and being
+wild boys and savages from that time forth. What rebellious
+thoughts of the cool river, and some shady bathing-place beneath
+willow-trees with branches dipping in the water, kept tempting and
+urging that sturdy boy, who sat fanning his flushed face with a
+spelling-book wishing himself a whale, or a fly, or anything but a
+boy at school on that hot, broiling day!</p>
+
+<p>5. Heat! Ask that other boy, whose seat being <span class=
+'pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>nearest
+the door gave him opportunities of gliding out into the garden and
+driving his companions to madness by dipping his face into the
+bucket of the well and then rolling on the grass&mdash;ask him if
+there were ever such a day as that, when even the bees were diving
+deep down into the cups of flowers and stopping there, as if they
+had made up their minds to retire from business and be
+manufacturers of honey no more. The day was made for laziness, and
+lying on one's back in green places, and staring at the sky till
+its brightness forced one to shut one's eyes and go to sleep; and
+was this a time to be poring over musty books in a dark room,
+slighted by the very sun itself? Monstrous!</p>
+
+<p>6. The lessons over, writing-time began; and there being but one
+desk and that the master's, each boy sat at it in turn and laboured
+at his crooked copy, while the master walked about. This was a
+quieter time; for he would come and look over the writer's
+shoulder, and tell him mildly to observe how such a letter was
+turned in such a copy on the wall, and bid him take it for his
+model. Then he would stop and tell them what the sick child had
+said last night, and how he had longed to be among them once again;
+and such was the schoolmaster's gentle and affectionate manner that
+the boys seemed quite remorseful that they had worried him so much,
+and were absolutely quiet; eating no apples, cutting no names,
+inflicting no pinches, for full two minutes afterwards.</p>
+
+<p>7. "I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this
+afternoon."</p>
+
+<p>8. At this intelligence the boys, led on and headed by the tall
+boy, raised a great shout, in the midst of which <span class=
+'pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>the
+master was seen to speak, but could not be heard. As he held up his
+hand, however, in token of his wish that they should be silent,
+they were considerate enough to leave off, as soon as the
+longest-winded among them were quite out of breath.</p>
+
+<p>9. "You must promise me first," said the schoolmaster, "that you
+'ll not be noisy, or, at least, if you are, that you'll go away and
+be so&mdash;away out of the village, I mean. I'm sure you wouldn't
+disturb your old playmate and companion."</p>
+
+<p>10. There was a general murmur in the negative.</p>
+
+<p>11. "Then, pray, don't forget&mdash;there's my dear scholars,"
+said the schoolmaster&mdash;"what I have asked you, and do it as a
+favour to me. Be as happy as you can, and likewise be mindful that
+you are blessed with health. Good-bye, all!"</p>
+
+<p>12. "Thank you, sir," and "Good-bye, sir," were said a great
+many times in a variety of voices, and the boys went out very
+slowly and softly.</p>
+
+<p>13. But there was the sun shining and there were the birds
+singing, as the sun only shines and the birds only sing on holidays
+and half-holidays; there were the trees waving to all free boys to
+climb and nestle among their leafy branches; the hay, entreating
+them to come and scatter it in the pure air; the green corn, gently
+beckoning toward wood and stream; the smooth ground rendered
+smoother still by blending lights and shadows, inviting to runs and
+leaps, and long walks no one knows whither. It was more than boy
+could bear, and with a joyous whoop the whole company took to their
+heels and spread themselves about, shouting and laughing as they
+went.</p>
+
+<p>14. "It's natural, thank heaven!" said the poor <span class=
+'pagenum'><a name="Page_69" id="Page_69">[Pg
+69]</a></span>schoolmaster, looking after them. "I'm very glad they
+didn't mind me!"</p>
+
+<p class="quotsig">&mdash;<i>Charles Dickens</i></p>
+
+<div class="blockquot">
+<p>Par. 1. <span class="smcap">DUE</span>. (Appendix <a href=
+"#A_2">A, 2</a>.)</p>
+
+<p>Indicate the pauses required to allow time for the Imaging
+process. Discriminate between the short and the long pauses.
+(Introduction, pp. <a href="#Page_8">8</a> and <a href=
+"#Page_11">11</a>.)</p>
+
+<p><span class="smcap">ORDER</span>, <span class=
+"smcap">DESK</span>, <span class="smcap">DOOR</span>. Account for
+the Inflection on each of these words. (Introduction, pp. <a href=
+"#Page_15">15</a> and <a href="#Page_16">16</a>.)</p>
+
+<p>What clause in the first sentence should be made most prominent?
+Indicate the relative value of each part of this sentence by the
+Shading. (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>Par. 2. What two phrases suggest the central idea of this
+paragraph?</p>
+
+<p>How does the voice indicate that the parenthetical clause is
+subordinate in thought? (Introduction, pp. <a href=
+"#Page_24">24</a> and <a href="#Page_33">33</a>.)</p>
+
+<p>Par. 3. <span class="smcap">SIMPLICITY</span>, <span class=
+"smcap">IMPUNITY</span>, <span class="smcap">STUDIOUS</span>.
+(Appendix <a href="#A_8">A, 8</a> and <a href="#A_2">A, 2</a>.)</p>
+
+<p><span class="smcap">DID CHANCE.</span> What is the emphatic
+word? Why?</p>
+
+<p>Read the last two sentences with a view to Perspective.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p><span class="smcap">NO EYES MET HIS ...</span> How does the
+Inflection on <span class="smcap">HIS</span> indicate the exact
+meaning? (Introduction, p. <a href="#Page_16">16</a>.)</p>
+
+<p>Par. 4. Give examples of Grouping in the last sentence and show
+how Grouping affects the Pause. (Introduction, p. <a href=
+"#Page_11">11</a>.)</p>
+
+<p>Par. 5. <span class="smcap">WHOSE SEAT&mdash;GRASS</span>. What
+is the Shading? Indicate the pauses in this group of words giving
+your reason in each case.</p>
+
+<p>What Inflection is placed on the question in the last sentence?
+Account for it. (Introduction, p. <a href="#Page_19">19</a>.)</p>
+
+<p>Par. 6. <span class="smcap">WRITER'S SHOULDER</span>, <span
+class="smcap">BOYS SEEMED</span>, <span class=
+"smcap">ABSOLUTELY</span>. (Appendix <a href="#A_6">A, 6</a>, <a
+href="#A_2">A, 2</a>.)</p>
+
+<p>Give examples of Grouping in the second sentence.</p>
+
+<p><span class="smcap">BID HIM TAKE IT FOR HIS MODEL</span>. Which
+is the emphatic word? Why?</p>
+
+<p>Par. 7. How is I <span class="smcap">THINK, BOYS</span>
+connected with the rest of the speech? Apply this principle to
+other examples of direct speech interrupted by narrative.
+(Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>Par. 9. <span class="smcap">IF YOU ARE ... BE SO</span>. Select
+the two emphatic Words and give your reason for emphasizing them,
+(Introduction, p. <a href="#Page_30">30</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_70" id="Page_70">[Pg
+70]</a></span></p>
+
+<h3>THE KNIGHTS' CHORUS</h3>
+
+<div class="center2">From "Idylls of the King"</div>
+
+<div class="poem">
+<div class="stanza"><span class="i1">Blow trumpet, for the world is
+white with May;</span> <span class="i0">Blow trumpet, the long
+night hath roll'd away!</span> <span class="i0">Blow thro' the
+living world&mdash;Let the King reign.</span><br />
+<span class="i1">Shall Rome or Heathen rule in Arthur's
+realm?</span> <span class="i0">Flash brand and lance, fall
+battleaxe upon helm,<span class='linenum2'>5</span></span> <span
+class="i0">Fall battleaxe, and flash brand! Let the King
+reign.</span><br />
+<span class="i1">Strike for the King and live! his knights have
+heard</span> <span class="i0">That God hath told the King a secret
+word.</span> <span class="i0">Fall battleaxe, and flash brand! Let
+the King reign.</span><br />
+<span class="i1">Blow trumpet! he will lift us from the dust!<span
+class='linenum2'>10</span></span> <span class="i0">Blow trumpet!
+live the strength, and die the lust!</span> <span class="i0">Clang
+battleaxe, and clash brand! Let the King reign.</span><br />
+<span class="i1">Strike for the King and die! and if thou
+diest,</span> <span class="i0">The King is King, and ever wills the
+highest.</span> <span class="i0">Clang battleaxe, and clash brand!
+Let the king reign.<span class='linenum2'>15</span></span><br />
+<span class="i1">Blow, for our Sun is mighty in his May!</span>
+<span class="i0">Blow, for our Sun is mightier day by day!</span>
+<span class="i0">Clang battleaxe, and clash brand! Let the King
+reign.</span><br />
+<span class="i1">The King will follow Christ, and we the
+King</span> <span class="i0">In whom high God hath breathed a
+secret thing.<span class='linenum2'>20</span></span> <span class=
+"i0">Fall battleaxe, and flash brand! Let the King
+reign.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Alfred Tennyson</i></p>
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg
+71]</a></span></p>
+
+<div class="blockquot">
+<p>How do you describe this poem from the standpoint of; (1) the
+amount of energy, (2) excitement or nervous tension? With what
+Force and in what Pitch should it be read? (Introduction, pp. <a
+href="#Page_22">22</a> and <a href="#Page_25">25</a>.)</p>
+
+<p>Account for the Time in which it is read. (Introduction, p. <a
+href="#Page_13">13</a>.)</p>
+
+<p>What is the purpose of the question in stanza ii? How is this
+purpose indicated by the Inflection? (Introduction, p. <a href=
+"#Page_19">19</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_71a" id="Page_71a"></a>THE NORTHERN STAR</h3>
+
+<div class="center2">A Tynemouth Ship</div>
+
+<div class="poem4">
+<div class="stanza"><span class="i2">The Northern Star</span> <span
+class="i2">Sail'd over the bar</span> <span class="i0">Bound to the
+Baltic Sea;</span> <span class="i2">In the morning gray</span>
+<span class="i2">She stretched away:<span class=
+'linenum2'>5</span></span> <span class="i0">'Twas a weary day to
+me!</span><br />
+<span class="i2">For many an hour</span> <span class="i2">In sleet
+and shower</span> <span class="i0">By the lighthouse rock I
+stray;</span> <span class="i2">And watch till dark<span class=
+'linenum2'>10</span></span> <span class="i2">For the wing&eacute;d
+bark</span> <span class="i0">Of him that is far away.</span><br />
+<span class="i2">The castle's bound</span> <span class="i2">I
+wander round</span> <span class="i0">Amidst the grassy graves:<span
+class='linenum2'>15</span></span> <span class="i2">But all I
+hear</span> <span class="i2">Is the north-wind drear,</span> <span
+class="i0">And all I see are the waves.</span><br />
+<span class="i2">The Northern Star</span> <span class="i2">Is set
+afar!<span class='linenum2'>20</span></span> <span class="i0">Set
+in the Baltic Sea:</span> <span class='pagenum'><a name="Page_72"
+id="Page_72">[Pg 72]</a></span> <span class="i2">And the waves have
+spread</span> <span class="i2">The sandy bed</span> <span class=
+"i0">That holds my Love from me.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Unknown</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Tell the story of
+the poem, making as vivid as possible the scenes depicted. Compare
+Kingsley's <i>Three Fishers</i>, and Lucy Larcom's <i>Hannah
+binding Shoes</i>.</p>
+
+<p>Compare this poem with <i>The Knights' Chorus</i> from the
+standpoint of the amount of energy. How is the difference between
+the two indicated vocally by the Force? (Introduction, p. <a href=
+"#Page_26">26</a>.)</p>
+
+<p>What is the difference in nervous tension between the last
+stanza and the preceding ones? What difference in Pitch?
+(Introduction, p. <a href="#Page_23">23</a>.)</p>
+
+<p>Account for the Time in which it is read. (Introduction, p. <a
+href="#Page_14">14</a>.)</p>
+
+<p>11. <span class="smcap">Wing&eacute;d</span>, with sails</p>
+
+<p>15. <span class="smcap">Tynemouth Castle</span> used as a
+graveyard.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_72a" id="Page_72a"></a>THE INDIGO BIRD</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i9">When I see,</span> <span
+class="i0">High on the tip-top twig of a tree,</span> <span class=
+"i0">Something blue by the breezes stirred,</span> <span class=
+"i0">But so far up that the blue is blurred,</span> <span class=
+"i0">So far up no green leaf flies.<span class=
+'linenum2'>5</span></span> <span class="i0">Twixt its blue and the
+blue of the skies,</span> <span class="i0">Then I know, ere a note
+be heard,</span> <span class="i0">That is naught but the Indigo
+bird.</span><br />
+<span class="i2">Blue on the branch and blue in the sky,</span>
+<span class="i2">And naught between but the breezes high,<span
+class='linenum2'>10</span></span> <span class="i2">And naught so
+blue by the breezes stirred</span> <span class="i2">As the deep,
+deep blue of the Indigo bird.</span><br />
+<span class="i9">When I hear</span> <span class="i0">A song like a
+bird laugh, blithe and clear,</span> <span class="i0"><span class=
+'pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>As
+though of some airy jest he had heard<span class=
+'linenum2'>15</span></span> <span class="i0">The last and the most
+delightful word,</span> <span class="i0">A laugh as fresh in the
+August haze</span> <span class="i0">As it was in the full-voiced
+April days,</span> <span class="i0">Then I know that my heart is
+stirred</span> <span class="i0">By the laugh-like song of the
+Indigo bird.<span class='linenum2'>20</span></span><br />
+<span class="i2">Joy in the branch and joy in the sky,</span> <span
+class="i2">And naught between but the breezes high;</span> <span
+class="i2">And naught so glad on the breezes heard</span> <span
+class="i2">As the gay, gay note of the Indigo bird.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Ethelwyn Wetherald</i> (<i>By
+permission</i>)</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Suggest a picture
+which would serve as an illustration for this poem.</p>
+
+<p>How does the Imaging affect the Pitch in the first two
+stanzas?</p>
+
+<p>What feelings does the poem arouse? Where do these feelings
+reach a Climax? What is the effect on the Pitch?</p>
+
+<p>What other Climax is found in the poem besides the Climax of
+feeling?</p>
+
+<p><span class="smcap">FAR</span>, <span class=
+"smcap">LAUGH</span>, <span class="smcap">BRANCH</span>, <span
+class="smcap">GLAD</span>. (Appendix <a href="#A_1">A, 1.</a>)</p>
+
+<p><span class="smcap">BREEZES STIRRED.</span> (Appendix <a href=
+"#A_6">A, 6.</a>)</p>
+
+<p>What is the Inflection on ll. 1-6 of stanza i and iii?
+(Introduction, p. <a href="#Page_17">17</a>.) How does the Pitch of
+these lines differ from that of ll. 7 and 8 of these stanzas?
+Account for the change. (Introduction, p. <a href=
+"#Page_23">23</a>.)</p>
+
+<p>What are the contrasting words in l. 6, stanza i?</p>
+
+<p>Note the Grouping and Pause in ll. 3 and 4, stanza iii.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_73a" id="Page_73a"></a>THE PASTURE FIELD</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">When spring has burned</span>
+<span class="i1">The ragged robe of winter, stitch by
+stitch,</span> <span class="i0">And deftly turned</span> <span
+class="i1">To moving melody the wayside ditch,</span> <span class=
+"i0">The pale-green pasture field behind the bars<span class=
+'linenum2'>5</span></span> <span class="i0">Is goldened o'er with
+dandelion stars.</span> <span class="i0">&nbsp;<span class=
+'pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span></span>
+<span class="i0">When summer keeps</span> <span class="i1">Quick
+pace with sinewy white-shirted arms,</span> <span class="i0">And
+daily steeps</span> <span class="i1">In sunny splendour all her
+spreading farms,<span class='linenum2'>10</span></span> <span
+class="i0">The pasture field is flooded foamy white</span> <span
+class="i0">With daisy faces looking at the light.</span><br />
+<span class="i0">When autumn lays</span> <span class="i1">Her
+golden wealth upon the forest floor,</span> <span class="i0">And
+all the days<span class='linenum2'>15</span></span> <span class=
+"i1">Look backward at the days that went before,</span> <span
+class="i0">A pensive company, the asters, stand,</span> <span
+class="i0">Their blue eyes brightening the pasture
+land.</span><br />
+<span class="i0">When winter lifts</span> <span class="i1">A
+sounding trumpet to his strenuous lips,<span class=
+'linenum2'>20</span></span> <span class="i0">And shapes the
+drifts</span> <span class="i1">To curves of transient loveliness,
+he slips</span> <span class="i0">Upon the pasture's ineffectual
+brown</span> <span class="i0">A swan-soft vestment delicate as
+down.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Ethelwyn Wetherald</i> (<i>By
+permission</i>)</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Select the phrases
+which call into play the Imaging process.</p>
+
+<p>Describe four typical Canadian scenes suggested by this
+poem.</p>
+
+<p>Distinguish the sound of <i>a</i> in <span class=
+"smcap">PASTURE</span>, <span class="smcap">RAGGED</span>, <span
+class="smcap">BARS</span>, etc. (Appendix <a href="#A_1">A,
+1</a>.)</p>
+
+<p>What words express the central ideas in each stanza, and at the
+same time form a contrast with one another?</p>
+
+<p>What Inflection is used in the first four lines of each stanza?
+(Introduction, p. <a href="#Page_16">16</a>.)</p>
+
+<p>How does the Shading of these lines compare with that of the
+last two of each stanza? (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg
+75]</a></span></p>
+
+<h3>SHIPWRECKED</h3>
+
+<div class="center2">From "Kidnapped"</div>
+
+<p>1. The time I spent upon the island is still so horrible a
+thought to me that I must pass it lightly over. In all the books I
+have read of people cast away, either they had their pockets full
+of tools, or a chest of things would be thrown upon the beach along
+with them, as if on purpose. My case was very much different. I had
+nothing in my pockets but money and Alan's silver button; and being
+inland bred, I was as much short of knowledge as of means.</p>
+
+<p>2. I knew indeed that shellfish were counted good to eat; and
+among the rocks of the isle I found a great plenty of limpets,
+which at first I could scarcely strike from their places, not
+knowing quickness to be needful. There were, besides, some of the
+little shells that we call buckies; I think periwinkle is the
+English name. Of these two I made my whole diet, devouring them
+cold and raw as I found them; and so hungry was I that at first
+they seemed to me delicious.</p>
+
+<p>3. Perhaps they were out of season, or perhaps there was
+something wrong in the sea about my island. But at least I had no
+sooner eaten my first meal than I was seized with giddiness and
+retching, and lay for a long time no better than dead. A second
+trial of the same food (indeed, I had no other) did better with me
+and revived my strength.</p>
+
+<p>4. But as long as I was on the island, I never knew what to
+expect when I had eaten; sometimes all was <span class='pagenum'><a
+name="Page_76" id="Page_76">[Pg 76]</a></span>well, and sometimes I
+was thrown into a miserable sickness; nor could I ever distinguish
+what particular fish it was that hurt me. All day it streamed rain;
+there was no dry spot to be found; and when I lay down that night,
+between two boulders that made a kind of roof, my feet were in a
+bog.</p>
+
+<p>5. From a little up the hillside over the bay I could catch a
+sight of the great ancient church and the roofs of the people's
+houses in Iona. And on the other hand, over the low country of the
+Ross, I saw smoke go up, morning and evening, as if from a
+homestead in a hollow of the land.</p>
+
+<p>6. I used to watch this smoke, when I was wet and cold and had
+my head half-turned with loneliness, and think of the fireside and
+of the company till my heart burned. Altogether, this sight I had
+of men's homes and comfortable lives, although it put a point on my
+own sufferings, yet it kept hope alive, and helped me to eat my raw
+shellfish (which had soon grown to be a disgust), and saved me from
+the sense of horror I had whenever I was quite alone with dead
+rocks, and fowls, and the rain, and the cold sea.</p>
+
+<p>7. Charles the Second declared a man could stay outdoors more
+days in the year in the climate of England than in any other. That
+was very like a king with a palace at his back and changes of dry
+clothes. But he must have had better luck on his flight from
+Worcester than I had on that miserable isle. It was the height of
+summer; yet it rained for more than twenty-four hours, and did not
+clear until the afternoon of the third day.</p>
+
+<p>8. There is a pretty high rock on the north-west of Earraid,
+which (because it had a flat top and overlooked the Sound) I was
+much in the habit of frequenting; not <span class='pagenum'><a
+name="Page_77" id="Page_77">[Pg 77]</a></span>that I ever stayed in
+one place, save when asleep, my misery giving me no rest. Indeed, I
+wore myself down with continual and aimless goings and comings in
+the rain.</p>
+
+<p>9. As soon, however, as the sun came out, I lay down on the top
+of that rock to dry myself. The comfort of the sunshine is a thing
+I cannot tell. It set me thinking hopefully of my deliverance, of
+which I had begun to despair; and I scanned the sea and the Ross
+with a fresh interest. On the south of my rock a part of the island
+jutted out and hid the open ocean so that a boat could thus come
+quite near me upon that side and I be none the wiser.</p>
+
+<p>10. Well, all of a sudden, a coble, with a brown sail and a pair
+of fishers aboard of it, came flying round that corner of the isle,
+bound for Iona. I shouted out, and then fell on my knees on the
+rock and prayed to them. They were near enough to hear&mdash;I
+could even see the colour of their hair&mdash;and there was no
+doubt but they observed me, for they cried out in the Gaelic
+tongue, and laughed. But the boat never turned aside, and flew
+right on, before my eyes, for Iona.</p>
+
+<p>11. I could not believe such wickedness, and ran along the shore
+from rock to rock, crying on them piteously; even after they were
+out of reach of my voice I still cried and waved to them; and when
+they were quite gone I thought my heart would burst.</p>
+
+<p>12. The next day (which was the fourth of this horrible life of
+mine) I found my bodily strength run very low. But the sun shone,
+the air was sweet, and what I managed to eat of the shellfish
+agreed well with me and revived my courage.</p>
+
+<p>13. I was scarce back on my rock (where I went <span class=
+'pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>always
+the first thing after I had eaten) before I observed a boat coming
+down the Sound, and with her head, as I thought, in my
+direction.</p>
+
+<p>14. I began at once to hope and fear exceedingly; for I thought
+these men might have thought better of their cruelty and be coming
+back to my assistance. But another disappointment, such as
+yesterday's, was more than I could bear. I turned my back
+accordingly upon the sea, and did not look again till I had counted
+many hundreds.</p>
+
+<p>15. The boat was still heading for the island. The next time I
+counted the full thousand, as slowly as I could, my heart beating
+so as to hurt me. And then it was out of all question. She was
+coming straight to Earraid. I could no longer hold myself back, but
+ran to the seaside and out, from one rock to another, as far as I
+could go. It is a marvel I was not drowned; for when I was brought
+to a stand at last my legs shook under me, and my mouth was so dry
+I must wet it with the sea water before I was able to shout.</p>
+
+<p>16. All this time the boat was coming on; and now I was able to
+perceive it was the same boat and the same two men as yesterday.
+This I knew by their hair, which the one had of bright yellow and
+the other black. But now there was a third man along with them, who
+looked to be of a better class.</p>
+
+<p>17. As soon as they were come within easy speech, they let down
+their sail and lay quiet. In spite of my supplications, they drew
+no nearer in, and what frightened me most of all, the new man
+tee-heed with laughter as he talked and looked at me.</p>
+
+<p>18. Then he stood up in the boat and addressed me a long while,
+speaking fast and with many wavings of <span class='pagenum'><a
+name="Page_79" id="Page_79">[Pg 79]</a></span>his hand. I told him
+I had no Gaelic; and at this he became very angry, and I began to
+suspect he thought he was talking English. Listening very close, I
+caught the word "whateffer" several times; but all the rest was
+Gaelic, and might have been Greek and Hebrew for me.</p>
+
+<p>19. "Whatever," said I, to show him I had caught a word. "Yes,
+yes&mdash;yes, yes," said he; and then he looked at the other men
+as much as to say, "I told you I spoke English," and began again as
+hard as ever in the Gaelic.</p>
+
+<p>20. This time I picked out another word, "tide." Then I had a
+flash of hope. I remembered he was always waving his hand toward
+the mainland of the Ross.</p>
+
+<p>21. "Do you mean when the tide is out?"&mdash;I cried, and could
+not finish.</p>
+
+<p>22. "Yes, yes," said he. "Tide."</p>
+
+<p>23. At that I turned tail upon their boat (where my adviser had
+once more begun to tee-hee with laughter), leaped back the way I
+had come, from one stone to another, and set off running across the
+isle as I had never run before. In about half an hour I came upon
+the shores of the creek, and, sure enough, it was shrunk into a
+little trickle of water, through which I dashed, not above my
+knees, and landed with a shout on the main island.</p>
+
+<p>24. A sea-bred boy would not have stayed a day on Earraid, which
+is only what they call a tidal islet, and, except, in the bottom of
+the neaps, can be entered and left twice in every twenty-four
+hours, either dry-shod, or, at the most, by wading. Even I, who had
+seen the tide going out and in before me in the bay, and even
+watched for the ebbs, the better to get my shellfish<span class=
+'pagenum'><a name="Page_80" id="Page_80">[Pg
+80]</a></span>&mdash;even I (I say), if I had sat down to think,
+instead of raging at my fate, must have soon guessed the secret and
+got free.</p>
+
+<p>25. It was no wonder the fishers had not understood me. The
+wonder was rather that they had ever guessed my pitiful illusion,
+and taken the trouble to come back. I had starved with cold and
+hunger on that island for close upon one hundred hours. But for the
+fishers, I might have left my bones there, in pure folly. And even
+as it was, I had paid for it pretty dear, not only in past
+sufferings but in my present case, being clothed like a beggar man,
+scarce able to walk, and in great pain of my sore throat.</p>
+
+<p>26. I have seen wicked men and fools&mdash;a great many of
+both&mdash;and I believe they both get paid in the end; but the
+fools first.</p>
+
+<p class="quotsig">&mdash;<i>Robert Louis Stevenson</i> (<i>By
+arrangement</i>)</p>
+
+<div class="blockquot">
+<p>How are the parenthetical clauses in this selection kept in the
+back-ground? (Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>11. <span class="smcap">I could not believe such wickedness ...
+heart would burst.</span> Observe the Climax. (Introduction, p. <a
+href="#Page_31">31</a>.)</p>
+
+<p>19. <span class="smcap">Whatever, said I, ...</span> How is the
+direct speech made to stand out from the narration which interrupts
+it? (Introduction, p. <a href="#Page_24">24</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_80a" id="Page_80a"></a>ON HIS BLINDNESS</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">When I consider how my light
+is spent</span> <span class="i1">Ere half my days, in this dark
+world and wide,</span> <span class="i1">And that one talent which
+is death to hide,</span> <span class="i0">Lodged with me useless,
+though my soul more bent</span> <span class="i0">To serve therewith
+my Maker, and present</span> <span class="i1">My true account, lest
+He, returning, chide;</span> <span class="i1">"Doth God exact day
+labour, light denied?"</span><br />
+<span class="i0"><span class='pagenum'><a name="Page_81" id=
+"Page_81">[Pg 81]</a></span>I fondly ask. But Patience, to
+prevent</span> <span class="i0">That murmur, soon replies, "God
+doth not need</span> <span class="i1">Either man's work, or His own
+gifts. Who best</span> <span class="i1">Bear His mild yoke, they
+serve Him best: His state</span> <span class="i0">Is kingly;
+thousands at His bidding speed,</span> <span class="i1">And post
+o'er land and ocean without rest:</span> <span class="i1">They also
+serve who only stand and wait."</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Milton</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide the sonnet
+into two parts, giving each part a title.</p>
+
+<p>Read the first part in prose order, supplying the ellipses.</p>
+
+<p>How many distinct statements are there in the second part?</p>
+
+<p>Select the clauses of the first part that are equal in rank and
+have the same Shading. Show which should be made prominent, and
+which held in the background.</p>
+
+<p>Read the first part of this sonnet, with a view to Perspective.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>1-4. With what do you connect <span class="smcap">When ...
+spent</span>, and <span class="smcap">Lodged?</span> How?</p>
+
+<p>How do you make the statements of the second part stand out
+singly? (Introduction, pp. <a href="#Page_8">8</a> and <a href=
+"#Page_10">10</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_81a" id="Page_81a"></a>BRIGGS IN LUCK</h3>
+
+<p class="center2">From "Doctor Birch and his Young Friends"</p>
+
+<p><small>&nbsp;&nbsp; <i>Enter the Knife-boy.</i> Hamper for
+Briggses!<br />
+&nbsp;&nbsp;&nbsp;<i>Master Brown</i>. Hurray, Tom Briggs! I'll
+lend you my knife.<br />
+</small></p>
+
+<p>If this story does not carry its own moral, what fable does, I
+wonder? Before the arrival of that hamper, Master Briggs was in no
+better repute than any other young gentleman of the lower school;
+and in fact I had occasion myself, only lately, to correct Master
+Brown for kicking his friend's shins during the writing-lesson. But
+how this basket, directed by his mother's house-keeper, and marked
+"GLASS WITH CARE," whence I concluded that it contained some jam
+and some bottles <span class='pagenum'><a name="Page_82" id=
+"Page_82">[Pg 82]</a></span>of wine probably, as well as the usual
+cake and game-pie, and half a sovereign for the elder Master B.,
+and five new shillings for Master Decimus Briggs&mdash;how, I say,
+the arrival of this basket alters all Master Briggs's circumstances
+in life, and the estimation in which many persons regard him!</p>
+
+<p>If he is a good-hearted boy, as I have reason to think, the very
+first thing he will do, before inspecting the contents of the
+hamper, or cutting into them with the knife which Master Brown has
+so considerately lent him, will be to read over the letter from
+home which lies on top of the parcel. He does so, as I remarked to
+Miss Raby (for whom I happened to be mending pens when the little
+circumstance arose), with a flushed face and winking eyes. Look how
+the other boys are peering into the basket as he reads&mdash;I say
+to her, "Isn't it a pretty picture?" Part of the letter is in a
+very large hand. That is from his little sister. And I would wager
+that she netted the little purse which he has just taken out of it,
+and which Master Lynx is eyeing.</p>
+
+<p>"You are a droll man, and remark all sorts of queer things,"
+Miss Raby says, smiling, and plying her swift needle and fingers as
+quick as possible.</p>
+
+<p>"I am glad we were both on the spot, and that the little fellow
+lies under our guns as it were, and so is protected from some such
+brutal school-pirate as young Duval for instance, who would rob
+him, probably, of some of those good things; good in themselves,
+and better because fresh from home. See, there is a pie as I said,
+and which I daresay is better than those which are served at our
+table (but you never take any notice of these kind of things, Miss
+Raby), a cake, of course, a bottle of currant wine, jam-pots, and
+no end of pears <span class='pagenum'><a name="Page_83" id=
+"Page_83">[Pg 83]</a></span>in the straw. With this money little
+Briggs will be able to pay the tick which that impudent child has
+run up with Mrs. Ruggles; and I shall let Briggs Major pay for the
+pencil-case which Bullock sold to him.&mdash;It will be a lesson to
+the young prodigal for the future.</p>
+
+<p>"But, I say, what a change there will be in his life for some
+time to come, and at least until his present wealth is spent! The
+boys who bully him will mollify toward him and accept his pie and
+sweetmeats. They will have feasts in the bedroom; and that wine
+will taste more deliciously to them than the best out of the
+Doctor's cellar. The cronies will be invited. Young Master Wagg
+will tell his most dreadful story and sing his best song for a
+slice of that pie. What a jolly night they will have! When we go
+the rounds at night, Mr. Prince and I will take care to make a
+noise before we come to Briggs's room, so that the boys may have
+time to put the light out, to push the things away, and to scud
+into bed. Doctor Spry may be put in requisition the next
+morning."</p>
+
+<p>"Nonsense! you absurd creature," cries out Miss Raby, laughing;
+and I lay down the twelfth pen very nicely mended.</p>
+
+<p>"Yes; after luxury comes the doctor, I say; after extravagance,
+a hole in the breeches pocket. To judge from his disposition,
+Briggs Major will not be much better off a couple of days hence
+than he is now, and, if I am not mistaken, will end life a poor
+man. Brown will be kicking his shins before a week is over, depend
+upon it. There are boys and men of all sorts, Miss R.&mdash;there
+are selfish sneaks who hoard until the store they daren't use grows
+mouldy&mdash;there are spendthrifts who fling away, parasites who
+flatter and lick its shoes, and <span class='pagenum'><a name=
+"Page_84" id="Page_84">[Pg 84]</a></span>snarling curs who hate and
+envy good fortune."</p>
+
+<p>I put down the last of the pens, brushing away with it the quill
+chips from her desk first, and she looked at me with a kind,
+wondering face. I brushed them away, clicked the pen-knife into my
+pocket, made her a bow, and walked off&mdash;for the bell was
+ringing for school.</p>
+
+<p class="quotsig">&mdash;<i>William Makepeace Thackeray</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Master, basket, glass, half, after.</span>
+(Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p><span class="smcap">friend's shins, selfish sneaks,
+spendthrifts.</span> (Appendix <a href="#A_3">A, 3</a> and <a href=
+"#A_6">A, 6</a>.)</p>
+
+<p>Make an analysis from the standpoint of Perspective of the
+following sentences: <span class="smcap">But how this basket ...
+regard him; if he is a good-hearted boy ... parcel; He does so ...
+winking eyes; See there is a pie ... straw.</span></p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_84a" id="Page_84a">THE LAUGHING SALLY</a></h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">A wind blew up from
+Pernambuco,</span> <span class="i1">(Yeo heave ho! the <i>Laughing
+Sally</i>!</span> <span class="i1">Hi yeo, heave away!)</span>
+<span class="i0">A wind blew out of the east-sou'-east</span> <span
+class="i1">And boomed at the break of day.&nbsp; &nbsp; &nbsp;<span
+class='linenum2'>5</span></span><br />
+<span class="i0">The <i>Laughing Sally</i> sped for her
+life,</span> <span class="i1">And a speedy craft was she.</span>
+<span class="i0">The black flag flew at her top to tell</span>
+<span class="i1">How she took toll of the sea.</span><br />
+<span class="i0">The wind blew up from Pernambuco;<span class=
+'linenum2'>10</span></span> <span class="i1">And in the breast of
+the blast</span> <span class="i0">Came the King's black ship like a
+hound let slip</span> <span class="i1">On the trail of the
+<i>Sally</i> at last.</span><br />
+<span class="i0">For a day and a night, a night and a day;</span>
+<span class="i1">Over the blue, blue round,<span class=
+'linenum2'>15</span></span> <span class="i0"><span class=
+'pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span>Went on
+the chase of the pirate quarry,</span> <span class="i1">The hunt of
+the tireless hound.</span><br />
+<span class="i0">"Land on the port bow!" came the cry;</span> <span
+class="i1">And the <i>Sally</i> raced for shore,</span> <span
+class="i0">Till she reached the bar at the river-mouth<span class=
+'linenum2'>20</span></span> <span class="i1">Where the shallow
+breakers roar.</span><br />
+<span class="i0">She passed the bar by a secret channel</span>
+<span class="i1">With clear tide under her keel,&mdash;</span>
+<span class="i0">For he knew the shoals like an open book,</span>
+<span class="i1">The captain at the wheel.<span class=
+'linenum2'>25</span></span><br />
+<span class="i0">She passed the bar, she sped like a ghost,</span>
+<span class="i1">Till her sails were hid from view</span> <span
+class="i0">By the tall, liana'd, unsunned boughs</span> <span
+class="i1">O'erbrooding the dark bayou.</span><br />
+<span class="i0">At moonrise up to the river-mouth<span class=
+'linenum2'>30</span></span> <span class="i1">Came the King's black
+ship of war,</span> <span class="i0">The red cross flapped in wrath
+at her peak,</span> <span class="i1">But she could not cross the
+bar.</span><br />
+<span class="i0">And while she lay in the run of the seas,</span>
+<span class="i1">By the grimmest whim of chance,<span class=
+'linenum2'>35</span></span> <span class="i0">Out of the bay to the
+north came forth</span> <span class="i1">Two battle-ships of
+France.</span><br />
+<span class="i0">On the English ship the twain bore down</span>
+<span class="i1">Like wolves that range by night;</span> <span
+class="i0">And the breakers' roar was heard no more<span class=
+'linenum2'>40</span></span> <span class="i1">In the thunder of the
+fight.</span> <span class="i0">&nbsp;<span class='pagenum'><a name=
+"Page_86" id="Page_86">[Pg 86]</a></span></span> <span class=
+"i0">The crash of the broadsides rolled and stormed</span> <span
+class="i1">To the <i>Sally</i> hid from view</span> <span class=
+"i0">Under the tall liana'd boughs</span> <span class="i1">Of the
+moonless dark bayou.<span class='linenum2'>45</span></span><br />
+<span class="i0">A boat ran out for news of the fight,</span> <span
+class="i1">And this was the word she brought&mdash;</span> <span
+class="i0">"The King's ship fights the ships of France</span> <span
+class="i1">As the King's ships all have fought!"</span><br />
+<span class="i0">Then muttered the mate, "I'm a man of Devon!"<span
+class='linenum2'>50</span></span> <span class="i1">And the captain
+thundered then&mdash;</span> <span class="i0">"There's English rope
+that bides for our necks,</span> <span class="i1">But we all be
+Englishmen!"</span><br />
+<span class="i0">The <i>Sally</i> glided out of the gloom</span>
+<span class="i1">And down the moon-white river.&nbsp;<span class=
+'linenum2'>55</span></span> <span class="i0">She stole like a gray
+shark over the bar</span> <span class="i1">Where the long surf
+seethes for ever.</span><br />
+<span class="i0">She hove to under a high French hull,</span> <span
+class="i1">And the red cross rose to her peak.</span> <span class=
+"i0">The French were looking for fight that night,<span class=
+'linenum2'>60</span></span> <span class="i1">And they hadn't far to
+seek.</span><br />
+<span class="i0">Blood and fire on the streaming decks,</span>
+<span class="i1">And fire and blood below;</span> <span class=
+"i0">The heat of hell, and the reek of hell,</span> <span class=
+"i1">And the dead men laid a-row!<span class=
+'linenum2'>65</span></span><br />
+<span class="i0">And when the stars paled out of heaven</span>
+<span class="i1">And the red dawn-rays uprushed,</span> <span
+class="i0"><span class='pagenum'><a name="Page_87" id="Page_87">[Pg
+87]</a></span>The oaths of battle, the crash of timbers,</span>
+<span class="i1">The roar of the guns was hushed.</span><br />
+<span class="i0">With one foe beaten under his bow,<span class=
+'linenum2'>70</span></span> <span class="i1">The other far in
+flight,</span> <span class="i0">The English captain turned to
+look</span> <span class="i1">For his fellow in the
+fight.</span><br />
+<span class="i0">The English captain turned and
+stared;&mdash;</span> <span class="i1">For where the <i>Sally</i>
+had been<span class='linenum2'>75</span></span> <span class=
+"i0">Was a single spar upthrust from the sea</span> <span class=
+"i1">With the red cross flag serene!</span><br />
+<span class=
+"i0">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</span><br />
+<span class="i0">A wind blew up from Pernambuco</span> <span class=
+"i1">(Yeo heave ho! the <i>Laughing Sally</i>!</span> <span class=
+"i1">Hi yeo, heave away!)</span> <span class="i0">And boomed for
+the doom of the <i>Laughing Sally</i>!</span> <span class="i1">Gone
+down at the break of day.</span></div>
+</div>
+
+<p>&mdash;<i>Charles G. D. Roberts</i> (<i>By arrangement</i>)</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide the poem
+into sections giving to each part a descriptive title.
+(Introduction, p. <a href="#Page_10">10</a>.) How is each section
+made to stand out?</p>
+
+<p>In what Time is the section which describes the flight of the
+<i>Laughing Sally</i> read? Give your reason. (Introduction, pp. <a
+href="#Page_5">5</a> and <a href="#Page_13">13</a>.)</p>
+
+<p>Contrast the first and last stanzas from the standpoint of
+feeling. How does the voice express the difference?</p>
+
+<p><span class="smcap">blew, knew, news, King's ship, seethes,
+and.</span> (Appendix <a href="#A_2">A, 2</a>, <a href=
+"#A_3">3</a>, <a href="#A_5">5</a>, and <a href="#A_6">6</a>.)</p>
+
+<p>Distinguish the sound of <i>a</i> in <span class=
+"smcap">Laughing Sally, craft, last, passed, wrath, chance, crash,
+dark, far, dawn</span>. (Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p>8-9. Note the Grouping and Pause. (Introduction, p. <a href=
+"#Page_11">11</a>.)</p>
+
+<p>11-13. Observe the Grouping. Which phrases have the heaviest
+Shading? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p><span class='pagenum'><a name="Page_88" id="Page_88">[Pg
+88]</a></span> 16. Where is the Pause? Why?</p>
+
+<p>18. <span class="smcap">Land on the port bow.</span> What change
+is made in Pitch and Force? Account for it. (Introduction, pp. <a
+href="#Page_22">22</a> and <a href="#Page_25">25</a>.)</p>
+
+<p>24. What is the Inflection on this line?</p>
+
+<p>30-37. Observe the Grouping and Shading throughout these
+stanzas.</p>
+
+<p>38-45. What sense is appealed to in these stanzas? How is the
+Time affected?</p>
+
+<p>46-53. How are the transitions to direct discourse indicated?
+(Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>What is the difference in Pitch between the mate's and the
+captain's speech? (Introduction, p. <a href="#Page_23">23</a>.)</p>
+
+<p>66-67. Note the contrast with the preceding stanza and with the
+two following lines.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_88a" id="Page_88a"></a>THE PRODIGAL SON</h3>
+
+<div class="center2">Luke xv 11-32</div>
+
+<p>A certain man had two sons: And the younger of them said to his
+father, Father, give me the portion of goods that falleth to me.
+And he divided unto them his living.</p>
+
+<p>And not many days after the younger son gathered all together,
+and took his journey into a far country, and there wasted his
+substance with riotous living. And when he had spent all, there
+arose a mighty famine in that land; and he began to be in want. And
+he went and joined himself to a citizen of that country; and he
+sent him into his fields to feed swine. And he would fain have
+filled his belly with the husks that the swine did eat: and no man
+gave unto him. And when he came to himself, he said, How many hired
+servants of my father's have bread enough and to spare, and I
+perish with hunger! I will arise and go to my father, and will say
+unto him, Father, I have sinned against heaven, and before thee,
+and am no more worthy to be called thy son: make me as one of thy
+hired servants.</p>
+
+<p><span class='pagenum'><a name="Page_89" id="Page_89">[Pg
+89]</a></span></p>
+
+<p>And he arose, and came to his father. But when he was yet a
+great way off, his father saw him, and had compassion, and ran, and
+fell on his neck, and kissed him. And the son said unto him,
+Father, I have sinned against heaven, and in thy sight, and am no
+more worthy to be called thy son. But the father said to his
+servants, Bring forth the best robe, and put it on him; and put a
+ring on his hand, and shoes on his feet: And bring hither the
+fatted calf, and kill it; and let us eat, and be merry; For this my
+son was dead, and is alive again; he was lost, and is found. And
+they began to be merry.</p>
+
+<p>Now his elder son was in the field: and as he came and drew nigh
+to the house, he heard musick and dancing. And he called one of the
+servants, and asked what these things meant. And he said unto him,
+Thy brother is come; and thy father hath killed the fatted calf,
+because he hath received him safe and sound. And he was angry, and
+would not go in: therefore came his father out, and intreated him.
+And he answering said to his father, Lo, these many years do I
+serve thee, neither transgressed I at any time thy commandment; and
+yet thou never gavest me a kid, that I might make merry with my
+friends: But as soon as this thy son was come, which hath devoured
+thy living with harlots, thou hast killed for him the fatted calf.
+And he said unto him, Son, thou art ever with me, and all that I
+have is thine. It was meet that we should make merry, and be glad,
+for this thy brother was dead, and is alive again; and was lost,
+and is found.</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide this
+parable into four parts, giving each part a descriptive title.</p>
+
+<p>Describe pictures to illustrate each part.</p>
+
+<p>Connect the parable with any similar story drawn from modern
+life. Fill in details to account for (<i>a</i>) the prodigal's
+<span class='pagenum'><a name="Page_90" id="Page_90">[Pg
+90]</a></span>desire to leave home, (<i>b</i>) the father's great
+joy at his return, (<i>c</i>) the elder brother's jealousy.</p>
+
+<p><span class="smcap">How many hired servants, etc.</span> What
+are the prodigal's feelings? What new feeling is introduced with
+(<i>a</i>) <span class="smcap">I will arise, etc.</span>?
+(<i>b</i>) <span class="smcap">Father, I have sinned,
+etc.</span>?</p>
+
+<p>In what Time and Pitch do you read the passages which describe
+the father's joy? (Introduction, pp. <a href="#Page_12">12</a> and
+<a href="#Page_22">22</a>.)</p>
+
+<p>What feeling pervades the speech of the elder son? What is the
+motive of the father's reply?</p>
+
+<p>Explain the Emphasis in the following; (<i>a</i>) <span class=
+"smcap">and he sent him</span>; (<i>b</i>) <span class="smcap">and
+I perish</span>; (<i>c</i>) <span class="smcap">Now his elder
+son</span>; (<i>d</i>) <span class="smcap">therefore came his
+father out</span>; (<i>e</i>) <span class="smcap">thou never gavest
+me a kid</span>. (Introduction, pp. <a href="#Page_30">30</a> and
+<a href="#Page_31">31</a>.)</p>
+
+<p>Explain the Inflection on <span class="smcap">dead, alive, lost,
+found</span>.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_90a" id="Page_90a"></a>CHRISTMAS AT SEA</h3>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">The sheets were frozen hard,
+and they cut the naked hand;</span> <span class="i0">The decks were
+like a slide, where a seaman scarce could stand;</span> <span
+class="i0">The wind was a nor'-wester, blowing squally off the
+sea;</span> <span class="i0">And cliffs and spouting breakers were
+the only things a-lee.</span><br />
+<span class="i0">They heard the surf a-roaring before the break of
+day;<span class='linenum2'>5</span></span> <span class="i0">But
+'twas only with the peep of light we saw how ill we lay.</span>
+<span class="i0">We tumbled every hand on deck instanter, with a
+shout,</span> <span class="i0">And we gave her the maintops'l, and
+stood by to go about.</span><br />
+<span class="i0">All day we tacked and tacked between the South
+Head and the North;</span> <span class="i0"><span class=
+'pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>All day
+we hauled the frozen sheets, and got no further forth;<span class=
+'linenum2'>10</span></span> <span class="i0">All day as cold as
+charity, in bitter pain and dread,</span> <span class="i0">For very
+life and nature we tacked from Head to Head.</span><br />
+<span class="i0">We gave the South a wider berth, for there the
+tide-race roared,</span> <span class="i0">But every tack we made we
+brought the North Head close aboard;</span> <span class="i0">So's
+we saw cliffs and houses, and the breakers running high,<span
+class='linenum2'>15</span></span> <span class="i0">And the
+coast-guard in his garden, with his glass against his
+eye.</span><br />
+<span class="i0">The frost was on the village roofs as white as
+ocean foam;</span> <span class="i0">The good red fires were burning
+bright in every 'longshore home;</span> <span class="i0">The
+windows sparkled clear, and the chimneys volleyed out;</span> <span
+class="i0">And I vow we sniffed the victuals, as the vessel went
+about.<span class='linenum2'>20</span></span><br />
+<span class="i0">The bells upon the church were rung with a mighty
+jovial cheer;</span> <span class="i0">For it's just that I should
+tell you how (of all days in the year)</span> <span class="i0">This
+day of our adversity was bless&egrave;d Christmas morn,</span>
+<span class="i0">And the house above the coast-guard's was the
+house where I was born.</span><br />
+<span class="i0">O well I saw the pleasant room, the pleasant faces
+there,<span class='linenum2'>25</span></span> <span class=
+"i0"><span class='pagenum'><a name="Page_92" id="Page_92">[Pg
+92]</a></span>My mother's silver spectacles, my father's silver
+hair;</span> <span class="i0">And well I saw the firelight, like a
+flight of homely elves,</span> <span class="i0">Go dancing round
+the china plates that stand upon the shelves.</span><br />
+<span class="i0">And well I knew the talk they had, the talk that
+was of me,</span> <span class="i0">Of the shadow on the household
+and the son that went to sea;<span class=
+'linenum2'>30</span></span> <span class="i0">And O the wicked fool
+I seemed, in every kind of way,</span> <span class="i0">To be here
+and hauling frozen ropes on bless&egrave;d Christmas
+day.</span><br />
+<span class="i0">They lit the high sea-light, and the dark began to
+fall.</span> <span class="i0">"All hands to loose topgallant
+sails," I heard the captain call.</span> <span class="i0">"Captain,
+she'll never stand it," our first mate, Jackson, cried.<span class=
+'linenum2'>35</span></span> <span class="i0">"It's the one way or
+the other, Mr. Jackson," he replied.</span><br />
+<span class="i0">She staggered to her bearings, but the sails were
+new and good,</span> <span class="i0">And the ship smelt up to
+windward just as though she understood.</span> <span class="i0">As
+the winter's day was ending, in the entry of the night,</span>
+<span class="i0">We cleared the weary headland, and passed below
+the light.<span class='linenum2'>40</span></span><br />
+<span class="i0">And they heaved a mighty breath, every soul on
+board but me,</span> <span class="i0">As they saw her nose again
+pointing handsome out to sea;</span> <span class="i0"><span class=
+'pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>But all
+that I could think of, in the darkness and the cold,</span> <span
+class="i0">Was just that I was leaving home, and my folks were
+growing old.</span></div>
+</div>
+
+<p>&mdash;<i>Robert Louis Stevenson</i> (<i>By arrangement</i>)</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory.</span>&mdash;Supply an
+introduction and a conclusion for the story suggested by this
+poem.</p>
+
+<p>Indicate the pauses which should be made in this poem after
+words and phrases: (<i>a</i>) because of the Imaging process,
+(<i>b</i>) in order to conceive the thought more fully, (<i>c</i>)
+in passing from the narration of one action to that of another,
+(<i>d</i>) because of direct speech interrupted by narrative.
+(Introduction, pp. <a href="#Page_7">7</a>, <a href=
+"#Page_24">24</a>, and <a href="#Page_27">27</a>.)</p>
+
+<p>20 and 22. Indicate the Pause before phrases to prepare the mind
+for what is coming. (Introduction, p. <a href="#Page_8">8</a>.)
+What Inflection is used as a connecting link? (Introduction, p. <a
+href="#Page_16">16</a>.)</p>
+
+<p>27. <span class="smcap">FIRELIGHT.</span> With what should it be
+connected? How? (Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>34. <span class="smcap">All hands ... sails.</span> What change
+in Pitch and Force? (Introduction, pp. <a href="#Page_22">22</a>
+and <a href="#Page_26">26</a>.)</p>
+
+<p>40. What is the Shading? (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+
+<p>Compare the mental state of the captain with that of the first
+mate. How is the difference indicated in the Pitch of their
+respective speeches? (Introduction, p. <a href=
+"#Page_22">22</a>.)</p>
+
+<p>Connect stanzas vii and viii with the last two lines of the
+poem. What background of thought is suggested? How is the rate of
+reading affected by the thoughts suggested? (Introduction, p. <a
+href="#Page_14">14</a>.)</p>
+</div>
+
+<h3><a name="Page_93a" id="Page_93a"></a>THE EVENING WIND</h3>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">Spirit that breathest through
+my lattice, thou</span> <span class="i1">That cool'st the twilight
+of the sultry day,</span> <span class="i0">Gratefully flows thy
+freshness round my brow:</span> <span class="i1">Thou hast been out
+upon the deep at play,</span> <span class="i0">Riding all day the
+wild blue waves till now,<span class='linenum2'>5</span></span>
+<span class="i1">Roughening their crests, and scattering high their
+spray,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_94" id="Page_94">[Pg 94]</a></span>And swelling the white
+sail. I welcome thee</span> <span class="i0">To the scorched land,
+thou wanderer of the sea!</span><br />
+<span class="i0">Nor I alone;&mdash;a thousand bosoms round</span>
+<span class="i1">Inhale thee in the fulness of delight;<span class=
+'linenum2'>10</span></span> <span class="i0">And languid forms rise
+up, and pulses bound</span> <span class="i1">Livelier at coming of
+the wind of night;</span> <span class="i0">And, languishing to hear
+thy grateful sound,</span> <span class="i1">Lies the vast inland
+stretched beyond the sight.</span> <span class="i0">Go forth into
+the gathering shade; go forth,<span class=
+'linenum2'>15</span></span> <span class="i0">God's blessing
+breathed upon the fainting earth!</span><br />
+<span class="i0">Go, rock the little wood-bird in his nest,</span>
+<span class="i1">Curl the still waters, bright with stars, and
+rouse</span> <span class="i0">The wide old wood from his majestic
+rest,</span> <span class="i1">Summoning from the innumerable
+boughs<span class='linenum2'>20</span></span> <span class="i0">The
+strange deep harmonies that haunt his breast:</span> <span class=
+"i1">Pleasant shall be thy way, where meekly bows</span> <span
+class="i0">The shutting flower and darkling waters pass,</span>
+<span class="i0">And where the o'ershadowing branches sweep the
+grass.</span><br />
+<span class="i0">The faint old man shall lean his silver head<span
+class='linenum2'>25</span></span> <span class="i1">To feel thee;
+thou shalt kiss the child asleep,</span> <span class="i0">And dry
+the moistened curls that overspread</span> <span class="i1">His
+temples, while his breathing grows more deep;</span> <span class=
+"i0">And they who stand about the sick man's bed</span> <span
+class="i1">Shall joy to listen to thy distant sweep,<span class=
+'linenum2'>30</span></span> <span class="i0">And softly part his
+curtains to allow</span> <span class="i0">Thy visit, grateful to
+his burning brow.</span><br />
+<span class="i0">Go,&mdash;but the circle of eternal change,</span>
+<span class="i1">Which is the life of nature, shall restore,</span>
+<span class="i0">With sounds and scents from all thy mighty
+range,<span class='linenum2'>35</span></span> <span class=
+'pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span><span
+class="i1">Thee to thy birthplace of the deep once more;</span>
+<span class="i0">Sweet odours in the sea-air, sweet and
+strange,</span> <span class="i1">Shall tell the home-sick manner of
+the shore;</span> <span class="i0">And, listening to thy murmur, he
+shall dream</span> <span class="i0">He hears the rustling leaf and
+running stream.<span class='linenum2'>40</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>William Cullen Bryant</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Describe fully the
+picture suggested by (<i>a</i>) the first three lines of stanza i,
+(<i>b</i>) the last four lines of stanza i, (<i>c</i>) stanza ii.
+Give to each a suitable title.</p>
+
+<p>1, 2, and 6. (Appendix <a href="#A_3">A, 3</a>, <a href=
+"#A_4">4</a>, and <a href="#A_8">8</a>.)</p>
+
+<p>1. <span class="smcap">THOU</span>. What is the Inflection?</p>
+
+<p>6. How does the sound accord with the sense?</p>
+
+<p>15. <span class="smcap">Go forth ... go forth.</span> Where is
+the Emphasis? (Introduction, p. <a href="#Page_31">31.</a>)</p>
+
+<p>19-21. What feeling is aroused? How is the Quality of voice
+affected? (Introduction, p. <a href="#Page_34">34.</a>)</p>
+
+<p>25-32. What change in Time? Account for it. (Introduction, p. <a
+href="#Page_13">13.</a>)</p>
+
+<p>31. What atmosphere is created in this line? What Quality of
+voice is the result? What lines in the last stanza have the same
+atmosphere? (Introduction, p. <a href="#Page_34">34.</a>)</p>
+
+<p>36. With what should <span class="smcap">Thee</span> be
+connected? In what way?</p>
+
+<p>33-36. What portions are read in lighter Shading? (Introduction,
+p. <a href="#Page_33">33.</a>)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_95a" id="Page_95a"></a>PARADISE AND THE PERI</h3>
+
+<p class="center2">From "Lalla Rookh"</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">One morn a Peri at the
+gate</span> <span class="i1">Of Eden stood, disconsolate;</span>
+<span class="i0">And as she listened to the Springs</span> <span
+class="i1">Of Life within, like music flowing,</span> <span class=
+"i0">And caught the light upon her wings<span class=
+'linenum2'>5</span></span> <span class="i1">Through the half-open
+portal glowing,</span> <span class="i0">She wept to think her
+recreant race</span> <span class="i0">Should e'er have lost that
+glorious place!</span> <span class="i0"><span class='pagenum'><a
+name="Page_96" id="Page_96">[Pg 96]</a></span>"How happy,"
+exclaimed this child of air,</span> <span class="i0">"Are the holy
+spirits who wander there,<span class='linenum2'>10</span></span>
+<span class="i1">'Mid flowers that never shall fade or fall;</span>
+<span class="i0">Though mine are the gardens of earth and
+sea,</span> <span class="i0">And the stars themselves have flowers
+for me,</span> <span class="i1">One blossom of Heaven out-blooms
+them all!"</span><br />
+<span class="i0">The glorious Angel, who was keeping<span class=
+'linenum2'>15</span></span> <span class="i0">The Gates of Light,
+beheld her weeping;</span> <span class="i0">And, as he nearer drew
+and listened</span> <span class="i0">To her sad song, a tear-drop
+glistened</span> <span class="i0">Within his eyelids, like the
+spray</span> <span class="i1">From Eden's fountain, when it
+lies<span class='linenum2'>20</span></span> <span class="i0">On the
+blue flower, which&mdash;Brahmins say&mdash;</span> <span class=
+"i1">Blooms nowhere but in Paradise.</span> <span class="i0">"Nymph
+of a fair, but erring line!"</span> <span class="i0">Gently he
+said,&mdash;"One hope is thine.</span> <span class="i1">'Tis
+written in the Book of Fate,<span class='linenum2'>25</span></span>
+<span class="i1"><i>The Peri yet may be forgiven</i></span> <span
+class="i0"><i>Who brings to this Eternal Gate</i></span> <span
+class="i1"><i>The Gift that is most dear to Heaven!</i></span>
+<span class="i0">Go, seek it, and redeem thy sin:</span> <span
+class="i0">'Tis sweet to let the Pardoned in!"<span class=
+'linenum2'>30</span></span><br />
+<span class="i0">Downward the Peri turns her gaze,</span> <span
+class="i0">And, through the war-field's bloody haze,</span> <span
+class="i0">Beholds a youthful warrior stand</span> <span class=
+"i1">Alone, beside his native river,&mdash;</span> <span class=
+"i0">The red blade broken in his hand,<span class=
+'linenum2'>35</span></span> <span class="i1">And the last arrow in
+his quiver.</span> <span class="i0">"Live," said the conqueror,
+"live to share</span> <span class="i0">The trophies and the crowns
+I bear!"</span> <span class="i0"><span class='pagenum'><a name=
+"Page_97" id="Page_97">[Pg 97]</a></span>Silent that youthful
+warrior stood&mdash;</span> <span class="i0">Silent he pointed to
+the flood<span class='linenum2'>40</span></span> <span class=
+"i0">All crimson with his country's blood,</span> <span class=
+"i0">Then sent his last remaining dart,</span> <span class="i0">For
+answer, to th' invader's heart.</span><br />
+<span class="i0">False flew the shaft, though pointed well;</span>
+<span class="i0">The tyrant lived, the hero fell!<span class=
+'linenum2'>45</span></span> <span class="i0">Yet marked the Peri
+where he lay,</span> <span class="i1">And when the rush of war was
+past,</span> <span class="i0">Swiftly descending on a ray</span>
+<span class="i1">Of morning light, she caught the last,</span>
+<span class="i0">Last glorious drop his heart had shed,<span class=
+'linenum2'>50</span></span> <span class="i0">Before its free-born
+spirit fled!</span><br />
+<span class="i0">"Be this," she cried, as she winged her
+flight,</span> <span class="i0">"My welcome gift at the Gates of
+Light."</span> <span class="i0">"Sweet," said the Angel, as she
+gave</span> <span class="i1">The gift into his radiant hand,<span
+class='linenum2'>55</span></span> <span class="i0">"Sweet is our
+welcome of the brave</span> <span class="i1">Who die thus for their
+native land.&mdash;</span> <span class="i0">But
+see&mdash;alas!&mdash;the crystal bar</span> <span class="i0">Of
+Eden moves not&mdash;holier far</span> <span class="i0">Than e'en
+this drop the boon must be,<span class='linenum2'>60</span></span>
+<span class="i0">That opes the Gates of Heaven for
+thee!"</span><br />
+<span class="i0">But nought can charm the luckless Peri;</span>
+<span class="i0">Her soul is sad, her wings are weary.</span> <span
+class="i1">When, o'er the vale of Balbec winging</span> <span
+class="i0">Slowly, she sees a child at play,<span class=
+'linenum2'>65</span></span> <span class="i0">Among the rosy
+wild-flowers singing,</span> <span class="i1">As rosy and as wild
+as they;</span> <span class="i0">Chasing, with eager hands and
+eyes,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_98" id="Page_98">[Pg 98]</a></span>The beautiful blue
+damsel-flies</span> <span class="i0">That fluttered round the
+jasmine stems,<span class='linenum2'>70</span></span> <span class=
+"i0">Like-wing&egrave;d flowers or flying gems:</span> <span class=
+"i0">And, near the boy, who, tired with play,</span> <span class=
+"i0">Now nestling 'mid the roses lay,</span> <span class="i0">She
+saw a wearied man dismount</span> <span class="i1">From his hot
+steed, and on the brink<span class='linenum2'>75</span></span>
+<span class="i0">Of a small imaret's rustic fount</span> <span
+class="i1">Impatient fling him down to drink.</span> <span class=
+"i0">Then swift his haggard brow he turned</span> <span class=
+"i1">To the fair child, who fearless sat,</span> <span class=
+"i0">Though never yet hath daybeam burned<span class=
+'linenum2'>80</span></span> <span class="i1">Upon a brow more
+fierce than that.</span><br />
+<span class="i0">But hark! the vesper call to prayer,</span> <span
+class="i1">As slow the orb of daylight sets,</span> <span class=
+"i0">Is rising sweetly on the air,</span> <span class="i1">From
+Syria's thousand minarets!<span class='linenum2'>85</span></span>
+<span class="i0">The boy has started from the bed</span> <span
+class="i0">Of flowers, where he had laid his head,</span> <span
+class="i0">And down upon the fragrant sod</span> <span class=
+"i1">Kneels, with his forehead to the south,</span> <span class=
+"i0">Lisping th' eternal name of God<span class=
+'linenum2'>90</span></span> <span class="i1">From purity's own
+cherub mouth.</span><br />
+<span class="i0">And how felt he, the wretched man,</span> <span
+class="i0">Reclining there&mdash;while memory ran</span> <span
+class="i0">O'er many a year of guilt and strife,</span> <span
+class="i0">Flew o'er the dark flood of his life,<span class=
+'linenum2'>95</span></span> <span class="i0">Nor found one sunny
+resting-place,</span> <span class="i0">Nor brought him back one
+branch of grace?</span> <span class="i0">"There was a time," he
+said, in mild,</span> <span class="i0">Heart-humbled tones, "thou
+blessed child!</span> <span class='pagenum'><a name="Page_99" id=
+"Page_99">[Pg 99]</a></span><span class="i1">When, young and haply
+pure as thou,<span class='linenum2'>100</span></span> <span class=
+"i1">I looked and prayed like thee&mdash;but now&mdash;"</span>
+<span class="i0">He hung his head&mdash;each nobler aim,</span>
+<span class="i1">And hope, and feeling, which had slept</span>
+<span class="i0">From boyhood's hour, that instant came</span>
+<span class="i1">Fresh o'er him, and he wept&mdash;he wept!<span
+class='linenum2'>105</span></span><br />
+<span class="i0">And now, behold him kneeling there</span> <span
+class="i0">By the child's side, in humble prayer,</span> <span
+class="i0">While the same sunbeam shines upon</span> <span class=
+"i0">The guilty and the guiltless one,</span> <span class="i0">And
+hymns of joy proclaim through Heaven<span class=
+'linenum2'>110</span></span> <span class="i0">The triumph of a soul
+forgiven!</span><br />
+<span class="i0">'Twas when the golden orb had set,</span> <span
+class="i0">While on their knees they lingered yet,</span> <span
+class="i0">There fell a light, more lovely far</span> <span class=
+"i0">Than ever came from sun or star,<span class=
+'linenum2'>115</span></span> <span class="i0">Upon the tear that,
+warm and meek,</span> <span class="i0">Dewed that repentant
+sinner's cheek:</span> <span class="i0">To mortal eye that light
+might seem</span> <span class="i0">A northern flash or meteor
+beam&mdash;</span> <span class="i0">But well th' enraptured Peri
+knew<span class='linenum2'>120</span></span> <span class="i0">'Twas
+a bright smile the Angel threw</span> <span class="i0">From
+Heaven's gate, to hail that tear&mdash;</span> <span class="i0">Her
+harbinger of glory near!</span> <span class="i0">"Joy, joy for
+ever! my task is done:</span> <span class="i0">The Gates are
+passed, and Heaven is won!"<span class=
+'linenum2'>125</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Thomas Moore</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide this
+selection into four scenes, describing minutely each scene, and
+pointing out what part of the poem it covers. (Introduction, p. <a
+href="#Page_10">10.</a>)</p>
+
+<p>What feelings are aroused by each scene?</p>
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[Pg
+100]</a></span> <span class="smcap">Spirit, native, purity.</span>
+(Appendix <a href="#A_8">A, 8.</a>)</p>
+
+<p>1-4. Give two examples of Grouping from these lines. Give
+numerous other examples throughout the selection, and show how
+Grouping affects the Inflection and Pause. (Introduction, pp. <a
+href="#Page_10">10</a>-12.)</p>
+
+<p>3-7. Read with a view to Perspective. Select other examples,
+noting especially ll. 17-22, 47-51, 72-77, and 112-117.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>9. <span class="smcap">exclaimed this child of air.</span>
+(Introduction, pp. <a href="#Page_24">24</a> and <a href=
+"#Page_27">27</a>.) Give other examples of direct discourse broken
+by narration.</p>
+
+<p>54 and 56. <span class="smcap">Sweet ... Sweet.</span> Which
+word is more emphatic? (Introduction, p. <a href=
+"#Page_31">31</a>.) Compare l. 105.</p>
+
+<p>84. With what should <span class="smcap">Is Rising</span> be
+connected? How? Compare <span class="smcap">Upon the tear</span>,
+l. 116.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_100a" id="Page_100a"></a>THE LADY OF SHALOTT</h3>
+
+<p class="center"><span class="smcap">Part I</span></p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">On either side the river
+lie</span> <span class="i0">Long fields of barley and of
+rye,</span> <span class="i0">That clothe the wold and meet the
+sky;</span> <span class="i0">And thro' the field the road runs
+by</span> <span class="i2">To many-tower'd Camelot;</span> <span
+class="i0">And up and down the people go,</span> <span class=
+"i0">Gazing where the lilies blow</span> <span class="i0">Round an
+island there below,</span> <span class="i2">The island of
+Shalott.</span><br />
+<span class="i0">Willows whiten, aspens quiver,</span> <span class=
+"i0">Little breezes dusk and shiver</span> <span class="i0">Thro'
+the wave that runs for ever</span> <span class="i0">By the island
+in the river</span> <span class="i2">Flowing down to
+Camelot.</span> <span class="i0">Four gray walls, and four gray
+towers,</span> <span class="i0">Overlook a space of flowers,</span>
+<span class="i0">And the silent isle embowers</span> <span class=
+"i2">The Lady of Shalott.</span> <span class="i0">&nbsp;<span
+class='pagenum'><a name="Page_101" id="Page_101">[Pg
+101]</a></span></span> <span class="i0">By the margin,
+willow-veil'd,</span> <span class="i0">Slide the heavy barges
+trail'd</span> <span class="i0">By slow horses; and unhail'd</span>
+<span class="i0">The shallop flitteth silken-sail'd</span> <span
+class="i2">Skimming down to Camelot:</span> <span class="i0">But
+who has seen her wave her hand?</span> <span class="i0">Or at the
+casement seen her stand?</span> <span class="i0">Or is she known in
+all the land,</span> <span class="i2">The Lady of
+Shalott?</span><br />
+<span class="i0">Only reapers, reaping early</span> <span class=
+"i0">In among the bearded barley,</span> <span class="i0">Hear a
+song that echoes cheerly</span> <span class="i0">From the river
+winding clearly,</span> <span class="i2">Down to tower'd
+Camelot:</span> <span class="i0">And by the moon the reaper
+weary,</span> <span class="i0">Piling sheaves in uplands
+airy,</span> <span class="i0">Listening, whispers "'Tis the
+fairy</span> <span class="i2">Lady of Shalott."</span></div>
+</div>
+
+<p class="center"><span class="smcap">Part II</span></p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">There she weaves by night and
+day</span> <span class="i0">A magic web with colours gay.</span>
+<span class="i0">She has heard a whisper say,</span> <span class=
+"i0">A curse is on her if she stay</span> <span class="i2">To look
+down to Camelot.</span> <span class="i0">She knows not what the
+curse may be,</span> <span class="i0">And so she weaveth
+steadily,</span> <span class="i0">And little other care hath
+she,</span> <span class="i2">The Lady of Shalott.</span><br />
+<span class="i0">And moving thro' a mirror clear</span> <span
+class="i0">That hangs before her all the year,</span> <span class=
+"i0"><span class='pagenum'><a name="Page_102" id="Page_102">[Pg
+102]</a></span>Shadows of the world appear.</span> <span class=
+"i0">There she sees the highway near</span> <span class=
+"i2">Winding down to Camelot:</span> <span class="i0">There the
+river eddy whirls,</span> <span class="i0">And there the surly
+village-churls,</span> <span class="i0">And the red cloaks of
+market girls,</span> <span class="i2">Pass onward from
+Shalott.</span><br />
+<span class="i0">Sometimes a troop of damsels glad,</span> <span
+class="i0">An abbot on an ambling pad,</span> <span class=
+"i0">Sometimes a curly shepherd-lad,</span> <span class="i0">Or
+long-hair'd page in crimson clad,</span> <span class="i2">Goes by
+to tower'd Camelot;</span> <span class="i0">And sometimes thro' the
+mirror blue</span> <span class="i0">The knights come riding two and
+two:</span> <span class="i0">She hath no loyal knight and
+true,</span> <span class="i2">The Lady of Shalott.</span><br />
+<span class="i0">But in her web she still delights</span> <span
+class="i0">To weave the mirror's magic sights,</span> <span class=
+"i0">For often thro' the silent nights</span> <span class="i0">A
+funeral, with plumes and lights</span> <span class="i2">And music,
+went to Camelot:</span> <span class="i0">Or when the moon was
+overhead,</span> <span class="i0">Came two young lovers lately
+wed;</span> <span class="i0">"I am half sick of shadows,"
+said</span> <span class="i2">The Lady of Shalott.</span></div>
+</div>
+
+<p class="center"><span class="smcap">Part III</span></p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">A bow-shot from her
+bower-eaves,</span> <span class="i0">He rode between the
+barley-sheaves,</span> <span class="i0">The sun came dazzling thro'
+the leaves,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_103" id="Page_103">[Pg 103]</a></span>And flamed upon the
+brazen greaves</span> <span class="i2">Of bold Sir Lancelot.</span>
+<span class="i0">A red-cross knight for ever kneel'd</span> <span
+class="i0">To a lady in his shield,</span> <span class="i0">That
+sparkled on the yellow field,</span> <span class="i2">Beside remote
+Shalott.</span><br />
+<span class="i0">The gemmy bridle glitter'd free,</span> <span
+class="i0">Like to some branch of stars we see</span> <span class=
+"i0">Hung in the golden Galaxy.</span> <span class="i0">The bridle
+bells rang merrily</span> <span class="i2">As he rode down to
+Camelot:</span> <span class="i0">And from his blazon'd baldric
+slung</span> <span class="i0">A mighty silver bugle hung,</span>
+<span class="i0">And as he rode his armour rung,</span> <span
+class="i2">Beside remote Shalott.</span><br />
+<span class="i0">All in the blue unclouded weather</span> <span
+class="i0">Thick-jewell'd shone the saddle-leather,</span> <span
+class="i0">The helmet and the helmet-feather</span> <span class=
+"i0">Burn'd like one burning flame together,</span> <span class=
+"i2">As he rode down to Camelot.</span> <span class="i0">As often
+thro' the purple night,</span> <span class="i0">Below the starry
+clusters bright,</span> <span class="i0">Some bearded meteor,
+trailing light,</span> <span class="i2">Moves over still
+Shalott.</span><br />
+<span class="i0">His broad clear brow in sunlight glow'd;</span>
+<span class="i0">On burnished hooves his war-horse trode;</span>
+<span class="i0">From underneath his helmet flow'd</span> <span
+class="i0">His coal-black curls as on he rode,</span> <span class=
+"i2">As he rode down to Camelot.</span> <span class="i0"><span
+class='pagenum'><a name="Page_104" id="Page_104">[Pg
+104]</a></span>From the bank and from the river</span> <span class=
+"i0">He flash'd into the crystal mirror,</span> <span class=
+"i0">"Tirra lirra," by the river</span> <span class="i2">Sang Sir
+Lancelot.</span><br />
+<span class="i0">She left the web, she left the loom,</span> <span
+class="i0">She made three paces thro' the room,</span> <span class=
+"i0">She saw the water-lily bloom,</span> <span class="i0">She saw
+the helmet and the plume,</span> <span class="i2">She look'd down
+to Camelot.</span> <span class="i0">Out flew the web and floated
+wide;</span> <span class="i0">The mirror crack'd from side to
+side;</span> <span class="i0">"The curse is come upon me,"
+cried</span> <span class="i2">The Lady of Shalott.</span></div>
+</div>
+
+<p class="center"><span class="smcap">Part IV</span></p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">In the stormy east-wind
+straining,</span> <span class="i0">The pale yellow woods were
+waning,</span> <span class="i0">The broad stream in his banks
+complaining,</span> <span class="i0">Heavily the low sky
+raining</span> <span class="i2">Over tower'd Camelot;</span> <span
+class="i0">Down she came and found a boat</span> <span class=
+"i2">Beneath a willow left afloat,</span> <span class="i0">And
+round about the prow she wrote</span> <span class="i2"><i>The Lady
+of Shalott</i>.</span><br />
+<span class="i0">And down the river's dim expanse</span> <span
+class="i0">Like some bold se&euml;r in a trance,</span> <span
+class="i0">Seeing all his own mischance&mdash;</span> <span class=
+"i0">With a glassy countenance</span> <span class="i2">Did she look
+to Camelot.</span> <span class="i0">And at the closing of the
+day</span> <span class="i0">She loosed the chain and down she
+lay;</span> <span class="i0"><span class='pagenum'><a name=
+"Page_105" id="Page_105">[Pg 105]</a></span>The broad stream bore
+her far away,</span> <span class="i2">The Lady of
+Shalott.</span><br />
+<span class="i0">Lying, robed in snowy white</span> <span class=
+"i0">That loosely flew to left and right&mdash;</span> <span class=
+"i0">The leaves upon her falling light&mdash;</span> <span class=
+"i0">Thro' the noises of the night</span> <span class="i2">She
+floated down to Camelot:</span> <span class="i0">And as the
+boat-head wound along</span> <span class="i0">The willowy hills and
+fields among,</span> <span class="i0">They heard her singing her
+last song,</span> <span class="i2">The Lady of
+Shalott.</span><br />
+<span class="i0">Heard a carol, mournful, holy,</span> <span class=
+"i0">Chanted loudly, chanted lowly,</span> <span class="i0">Till
+her blood was frozen slowly,</span> <span class="i0">And her eyes
+were darken'd wholly,</span> <span class="i2">Turn'd to tower'd
+Camelot.</span> <span class="i0">For ere she reach'd upon the
+tide</span> <span class="i0">The first house by the
+water-side,</span> <span class="i0">Singing in her song she
+died,</span> <span class="i2">The Lady of Shalott.</span><br />
+<span class="i0">Under tower and balcony,</span> <span class=
+"i0">By garden-wall and gallery,</span> <span class="i0">A gleaming
+shape she floated by,</span> <span class="i0">Dead-pale between the
+houses high,</span> <span class="i2">Silent into Camelot.</span>
+<span class="i0">Out upon the wharfs they came,</span> <span class=
+"i0">Knight and burgher, lord and dame,</span> <span class="i0">And
+round the prow they read her name,</span> <span class="i2"><i>The
+Lady of Shalott</i>.</span> <span class="i0"><span class=
+'pagenum'><a name="Page_106" id="Page_106">[Pg
+106]</a></span></span> <span class="i0">Who is this? and what is
+here?</span> <span class="i0">And in the lighted palace near</span>
+<span class="i0">Died the sound of royal cheer;</span> <span class=
+"i0">And they cross'd themselves for fear,</span> <span class=
+"i2">All the knights at Camelot:</span> <span class="i0">But
+Lancelot mused a little space;</span> <span class="i0">He said,
+"She has a lovely face;</span> <span class="i0">God in his mercy
+lend her grace,</span> <span class="i2">The Lady of
+Shalott."</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Alfred Tennyson</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Compare the poet's
+treatment of the story of <i>The Lady of Shalott</i> with that
+given in <i>Lancelot and Elaine</i>.</p>
+
+<p>Combine the smaller pictures in this poem into a number of
+larger ones.</p>
+
+<p>Give to the larger pictures titles which suggest the different
+stages in the development of the story.</p>
+
+<p>Exercises in Articulation. (Appendix <a href="#Page_306">A</a>.
+See Examples)</p>
+
+<p class="center2"><span class="smcap">Part I</span></p>
+
+<p>Stanza i, ll. 1 and 4. Where is the Pause in each line? Why?
+(Introduction, p. <a href="#Page_11">11</a>.)</p>
+
+<p>Stanza iii, ll. 1 and 2. Account for the change in Time.
+(Introduction, p. <a href="#Page_13">13</a>.)</p>
+
+<p>2. Where is the Pause?</p>
+
+<p>6-9. What is the Inflection in these questions? (Introduction,
+p. <a href="#Page_19">19</a>.)</p>
+
+<p>Stanza iv, l. 3. <span class="smcap">Hear</span>. With what word
+should this be connected? How? (Introduction, p. <a href=
+"#Page_16">16</a>.) Note the Shading.</p>
+
+<p>6. Where are the Pauses in this line? Account for them.</p>
+
+<p>8-9. In what Quality of voice are these lines read?
+(Introduction, p. <a href="#Page_6">6</a>.) Compare from this
+standpoint the last lines of Parts II, III, and IV.</p>
+
+<p class="center2"><span class="smcap">Part II</span></p>
+
+<p>Stanza i, ll. 3-5. Note the spontaneous imitation.
+(Introduction, pp. <a href="#Page_5">5</a> and <a href=
+"#Page_6">6</a>.)</p>
+
+<p><span class="smcap">And there the surly ... two and two</span>.
+Note the three separate groups of passers-by. Which group has the
+most significance in its bearing on the rest of the poem? How does
+the voice indicate this relative significance? (Introduction, pp.
+<a href="#Page_24">24</a> and <a href="#Page_30">30</a>.)</p>
+
+<p>Stanza iii, l. 8. How is the transition made effective?
+(Introduction, pp. <a href="#Page_8">8</a>, <a href=
+"#Page_9">9</a>, and <a href="#Page_25">25</a>.)</p>
+
+<p>Stanza iv. <span class="smcap">For often ... Camelot.</span>
+Observe the Shading. (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+
+<p><span class='pagenum'><a name="Page_107" id="Page_107">[Pg
+107]</a></span></p>
+
+<p class="center2"><span class="smcap">Part III</span></p>
+
+<p><span class="smcap">his shield, rode down, armour rung,
+saddle-leather, coal-black curls.</span> (Appendix <a href=
+"#A_6">A, 6</a>.)</p>
+
+<p>Stanza i, l. 4. Observe the Grouping.</p>
+
+<p>Stanza ii, l. 2. Where is the Pause? Explain. What is the
+Inflection on <span class="smcap">STARS</span>?</p>
+
+<p>Compare the Shading in ll. 6 and 7.</p>
+
+<p>Stanza iii. What are the central ideas of ll. 2 and 3? How does
+the reader make them stand out?</p>
+
+<p>6-8. Note the continuous Inflection. (Introduction, p. <a href=
+"#Page_17">17</a>.)</p>
+
+<p>Stanza iv, ll. 3 and 4. How does the Grouping here affect the
+Pause and the Inflection?</p>
+
+<p>Stanza v, ll. 1-4. What change in the voice indicates the abrupt
+transition? What atmosphere does the voice create as a preparation
+for the climax of the last four lines?</p>
+
+<p>1. What is the central idea of this line?</p>
+
+<p>6-7. What change in Force, Pitch, and Stress expresses the
+sudden disaster?</p>
+
+<p class="center2"><span class="smcap">Part IV</span></p>
+
+<p>Compare the atmosphere of the first four and a half stanzas of
+this Part with the first four of Part III, and also with the
+remainder of Part IV. What is the difference in Pitch, Force, and
+Time? (Introduction, pp. <a href="#Page_22">22</a>, <a href=
+"#Page_26">26</a>, and <a href="#Page_13">13</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_107a" id="Page_107a"></a>HOME THEY BROUGHT HER
+WARRIOR DEAD</h3>
+
+<p class="center2">From "The Princess"</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Home they brought her warrior
+dead:</span> <span class="i0">She nor swoon'd, nor utter'd
+cry:</span> <span class="i0">All her maidens, watching,
+said,</span> <span class="i0">"She must weep or she will
+die."</span><br />
+<span class="i0">Then they praised him, soft and low,</span> <span
+class="i0">Call'd him worthy to be loved,</span> <span class=
+"i0">Truest friend and noblest foe;</span> <span class="i0">Yet she
+neither spoke nor moved.</span> <span class="i0"><span class=
+'pagenum'><a name="Page_108" id="Page_108">[Pg
+108]</a></span></span> <span class="i0">Stole a maiden from her
+place,</span> <span class="i0">Lightly to the warrior stept,</span>
+<span class="i0">Took the face-cloth from the face;</span> <span
+class="i0">Yet she neither moved nor wept.</span><br />
+<span class="i0">Rose a nurse of ninety years,</span> <span class=
+"i0">Set his child upon her knee&mdash;</span> <span class=
+"i0">Like summer tempest came her tears&mdash;</span> <span class=
+"i0">"Sweet my child, I live for thee."</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Alfred Tennyson</i></p>
+
+<div class="blockquot">
+<p>See Introduction, p. <a href="#Page_6">6</a>.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_108a" id="Page_108a"></a>THE SKY</h3>
+
+<p class="center2">From "Modern Painters"</p>
+
+<p>1. It is a strange thing how little in general people know about
+the sky. It is the part of creation in which nature has done more
+for the sake of pleasing man, more for the sole and evident purpose
+of talking to him and teaching him, than in any other of her works,
+and it is just the part in which we least attend to her.</p>
+
+<p>2. There are not many of her other works in which some more
+material or essential purpose than the mere pleasing of man is not
+answered by every part of their organization; but every essential
+purpose of the sky might, so far as we know, be answered, if once
+in three days, or thereabouts, a great ugly black rain-cloud were
+brought up over the blue, and everything well watered, and so all
+left blue again till next time, with perhaps a film of morning and
+evening mist for dew.</p>
+
+<p>3. And instead of this, there is not a moment of any day of our
+lives, when nature is not producing scene after scene, picture
+after picture, glory after glory, and working still upon such
+exquisite and constant principles <span class='pagenum'><a name=
+"Page_109" id="Page_109">[Pg 109]</a></span>of the most perfect
+beauty, that it is quite certain it is all done for us, and
+intended for our perpetual pleasure. And every man, wherever
+placed, however far from other sources of interest or of beauty,
+has this doing for him constantly.</p>
+
+<p>4. The noblest scenes of the earth can be seen and known but by
+few; it is not intended that man should live always in the midst of
+them, he injures them by his presence, he ceases to feel them if he
+be always with them; but the sky is for all; bright as it is, it is
+not "too bright, nor good, for human nature's daily food"; it is
+fitted in all its functions for the perpetual comfort and exalting
+of the heart, for the soothing it and purifying it from its dross
+and dust. Sometimes gentle, sometimes capricious, sometimes awful,
+never the same for two moments together; almost human in its
+passions, almost spiritual in its tenderness, almost divine in its
+infinity, its appeal to what is immortal in us, is as distinct, as
+its ministry of chastisement or of blessing to what is mortal, is
+essential.</p>
+
+<p>5. And yet we never attend to it, we never make it a subject of
+thought, but as it has to do with our animal sensations; we look
+upon all by which it speaks to us more clearly than to brutes, upon
+all which bears witness to the intention of the Supreme, that we
+are to receive more from the covering vault than the light and the
+dew which we share with the weed and the worm, only as a succession
+of meaningless and monotonous accidents too common and too vain to
+be worthy of a moment of watchfulness, or a glance of admiration.
+If in our moments of utter idleness and insipidity, we turn to the
+sky as a last resource, which of its phenomena do we speak of?</p>
+
+<p><span class='pagenum'><a name="Page_110" id="Page_110">[Pg
+110]</a></span>6. One says it has been wet, and another it has been
+windy, and another it has been warm. Who, among the whole
+chattering crowd, can tell me of the forms and the precipices of
+the chain of tall white mountains that girded the horizon at noon
+yesterday? Who saw the narrow sunbeam that came out of the south,
+and smote upon their summits until they melted and mouldered away
+in a dust of blue rain? Who saw the dance of the dead clouds when
+the sunlight left them last night, and the west wind blew them
+before it like withered leaves?</p>
+
+<p>7. All has passed, unregretted as unseen; or if the apathy be
+ever shaken off, even for an instant, it is only by what is gross,
+or what is extraordinary; and yet it is not in the broad and fierce
+manifestations of the elemental energies, not in the clash of the
+hail, nor the drift of the whirlwind, that the highest characters
+of the sublime are developed. God is not in the earthquake, nor in
+the fire, but in the still, small voice.</p>
+
+<p>8. They are but the blunt and the low faculties of our nature,
+which can only be addressed through lamp-black and lightning. It is
+in quiet and subdued passages of unobtrusive majesty, the deep, and
+the calm, and the perpetual,&mdash;that which must be sought ere it
+is seen, and loved ere it is understood,&mdash;things which the
+angels work out for us daily, and yet vary eternally, which are
+never wanting, and never repeated, which are to be found always yet
+each found but once; it is through these that the lesson of
+devotion is chiefly taught, and the blessing of beauty given.</p>
+
+<p class="quotsig">&mdash;<i>John Ruskin</i></p>
+
+<p class="center2"><small>(<i>By arrangement with George Allen,
+Publisher</i>)</small></p>
+
+<div class="blockquot">
+<p><span class="smcap">SPIRITUAL, PRECIPICES, SUMMITS,
+UNOBTRUSIVE</span>. (Appendix <a href="#A_8">A, 8</a>.)</p>
+
+<p>Par. 1. With what is <span class="smcap">LEAST ATTEND</span>
+contrasted?</p>
+
+<p><span class='pagenum'><a name="Page_111" id="Page_111">[Pg
+111]</a></span> Par. 2. Why is <span class="smcap">SKY</span> an
+emphatic word? Give examples of momentary completeness.
+(Introduction, p. <a href="#Page_16">16</a>.)</p>
+
+<p>Par. 3. What Inflection is placed on <span class="smcap">PERFECT
+BEAUTY</span>?</p>
+
+<p>Par. 4. Point out the contrasts in the first sentence. What word
+is contrasted with <span class="smcap">distinct</span>?</p>
+
+<p>Par. 5. With what is <span class="smcap">ONLY AS A SUCCESSION,
+ETC.</span>, connected in sense? How does the voice make the
+connection? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>Par. 7. <span class="smcap">UNREGRETTED, UNSEEN</span>. Note the
+transferred emphasis. (Introduction, p. 32.)</p>
+
+<p>Par. 7. <span class="smcap">AND YET IT IS NOT ... NOR IN THE
+FIRE</span>. Account for the Inflection. (Introduction, p. <a href=
+"#Page_17">17</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_111a" id="Page_111a"></a>THE RETURN OF THE
+SWALLOWS</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">"Out in the meadows the young
+grass springs,</span> <span class="i1">Shivering with sap," said
+the larks, "and we</span> <span class="i0">Shoot into air with our
+strong young wings,</span> <span class="i1">Spirally up over level
+and lea;</span> <span class="i0">Come, O Swallows, and fly with
+us</span> <span class="i0">Now that horizons are luminous!</span>
+<span class="i1">Evening and morning the world of light,</span>
+<span class="i1">Spreading and kindling, is infinite!"</span><br />
+<span class="i0">Far away, by the sea in the south,</span> <span
+class="i1">The hills of olive and slopes of fern</span> <span
+class="i0">Whiten and glow in the sun's long drouth,</span> <span
+class="i1">Under the heavens that beam and burn;</span> <span
+class="i0">And all the swallows were gather'd there</span> <span
+class="i0">Flitting about in the fragrant air,</span> <span class=
+"i1">And heard no sound from the larks, but flew</span> <span
+class="i1">Flashing under the blinding blue.</span><br />
+<span class="i0">Out of the depths of their soft rich
+throats</span> <span class="i1">Languidly fluted the thrushes, and
+said:</span> <span class="i0"><span class='pagenum'><a name=
+"Page_112" id="Page_112">[Pg 112]</a></span>"Musical thought in the
+mild air floats,</span> <span class="i1">Spring is coming and
+winter is dead!</span> <span class="i0">Come, O Swallows, and stir
+the air,</span> <span class="i0">For the buds are all bursting
+unaware,</span> <span class="i1">And the drooping eaves and the
+elm-trees long</span> <span class="i1">To hear the sound of your
+low sweet song."</span><br />
+<span class="i0">Over the roofs of the white Algiers,</span> <span
+class="i1">Flashingly shadowing the bright bazaar,</span> <span
+class="i0">Flitted the swallows, and not one hears</span> <span
+class="i1">The call of the thrushes from far, from far;</span>
+<span class="i0">Sigh'd the thrushes; then, all at once,</span>
+<span class="i0">Broke out singing the old sweet tones,</span>
+<span class="i1">Singing the bridal of sap and shoot,</span> <span
+class="i1">The tree's slow life between root and
+fruit.</span><br />
+<span class="i0">But just when the dingles of April flowers</span>
+<span class="i1">Shine with the earliest daffodils,</span> <span
+class="i0">When, before sunrise, the cold clear hours</span> <span
+class="i1">Gleam with a promise that noon fulfils,&mdash;</span>
+<span class="i0">Deep in the leafage the cuckoo cried,</span> <span
+class="i0">Perch'd on a spray by a rivulet-side,</span> <span
+class="i1">"Swallows, O Swallows, come back again</span> <span
+class="i1">To swoop and herald the April rain."</span><br />
+<span class="i0">And something awoke in the slumbering heart</span>
+<span class="i1">Of the alien birds in their African air,</span>
+<span class="i0">And they paused, and alighted, and twitter'd
+apart,</span> <span class="i1">And met in the broad white dreamy
+square;</span> <span class="i0">And the sad slave-woman, who lifted
+up</span> <span class="i0">From the fountain her broad-lipp'd
+earthen cup,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_113" id="Page_113">[Pg 113]</a></span>Said to herself, with a
+weary sigh,</span> <span class="i0">"To-morrow the swallows will
+northward fly!"</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Edmund William Gosse</i></p>
+
+<div class="blockquot">
+<p>How does the vocal expression of the descriptive parts of the
+poem differ from that of the call of the birds? Account for the
+difference. (Introduction, p. <a href="#Page_22">22</a>.)</p>
+
+<p>Point out the contrasts of thought and feeling in the third and
+fourth stanzas respectively. Show a corresponding contrast in vocal
+expression.</p>
+
+<p>What line expresses the central idea of the fifth stanza? How is
+this shown? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>Account for the Pitch and the Force used in the slave-woman's
+speech.</p>
+
+<p>Supply a background of thought for the last four lines. How does
+this affect the Time? (Introduction, p. <a href=
+"#Page_14">14</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_113a" id="Page_113a"></a>BARBARA FRIETCHIE</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Up from the meadows rich with
+corn,</span> <span class="i0">Clear in the cool September
+morn,</span><br />
+<span class="i0">The clustered spires of Frederick stand</span>
+<span class="i0">Green walled by the hills of
+Maryland.</span><br />
+<span class="i0">Round about them orchards sweep,<span class=
+'linenum2'>5</span></span> <span class="i0">Apple-and peach-tree
+fruited deep,&mdash;</span><br />
+<span class="i0">Fair as a garden of the Lord</span> <span class=
+"i0">To the eye of the famished rebel horde,</span><br />
+<span class="i0">On that pleasant morn of the early fall</span>
+<span class="i0">When Lee march'd over the
+mountain-wall,&mdash;<span class='linenum2'>10</span></span><br />
+<span class="i0">Over the mountains winding down,</span> <span
+class="i0">Horse and foot, into Frederick town.</span> <span class=
+"i0">&nbsp;<span class='pagenum'><a name="Page_114" id=
+"Page_114">[Pg 114]</a></span></span> <span class="i0">Forty flags
+with their silver stars,</span> <span class="i0">Forty flags with
+their crimson bars,</span><br />
+<span class="i0">Flapped in the morning wind: the sun<span class=
+'linenum2'>15</span></span> <span class="i0">Of noon looked down,
+and saw not one.</span><br />
+<span class="i0">Up rose old Barbara Frietchie then,</span> <span
+class="i0">Bowed with her fourscore years and ten;</span><br />
+<span class="i0">Bravest of all in Frederick town,</span> <span
+class="i0">She took up the flag the men hauled down;<span class=
+'linenum2'>20</span></span><br />
+<span class="i0">In her attic window the staff she set,</span>
+<span class="i0">To show that one heart was loyal yet.</span><br />
+<span class="i0">Up the street came the rebel tread,</span> <span
+class="i0">Stonewall Jackson riding ahead.</span><br />
+<span class="i0">Under his slouched hat left and right<span class=
+'linenum2'>25</span></span> <span class="i0">He glanced; the old
+flag met his sight.</span><br />
+<span class="i0">"Halt!"&mdash;the dust-brown ranks stood
+fast.</span> <span class="i0">"Fire!"&mdash;out blazed the
+rifle-blast.</span><br />
+<span class="i0">It shivered the window, pane and sash;</span>
+<span class="i0">It rent the banner with seam and gash.<span class=
+'linenum2'>30</span></span><br />
+<span class="i0">Quick, as it fell, from the broken staff</span>
+<span class="i0">Dame Barbara snatched the silken
+scarf;</span><br />
+<span class="i0">She leaned far out on the window-sill,</span>
+<span class="i0">And shook it forth with a royal will.</span> <span
+class="i0">&nbsp;<span class='pagenum'><a name="Page_115" id=
+"Page_115">[Pg 115]</a></span></span> <span class="i0">"Shoot, if
+you must, this old gray head,<span class=
+'linenum2'>35</span></span> <span class="i0">But spare your
+country's flag!" she said.</span><br />
+<span class="i0">A shade of sadness, a blush of shame,</span> <span
+class="i0">Over the face of the leader came;</span><br />
+<span class="i0">The nobler nature within him stirred</span> <span
+class="i0">To life at that woman's deed and word:<span class=
+'linenum2'>40</span></span><br />
+<span class="i0">"Who touches a hair of yon gray head,</span> <span
+class="i0">Dies like a dog! March on!" he said.</span><br />
+<span class="i0">All day long through Frederick street</span> <span
+class="i0">Sounded the tread of marching feet:</span><br />
+<span class="i0">All day long that free flag tossed<span class=
+'linenum2'>45</span></span> <span class="i0">Over the heads of the
+rebel host.</span><br />
+<span class="i0">Ever its torn folds rose and fell</span> <span
+class="i0">On the loyal winds that loved it well;</span><br />
+<span class="i0">And, through the hill-gaps, sunset light</span>
+<span class="i0">Shone over it with a warm good-night.<span class=
+'linenum2'>50</span></span><br />
+<span class="i0">Barbara Frietchie's work is o'er,</span> <span
+class="i0">And the Rebel rides on his raids no more.</span><br />
+<span class="i0">Honour to her! and let a tear</span> <span class=
+"i0">Fall, for her sake, on Stonewall's bier.</span><br />
+<span class="i0">Over Barbara Frietchie's grave,<span class=
+'linenum2'>55</span></span> <span class="i0">Flag of Freedom and
+Union wave!</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_116" id="Page_116">[Pg 116]</a></span></span> <span
+class="i0">Peace and order and beauty draw</span> <span class=
+"i0">Round thy symbol of light and law;</span><br />
+<span class="i0">And ever the stars above look down</span> <span
+class="i0">On thy stars below in Frederick town<span class=
+'linenum2'>60</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>John Greenleaf Whittier</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide the poem
+into sections, giving each a descriptive title. (Introduction, p.
+<a href="#Page_10">10</a>.)</p>
+
+<p>Describe the scene portrayed in the first fifteen lines,
+supplementing your description by a black-board diagram.</p>
+
+<p>ll. 1-2. What is the Inflection? Why?</p>
+
+<p>l. 3. Note the Grouping and Pause.</p>
+
+<p>l. 3. <span class="smcap">stand</span>; l. 7, <span class=
+"smcap">Lord</span>; l. 8, <span class="smcap">horde</span>. What
+is the Inflection? Why?</p>
+
+<p>l. 15. (Introduction, p. <a href="#Page_9">9</a>.)</p>
+
+<p>l. 20. What are the emphatic words? Are both words of a contrast
+necessarily emphatic?</p>
+
+<p>ll. 17-22. Note the change in nervous tension. What effect has
+this on the key of the voice? (Introduction, p. <a href=
+"#Page_25">25</a>.)</p>
+
+<p>ll. 25-26. How do these lines illustrate the truth that the
+Visualization of a scene is a necessary forerunner of correct vocal
+expression?</p>
+
+<p>ll. 27-28. <span class="smcap">Halt! Fire!</span> What change in
+vocal expression accompanies the transition to abrupt command?</p>
+
+<p>l. 31. With what do you connect <span class="smcap">FROM THE
+BROKEN STAFF</span>? How? (Introduction, p. <a href=
+"#Page_16">16</a>.)</p>
+
+<p>ll. 31-36. What part should Imitation play here? (Introduction,
+pp. <a href="#Page_5">5</a> and <a href="#Page_6">6</a>.)</p>
+
+<p>ll. 37-38. (Introduction, p. 14.)</p>
+
+<p>l. 39. Note Grouping and Pause.</p>
+
+<p>ll. 41-42. (Introduction, p. 5.)</p>
+
+<p>l. 43. With what do you connect <span class="smcap">through
+Frederick street</span>? How? Where do you pause in this line?</p>
+
+<p>l. 51. (Introduction, p. <a href="#Page_9">9</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_116a" id="Page_116a"></a>BLESS THE LORD, O MY
+SOUL</h3>
+
+<p class="center2">Psalm ciii</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">Bless the Lord, O my
+soul:</span> <span class="i1">And all that is within me, bless his
+holy name</span> <span class="i0">Bless the Lord, O my soul,</span>
+<span class="i0"><span class="i1">And forget not all his
+benefits:</span> <span class='pagenum'><a name="Page_117" id=
+"Page_117">[Pg 117]</a></span>Who forgiveth all thine
+iniquities;</span> <span class="i1">Who healeth all thy
+diseases;</span> <span class="i0">Who redeemeth thy life from
+destruction;</span> <span class="i1">Who crowneth thee with
+lovingkindness and tender mercies:</span> <span class="i0">Who
+satisfieth thy mouth with good things;</span> <span class="i1">So
+that thy youth is renewed like the eagle's.</span><br />
+<span class="i0">The Lord executeth righteousness</span> <span
+class="i1">And judgment for all that are oppressed.</span> <span
+class="i0">He made known his ways unto Moses,</span> <span class=
+"i1">His acts unto the children of Israel.</span> <span class=
+"i0">The Lord is merciful and gracious,</span> <span class=
+"i1">Slow to anger, and plenteous in mercy.</span> <span class=
+"i0">He will not always chide:</span> <span class="i1">Neither will
+he keep his anger for ever.</span> <span class="i0">He hath not
+dealt with us after our sins;</span> <span class="i1">Nor rewarded
+us according to our iniquities.</span><br />
+<span class="i0">For as the heaven is high above the earth,</span>
+<span class="i1">So great is his mercy toward them that fear
+him.</span> <span class="i0">As far as the east is from the
+west,</span> <span class="i1">So far hath he removed our
+transgressions from us</span> <span class="i0">Like as a father
+pitieth his children,</span> <span class="i1">So the Lord pitieth
+them that fear him.</span> <span class="i0">For he knoweth our
+frame;</span> <span class="i1">He remembereth that we are
+dust.</span><br />
+<span class="i0">As for man, his days are as grass:</span> <span
+class="i1">As a flower of the field, so he flourisheth.</span>
+<span class="i0">For the wind passeth over it, and it is
+gone;</span> <span class="i1">And the place thereof shall know it
+no more.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_118" id="Page_118">[Pg 118]</a></span>But the mercy of the
+Lord is from everlasting to everlasting upon them that fear
+him,</span> <span class="i1">And his righteousness unto children's
+children;</span> <span class="i0">To such as keep his
+covenant,</span> <span class="i1">And to those that remember his
+commandments to do them.</span><br />
+<span class="i0">The Lord hath prepared his throne in the
+heavens;</span> <span class="i1">And his kingdom ruleth over
+all.</span> <span class="i0">Bless the Lord, ye his angels,</span>
+<span class="i1">That excel in strength,</span> <span class=
+"i0">That do his commandments,</span> <span class="i1">Hearkening
+unto the voice of his word.</span> <span class="i0">Bless ye the
+Lord, all ye his hosts;</span> <span class="i1">Ye ministers of
+his, that do his pleasure.</span> <span class="i0">Bless the Lord,
+all his works,</span> <span class="i1">In all places of his
+dominion:</span> <span class="i0">Bless the Lord, O my
+soul.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>As arranged by Richard G.
+Moulton</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What attitude of
+mind does the language of this Psalm indicate? What Stress of voice
+is its natural expression? (Introduction, p. <a href=
+"#Page_29">29</a>.)</p>
+
+<p>Articulation. (Appendix <a href="#A_3">A, 3</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_118a" id="Page_118a"></a>THE ETERNAL
+GOODNESS</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">I know not what the future
+hath</span> <span class="i0">Of marvel or surprise,</span> <span
+class="i0">Assured alone that life and death</span> <span class=
+"i0">His mercy underlies.</span><br />
+<span class="i0">And if my heart and flesh are weak<span class=
+'linenum2'>5</span></span> <span class="i0">To bear an untried
+pain,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_119" id="Page_119">[Pg 119]</a></span>The bruised reed He
+will not break,</span> <span class="i0">But strengthen and
+sustain.</span><br />
+<span class="i0">No offering of my own I have,</span> <span class=
+"i0">Nor works my faith to prove;<span class=
+'linenum2'>10</span></span> <span class="i0">I can but give the
+gifts He gave,</span> <span class="i0">And plead His love for
+love.</span><br />
+<span class="i0">And so beside the Silent Sea</span> <span class=
+"i0">I wait the muffled oar;</span> <span class="i0">No harm from
+Him can come to me<span class='linenum2'>15</span></span> <span
+class="i0">On ocean or on shore.</span><br />
+<span class="i0">I know not where His islands lift</span> <span
+class="i0">Their fronded palms in air;</span> <span class="i0">I
+only know I cannot drift</span> <span class="i0">Beyond His love
+and care.<span class='linenum2'>20</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>John Greenleaf Whittier</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What attitude of
+mind is suggested by this poem?</p>
+
+<p>How does it differ from that suggested by the preceding
+selection? What is the difference in vocal expression?</p>
+
+<p>Account for the Inflection placed on the negative statements in
+this poem. (Introduction, pp. <a href="#Page_17">17</a> and <a
+href="#Page_18">18</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_119a" id="Page_119a"></a>THE KING OF GLORY</h3>
+
+<p class="center2">Psalm xxiv</p>
+
+<p class="center2">(Anthems for the Inauguration of Jerusalem)</p>
+
+<p class="center"><i>I.&mdash;At the Foot of the Hill</i></p>
+
+<p class="center"><span class="smcap">first choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">The earth is the <span class=
+"smcap">Lord's</span>, and the fulness thereof;</span> <span class=
+"i1">The world, and they that dwell therein.</span> <span class=
+"i0"><span class='pagenum'><a name="Page_120" id="Page_120">[Pg
+120]</a></span>For He hath founded it upon the seas,</span> <span
+class="i1">And established it upon the floods.</span> <span class=
+"i0">Who shall ascend into the hill of the <span class=
+"smcap">Lord</span>?</span> <span class="i1">And who shall stand in
+His holy place?</span></div>
+</div>
+
+<p class="center"><span class="smcap">second choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">He that hath clean hands, and
+a pure heart;</span> <span class="i1">Who hath not lifted up his
+soul unto vanity,</span> <span class="i1">And hath not sworn
+deceitfully.</span> <span class="i0">He shall receive a blessing
+from the <span class="smcap">Lord</span>,</span> <span class=
+"i1">And righteousness from the God of his salvation.</span> <span
+class="i0">This is the generation of them that seek after
+Him,</span> <span class="i1">That seek Thy face, O God of
+Jacob.</span></div>
+</div>
+
+<p class="center"><i>II.&mdash;Before the Gates</i></p>
+
+<p class="center"><span class="smcap">first choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Lift up your heads, O ye
+gates;</span> <span class="i1">And be ye lift up, ye everlasting
+doors:</span> <span class="i1">And the King of Glory shall come
+in.</span></div>
+</div>
+
+<p class="center"><span class="smcap">second choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Who is the King of
+Glory?</span></div>
+</div>
+
+<p class="center"><span class="smcap">first choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">The <span class=
+"smcap">Lord</span> strong and mighty,</span> <span class="i1">The
+<span class="smcap">Lord</span> mighty in battle.</span></div>
+</div>
+
+<p class="center"><span class="smcap">first choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Lift up your heads, O ye
+gates;</span> <span class="i0"><span class='pagenum'><a name=
+"Page_121" id="Page_121">[Pg 121]</a></span>Yea, lift them up, ye
+everlasting doors:</span> <span class="i0">And the King of Glory
+shall come in.</span></div>
+</div>
+
+<p class="center"><span class="smcap">second choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Who is this King of
+Glory?</span></div>
+</div>
+
+<p class="center"><span class="smcap">first choir</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">The <span class=
+"smcap">Lord</span> of Hosts,</span> <span class="i1">He is the
+King of Glory.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>As arranged by Richard G.
+Moulton</i></p>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_121a" id="Page_121a"></a>THE FOUR-HORSE RACE</h3>
+
+<p class="center2">From "Black Rock"</p>
+
+<p>1. The great event of the day, however, was to be the four-horse
+race, for which three teams were entered&mdash;one from the mines
+driven by Nixon, Craig's friend, a citizens' team, and Sandy's. The
+race was really between the miners' team and that from the woods,
+for the citizens' team, though made up of speedy horses, had not
+been driven much together, and knew neither their driver nor each
+other. In the miners' team were four bays, very powerful, a trifle
+heavy perhaps, but well matched, perfectly trained, and perfectly
+handled by their driver. Sandy had his long rangy roans, and for
+leaders, a pair of half-broken pinto bronchos. The pintos, caught
+the summer before upon the Alberta prairies, were fleet as deer,
+but wicked and uncertain. They were Baptiste's special care and
+pride. If they would only run straight, there was little doubt that
+they would carry the roans and themselves to glory; but one <span
+class='pagenum'><a name="Page_122" id="Page_122">[Pg
+122]</a></span>could not tell the moment they might bolt or kick
+things to pieces.</p>
+
+<p>2. Being the only non-partisan in the crowd, I was asked to
+referee. The race was about half a mile and return, the first and
+last quarters being upon the ice. The course, after leaving the
+ice, led up from the river by a long, easy slope to the level
+above; and at the further end, curved somewhat sharply around the
+Old Fort. The only condition attaching to the race was, that the
+teams should start from the scratch, make the turn of the Fort, and
+finish at the scratch. There were no vexing regulations as to
+fouls. The man making the foul would find it necessary to reckon
+with the crowd, which was considered sufficient guarantee for a
+fair and square race. Owing to the hazards of the course, the
+result would depend upon the skill of the drivers quite as much as
+the speed of the teams. The points of hazard were at the turn round
+the Old Fort, and at a little ravine which led down to the river,
+over which the road passed by means of a long, log bridge or
+causeway.</p>
+
+<p>3. From a point upon the high bank of the river, the whole
+course lay in open view. It was a scene full of life and vividly
+picturesque. There were miners in dark clothes and peak caps;
+citizens in ordinary garb; ranch-men in wide cowboy hats and
+buckskin shirts and leggings, some with cartridge-belts and
+pistols; a few half-breeds and Indians in half-native,
+half-civilized dress; and scattering through the crowd, the
+lumbermen with gay scarlet and blue blanket coats, and some with
+knitted tuques of the same colour. A very good-natured but
+extremely uncertain crowd it was. At the head of each horse stood a
+man, but at the pintos' heads Baptiste stood alone, trying to hold
+down the off-leader, thrown <span class='pagenum'><a name=
+"Page_123" id="Page_123">[Pg 123]</a></span>into a frenzy of fear
+by the yelling of the crowd.</p>
+
+<p>4. Gradually all became quiet, till, in the midst of absolute
+stillness, came the words: "Are you ready?" then the pistol-shot,
+and the great race had begun. Above the roar of the crowd came the
+shrill cry of Baptiste, as he struck his broncho with the palm of
+his hand, and swung himself into the sleigh beside Sandy, as it
+shot past.</p>
+
+<p>5. Like a flash the bronchos sprang to the front, two lengths
+before the other teams; but, terrified by the yelling of the crowd,
+instead of bending to the left bank up which the road wound, they
+wheeled to the right and were almost across the river before Sandy
+could swing them back into the course.</p>
+
+<p>6. Baptiste's cries, a curious mixture of French and English,
+continued to strike through all other sounds, till they gained the
+top of the slope to find the others almost a hundred yards in
+front, the citizens' team leading, with the miners' following
+close. The moment the pintos caught sight of the teams before them,
+they set off at a terrific pace and steadily devoured the
+intervening space. Nearer and nearer the turn came, the eight
+horses in front, running straight and well within their speed.
+After them flew the pintos, running savagely with ears set back,
+leading well the big roans, thundering along and gaining at every
+bound. And now the citizens' team had almost reached the Fort,
+running hard and drawing away from the bays. But Nixon knew what he
+was about, and was simply steadying his team for the turn. The
+event proved his wisdom, for in the turn the leading team left the
+track, lost a moment or two in the deep snow, and before they could
+regain the road, the bays had swept superbly past, <span class=
+'pagenum'><a name="Page_124" id="Page_124">[Pg
+124]</a></span>leaving their rivals to follow in the rear. On came
+the pintos, swiftly nearing the Fort. Surely at that pace they
+cannot make the turn. But Sandy knows his leaders. They have their
+eyes upon the teams in front, and need no touch of rein. Without
+the slightest change in speed the nimble-footed bronchos round the
+turn, hauling the big roans after them, and fall in behind the
+citizens' team, which is regaining steadily the ground lost in the
+turn.</p>
+
+<p>7. And now the struggle is for the bridge over the ravine. The
+bays in front, running with mouths wide open, are evidently doing
+their best; behind them, and every moment nearing them, but at the
+limit of their speed too, come the lighter and fleeter citizens'
+team; while opposite their driver are the pintos, pulling hard,
+eager and fresh. Their temper is too uncertain to send them to the
+front; they run well following, but when leading cannot be trusted,
+and besides, a broncho hates a bridge; so Sandy holds them where
+they are, waiting and hoping for his chance after the bridge is
+crossed. Foot by foot the citizens' team creep up upon the flank of
+the bays, with the pintos in turn hugging them closely, till it
+seems as if the three, if none slackens, must strike the bridge
+together; and this will mean destruction to one at least. This
+danger Sandy perceives, but he dare not check his leaders.
+Suddenly, within a few yards of the bridge, Baptiste throws himself
+upon the lines, wrenches them out of Sandy's hands, and, with a
+quick swing, forces the pintos down the steep side of the ravine,
+which is almost sheer ice with a thin coat of snow. It is a daring
+course to take, for the ravine, though not deep, is full of
+undergrowth, and is partially closed up by a brush heap at the
+further end. <span class='pagenum'><a name="Page_125" id=
+"Page_125">[Pg 125]</a></span>But with a yell, Baptiste hurls his
+four horses down the slope, and into the undergrowth. "Allons, mes
+enfants! Courage! vite, vite!" cries their driver, and nobly do the
+pintos respond. Regardless of bushes and brush heaps, they tear
+their way through; but as they emerge, the hind bob-sleigh catches
+a root, and, with a crash, the sleigh is hurled high into the air.
+Baptiste's cries ring out high and shrill as ever, encouraging his
+team, and never cease till, with a plunge and a scramble, they
+clear the brush heap lying at the mouth of the ravine, and are out
+on the ice on the river, with Baptiste standing on the front bob,
+the box trailing behind, and Sandy nowhere to be seen.</p>
+
+<p>8. Three hundred yards of the course remain. The bays, perfectly
+handled, have gained at the bridge, and in the descent to the ice,
+and are leading the citizens' team by half a dozen sleigh lengths.
+Behind both comes Baptiste. It is now or never for the pintos. The
+rattle of the trailing box, together with the wild yelling of the
+crowd rushing down the bank, excites the bronchos to madness, and,
+taking the bits in their teeth, they do their first free running
+that day. Past the citizens' team like a whirlwind they dash, clear
+the intervening space, and gain the flanks of the bays. Can the
+bays hold them? Over them leans their driver, plying for the first
+time the hissing lash. Only fifty yards more. The miners begin to
+yell. But Baptiste, waving his lines high in one hand, seizes his
+tuque with the other, whirls it above his head and flings it with a
+fiercer yell than ever at the bronchos. Like the bursting of a
+hurricane the pintos leap forward, and with a splendid rush cross
+the scratch, winners by their own length.</p>
+
+<p class="center2a">&mdash;<i>By arrangement with the Westminster
+Co., Limited,</i></p>
+
+<p class="center2a"><i>and Rev. C. W. Gordon (Ralph Connor)</i></p>
+
+<p><span class='pagenum'><a name="Page_126" id="Page_126">[Pg
+126]</a></span></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory.</span>&mdash;Make a black-board
+sketch of the race-course, fixing the position of "the scratch,"
+"the Old Fort," "the high bank with the spectators," "the bridge,"
+etc.</p>
+
+<p>In what passages does the excitement reach its greatest height?
+How are the Pitch and Time affected? (Introduction, pp. <a href=
+"#Page_13">13</a> and <a href="#Page_22">22</a>.)</p>
+
+<p>What is the Stress employed throughout? Where is the Stress most
+marked? Give reasons. (Introduction, pp. <a href="#Page_27">27</a>
+and <a href="#Page_28">28</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_126a" id="Page_126a"></a>MRS. MALAPROP'S
+VIEWS</h3>
+
+<p class="center2">From "The Rivals"</p>
+
+<p class="center2">The scene is Mrs. Malaprop's lodgings at Bath.
+Present, Lydia Languish.<br />
+Enter Mrs. Malaprop and Sir Anthony Absolute.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;There, Sir Anthony, there sits the
+deliberate simpleton who wants to disgrace her family, and lavish
+herself on a fellow not worth a shilling.</p>
+
+<p><i>Lydia</i>.&mdash;Madam, I thought you once&mdash;</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;You thought, miss! I don't know any
+business you have to think at all: thought does not become a young
+woman. But the point we would request of you is, that you will
+promise to forget this fellow; to illiterate him, I say, quite from
+your memory.</p>
+
+<p><i>Lydia</i>.&mdash;Ah, madam! our memories are independent of
+our wills. It is not so easy to forget.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;But I say it is, miss! there is
+nothing on earth so easy as to forget, if a person chooses to set
+about it. I'm sure I have as much forgot your poor dear uncle as if
+he had never existed&mdash;and I thought it my duty so to do; and
+let me tell you, Lydia, these violent memories don't become a young
+woman.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Why, sure she won't pretend to
+remember what she's ordered not! Ay, this comes of her reading!</p>
+
+<p><span class='pagenum'><a name="Page_127" id="Page_127">[Pg
+127]</a></span></p>
+
+<p><i>Lydia</i>.&mdash;What crime, madam, have I committed to be
+treated thus?</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Now don't attempt to extirpate
+yourself from the matter; you know I have proof controvertible of
+it. But tell me, will you promise to do as you're bid? Will you
+take a husband of your friends' choosing?</p>
+
+<p><i>Lydia</i>.&mdash;Madam, I must tell you plainly that had I no
+preference for any one else, the choice you have made would be my
+aversion.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;What business have you, miss, with
+preference and aversion. They don't become a young woman; and you
+ought to know that as both always wear off, 'tis safest in
+matrimony to begin with a little aversion. I am sure I hated your
+poor dear uncle before marriage as if he'd been a blackamoor; and
+yet, miss, you are sensible what a wife I made? and when it pleased
+Heaven to release me from him, 'tis unknown what tears I shed! But
+suppose we were going to give you another choice, will you promise
+us to give up this Beverley?</p>
+
+<p><i>Lydia</i>.&mdash;Could I belie my thoughts so far as to give
+that promise, my actions would certainly as far belie my words.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Take yourself to your room. You are
+fit company for nothing but your own ill-humours.</p>
+
+<p><i>Lydia</i>.&mdash;Willingly, ma'am&mdash;I cannot change for
+the worse.<span class='pagenum2'>(<i>Exit</i>)</span></p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;There's a little intricate hussy for
+you!</p>
+
+<p><i>Sir Anthony</i>.&mdash;It is not to be wondered at, ma'am:
+<span class='pagenum'><a name="Page_128" id="Page_128">[Pg
+128]</a></span>all this is the natural consequence of teaching
+girls to read. Had I a thousand daughters, by heaven I'd as soon
+have them taught the black art as their alphabet!</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Nay, nay, Sir Anthony: you are an
+absolute misanthropy.</p>
+
+<p><i>Sir Anthony</i>.&mdash;In my way hither, Mrs. Malaprop, I
+observed your niece's maid coming forth from a circulating library!
+She had a book in each hand; they were half-bound volumes with
+marble covers! From that moment I guessed how full of duty I should
+see her mistress!</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Those are vile places indeed!</p>
+
+<p><i>Sir Anthony</i>.&mdash;Madam, a circulating library in a town
+is an evergreen tree of diabolical knowledge,&mdash;it blossoms
+through the year! And depend on it, Mrs. Malaprop, that they who
+are so fond of handling the leaves will long for the fruit at
+last.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Fy, fy, Sir Anthony! you surely
+speak laconically.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Why, Mrs. Malaprop, in moderation now,
+what would you have a woman know?</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Observe me, Sir Anthony. I would by
+no means wish a daughter of mine to be a progeny of learning; I
+don't think so much learning becomes a young woman: for instance, I
+would never let her meddle with Greek, or Hebrew, or algebra, or
+simony, or fluxions, or paradoxes, or such inflammatory branches of
+learning; neither would it be necessary for her to handle any of
+your mathematical, astronomical, diabolical instruments. But, Sir
+Anthony, I would send her at nine years old to a boarding-school,
+in order to learn a little ingenuity and artifice. Then, sir, she
+<span class='pagenum'><a name="Page_129" id="Page_129">[Pg
+129]</a></span>should have a supercilious knowledge in accounts;
+and as she grew up I would have her instructed in geometry, that
+she might know something of the contagious countries: but above
+all, Sir Anthony, she should be mistress of orthodoxy, that she
+might not misspell and mispronounce words so shamefully as girls
+usually do; and likewise that she might reprehend the true meaning
+of what she is saying. This, Sir Anthony, is what I would have a
+woman know; and I don't think there is a superstitious article in
+it.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Well, well, Mrs. Malaprop, I will
+dispute the point no further with you; though I must confess that
+you are a truly moderate and polite arguer, for almost every third
+word you say is on my side of the question. But, Mrs. Malaprop, to
+the more important point in debate: you say you have no objection
+to my proposal?</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;None, I assure you. I am under no
+positive engagement with Mr. Acres; and as Lydia is so obstinate
+against him, perhaps your son may have better success.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Well, madam, I will write for the boy
+directly. He knows not a syllable of this yet, though I have for
+some time had the proposal in my head. He is at present with his
+regiment.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;We have never seen your son, Sir
+Anthony; but I hope no objection on his side.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Objection! let him object if he dare!
+No, no, Mrs. Malaprop, Jack knows that the least demur puts me in a
+frenzy directly. My process was always very simple: in their
+younger days, 'twas "Jack, do this"; if he demurred I knocked him
+down, and if he <span class='pagenum'><a name="Page_130" id=
+"Page_130">[Pg 130]</a></span>grumbled at that I always sent him
+out of the room.</p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Ay, and the properest way, o'my
+conscience! Nothing is so conciliating to young people as severity.
+Well, Sir Anthony, I shall give Mr. Acres his discharge, and
+prepare Lydia to receive your son's invocations; and I hope you
+will represent her to the captain as an object not altogether
+illegible.</p>
+
+<p><i>Sir Anthony</i>.&mdash;Madam, I will handle the subject
+prudently. Well I must leave you; and let me beg you, Mrs.
+Malaprop, to enforce this matter roundly to the girl. Take my
+advice&mdash;keep a tight hand: if she rejects this proposal, clap
+her under lock and key; and if you were just to let the servants
+forget to bring her dinner for three or four days, you can't
+conceive how she'd come about.<span class=
+"pagenum2">(<i>Exit</i>)</span></p>
+
+<p><i>Mrs. Malaprop</i>.&mdash;Well, at any rate I shall be glad to
+get her from under my intuition. She has somehow discovered my
+partiality for Sir Lucius O'Trigger: sure Lucy can't have betrayed
+me! No, the girl is such a simpleton, I should have made her
+confess it. (Calls) Lucy! Lucy!&mdash;Had she been one of your
+artificial ones, I should never have trusted her.</p>
+
+<p class="quotsig">&mdash;<i>Richard Brinsley Sheridan</i></p>
+
+<div class="blockquot">
+<p>What is the difference between Mrs. Malaprop's mental attitude
+toward Lydia and toward Sir Anthony? How is this difference
+indicated in the Stress of voice? (Introduction, pp. <a href=
+"#Page_27">27</a> and <a href="#Page_28">28</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg
+131]</a></span></p>
+
+<h3>THE GLOVE AND THE LIONS</h3>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">King Francis was a hearty
+king, and lov'd a royal sport,</span> <span class="i0">And one day,
+as his lions strove, sat looking on the court;</span> <span class=
+"i0">The nobles fill'd the benches round, the ladies by their
+side,</span> <span class="i0">And 'mongst them Count de Lorge, with
+one he hoped to make his bride;</span> <span class="i0">And truly
+'twas a gallant thing to see that crowning show,<span class=
+'linenum2'>5</span></span> <span class="i0">Valour and love, and a
+king above, and the royal beasts below.</span><br />
+<span class="i0">Ramp'd and roar'd the lions, with horrid laughing
+jaws;</span> <span class="i0">They bit, they glared, gave blows
+like beams, a wind went with their paws;</span> <span class=
+"i0">With wallowing might and stifled roar, they roll'd one on
+another,</span> <span class="i0">Till all the pit, with sand and
+mane, was in a thund'rous smother;<span class=
+'linenum2'>10</span></span> <span class="i0">The bloody foam above
+the bars came whizzing through the air;</span> <span class=
+"i0">Said Francis then, "Good gentlemen, we're better here than
+there!"</span><br />
+<span class="i0">De Lorge's love o'erheard the King, a beauteous,
+lively dame,</span> <span class="i0">With smiling lips, and sharp
+bright eyes, which always seem'd the same:</span> <span class=
+"i0"><span class='pagenum'><a name="Page_132" id="Page_132">[Pg
+132]</a></span>She thought, "The Count, my lover, is as brave as
+brave can be;<span class='linenum2'>15</span></span> <span class=
+"i0">He surely would do desperate things to show his love of
+me!</span> <span class="i0">King, ladies, lovers, all look on; the
+chance is wond'rous fine;</span> <span class="i0">I'll drop my
+glove to prove his love; great glory will be mine!"</span><br />
+<span class="i0">She dropp'd her glove to prove his love: then
+looked on him and smiled;</span> <span class="i0">He bow'd, and in
+a moment leap'd among the lions wild:<span class=
+'linenum2'>20</span></span> <span class="i0">The leap was quick;
+return was quick; he soon regain'd his place;</span> <span class=
+"i0">Then threw the glove, but not with love, right in the lady's
+face!</span> <span class="i0">"In truth!" cried Francis, "rightly
+done!" and he rose from where he sat:</span> <span class="i0">"No
+love," quoth he, "but vanity, sets love a task like
+that!"</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Leigh Hunt</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide the poem
+into four scenes, and describe each scene.</p>
+
+<p>What are the difficulties of Articulation in ll. 2, 9, 10, and
+14.</p>
+
+<p>What attitude of mind is indicated by the King's first speech?
+By his second speech? What difference in Stress? (Introduction, pp.
+<a href="#Page_27">27</a>-29.) What is the Force in each case?
+(Introduction, p. <a href="#Page_25">25</a>.)</p>
+
+<p>15, 16, and 17. Use these lines as an illustration to show that
+Visualization is necessary in order to secure good vocal
+expression.</p>
+
+<p>In what Time do you read the lady's thoughts! (Introduction, p.
+<a href="#Page_13">13</a>.)</p>
+
+<p>Give examples from stanzas ii, and iv, where the sympathy with
+the picture may be sufficiently strong to lead to imitation of
+movements or sounds. (Introduction, pp. 5 and 6.)</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_133" id="Page_133">[Pg
+133]</a></span></p>
+
+<hr style="width: 65%;" />
+<h3>THE FICKLENESS OF A ROMAN MOB</h3>
+
+<p class="center2">From "Julius C&aelig;sar" Act I. Scene i.</p>
+
+<p class="center2"><i>Enter</i> <span class="smcap">Flavius,
+Marullus</span>, <i>and certain Commoners over the Stage</i>.</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0"><i>Flav.</i> Hence! home, you
+idle creatures, get you home.</span> <span class="i0">Is this a
+holiday? What! know you not,</span> <span class="i0">Being
+mechanical, you ought not walk</span> <span class="i0">Upon a
+labouring day without the sign</span> <span class="i0">Of your
+profession?&mdash;Speak, what trade art thou?<span class=
+'linenum2'>5</span></span><br />
+<span class="i0"><i>1 Cit.</i> Why, sir, a carpenter.</span><br />
+<span class="i0"><i>Mar</i>. Where is thy leather apron, and thy
+rule?</span> <span class="i0">What dost thou with thy best apparel
+on?&mdash;</span> <span class="i0">You, sir, what trade are
+you?</span><br />
+<span class="i0"><i>2 Cit.</i> Truly, sir, in respect of a fine
+workman, I am<span class='linenum2'>10</span></span> <span class=
+"i0">but, as you would say, a cobbler.</span><br />
+<span class="i0"><i>Mar</i>. But what trade are thou? Answer me
+directly.</span><br />
+<span class="i0"><i>2 Cit.</i> A trade, sir, that I hope I may use
+with a safe</span> <span class="i0">conscience; which is, indeed,
+sir, a mender of bad soles.</span><br />
+<span class="i0"><i>Mar.</i> What trade, thou knave? thou naughty
+knave,<span class='linenum2'>15</span></span> <span class="i0">what
+trade?</span><br />
+<span class="i0"><i>2 Cit.</i> Nay, I beseech you, sir, be not out
+with me;</span> <span class="i0">yet, if you be out, sir, I can
+mend you.</span><br />
+<span class="i0"><i>Mar.</i> What mean'st thou by that? Mend me,
+thou</span> <span class="i0">saucy fellow?&nbsp;</span><br />
+<span class="i0"><i>2 Cit.</i> Why, sir, cobble you.<span class=
+'linenum2'>20</span></span><br />
+<span class="i0"><i>Flav.</i> Thou art a cobbler, art
+thou?</span><br />
+<span class="i0"><i>2 Cit.</i> Truly, sir, all that I live by is
+with the awl.</span> <span class="i0">I meddle with no tradesman's
+matters, nor women's</span> <span class="i0">matters, but with all.
+I am, indeed, sir, a surgeon to</span> <span class="i0">old shoes;
+when they are in great danger, I re-cover<span class=
+'linenum2'>25</span></span> <span class="i0"><span class=
+'pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>them.
+As proper men as ever trod upon neat's leather</span> <span class=
+"i0">have gone upon my handiwork.</span><br />
+<span class="i0"><i>Flav.</i> But wherefore art not in thy shop
+to-day?</span> <span class="i0">Why dost thou lead these men about
+the streets?</span><br />
+<span class="i0"><i>2 Cit.</i> Truly, sir, to wear out their shoes,
+to get<span class='linenum2'>30</span></span> <span class=
+"i0">myself into more work. But, indeed, sir, we make</span> <span
+class="i0">holiday to see C&aelig;sar, and to rejoice in his
+triumph.</span><br />
+<span class="i0"><i>Mar.</i> Wherefore rejoice? What conquest
+brings he home?</span> <span class="i0">What tributaries follow him
+to Rome,</span> <span class="i0">To grace in captive bonds his
+chariot wheels?<span class='linenum2'>35</span></span> <span class=
+"i0">You blocks, you stones, you worse than senseless
+things!</span> <span class="i0">O, you hard hearts, you cruel men
+of Rome,</span> <span class="i0">Knew you not Pompey? Many a time
+and oft</span> <span class="i0">Have you climbed up to walls and
+battlements,</span> <span class="i0">To towers and windows, yea, to
+chimney-tops,<span class='linenum2'>40</span></span> <span class=
+"i0">Your infants in your arms, and there have sat</span> <span
+class="i0">The livelong day, with patient expectation,</span> <span
+class="i0">To see great Pompey pass the streets of Rome;</span>
+<span class="i0">And when you saw his chariot but appear,</span>
+<span class="i0">Have you not made an universal shout,<span class=
+'linenum2'>45</span></span> <span class="i0">That Tiber trembled
+underneath her banks,</span> <span class="i0">To hear the
+replication of your sounds</span> <span class="i0">Made in her
+concave shores?</span> <span class="i0">And do you now put on your
+best attire?</span> <span class="i0">And do you now cull out a
+holiday?<span class='linenum2'>50</span></span> <span class=
+"i0">And do you now strew flowers in his way</span> <span class=
+"i0">That comes in triumph over Pompey's blood?</span> <span class=
+"i0">Be gone!</span> <span class="i0">Run to your houses, fall upon
+your knees,</span> <span class="i0">Pray to the gods to intermit
+the plague<span class='linenum2'>55</span></span> <span class=
+"i0">That needs must light on this ingratitude.</span><br />
+<span class="i0"><i>Flav.</i> Go, go, good countrymen, and for this
+fault</span> <span class="i0"><span class='pagenum'><a name=
+"Page_135" id="Page_135">[Pg 135]</a></span>Assemble all the poor
+men of your sort;</span> <span class="i0">Draw them to Tiber banks,
+and weep your tears</span> <span class="i0">Into the channel, till
+the lowest stream<span class='linenum2'>60</span></span> <span
+class="i0">Do kiss the most exalted shores of all.</span></div>
+</div>
+
+<p class="quotsig">[<i>Exeunt all the Commoners</i>]</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">See, whe'r their basest metal
+be not moved!</span> <span class="i0">They vanish tongue-tied in
+their guiltiness.</span> <span class="i0">Go you down that way
+towards the Capitol;</span> <span class="i0">This way will I.
+Disrobe the images,<span class='linenum2'>65</span></span> <span
+class="i0">If you do find them deck'd with ceremonies.</span><br />
+<span class="i0"><i>Mar.</i> May we do so?</span> <span class=
+"i0">You know it is the feast of Lupercal.</span><br />
+<span class="i0"><i>Flav.</i> It is no matter; let no images</span>
+<span class="i0">Be hung with C&aelig;sar's trophies. I'll
+about,<span class='linenum2'>70</span></span> <span class="i0">And
+drive away the vulgar from the streets;</span> <span class="i0">So
+do you too, where you perceive them thick.</span> <span class=
+"i0">These growing feathers pluck'd from C&aelig;sar's wing</span>
+<span class="i0">Will make him fly an ordinary pitch,</span> <span
+class="i0">Who else would soar above the view of men,<span class=
+'linenum2'>75</span></span> <span class="i0">And keep us all in
+servile fearfulness.</span></div>
+</div>
+
+<p class="quotsig">[<i>Exeunt]</i><br />
+&mdash;<i>Shakespeare</i></p>
+
+<div class="blockquot">
+<p>In what Stress do Flavius and Marullus speak when questioning
+the citizens? Why?</p>
+
+<p>What Stress does the first citizen use?</p>
+
+<p>How does the mental attitude of the second citizen influence his
+Stress and Inflection? (Introduction, pp. <a href=
+"#Page_21">21</a>, <a href="#Page_22">22</a>, and <a href=
+"#Page_30">30</a>.) Where does he change his Stress? For what
+reason?</p>
+
+<p><span class="smcap">Wherefore rejoice?</span> Point out the
+various examples of Climax in this speech, and show how the voice
+indicates them. (Introduction, p. <a href="#Page_31">31</a>.)</p>
+
+<p>Account for the Inflection on the various questions.
+(Introduction, pp. <a href="#Page_18">18</a> and <a href=
+"#Page_19">19</a>.)</p>
+
+<p><span class="smcap">See whe'r their basest metal, etc.</span>
+Note the change in tension and energy. What change in Pitch and
+Force is the natural result? (Introduction, pp. <a href=
+"#Page_25">25</a> and <a href="#Page_26">26</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_136" id="Page_136">[Pg
+136]</a></span></p>
+
+<h3>SIR PETER AND LADY TEAZLE</h3>
+
+<p class="center2">From "The School for Scandal"</p>
+
+<p><i>Sir Peter</i>.&mdash;Lady Teazle, Lady Teazle, I'll not bear
+it!</p>
+
+<p><i>Lady Teazle</i>.&mdash;Sir Peter, Sir Peter, you may bear it
+or not, as you please; but I ought to have my own way in
+everything, and, what's more, I will, too. What though I was
+educated in the country, I know very well that women of fashion in
+London are accountable to nobody after they are married.</p>
+
+<p><i>Sir Peter</i>.&mdash;Very well, ma'am, very well; so a
+husband is to have no influence, no authority?</p>
+
+<p><i>Lady Teazle</i>.&mdash;Authority! No, to be sure: if you
+wanted authority over me, you should have adopted me and not
+married me: I am sure you were old enough.</p>
+
+<p><i>Sir Peter</i>.&mdash;Old enough!&mdash;ay, there it is. Well,
+well, Lady Teazle, though my life may be made unhappy by your
+temper, I'll not be ruined by your extravagance!</p>
+
+<p><i>Lady Teazle</i>.&mdash;My extravagance! I'm sure I'm not more
+extravagant than a woman of fashion ought to be.</p>
+
+<p><i>Sir Peter</i>.&mdash;No, no, madam, you shall throw away no
+more sums on such unmeaning luxury. To spend as much to furnish
+your dressing room with flowers in winter as would suffice to turn
+the Pantheon into a greenhouse, and give a f&ecirc;te
+champ&ecirc;tre at Christmas!</p>
+
+<p><i>Lady Teazle</i>.&mdash;And am I to blame, Sir Peter, because
+flowers are dear in cold weather? You should find fault with the
+climate, and not with me. For my <span class='pagenum'><a name=
+"Page_137" id="Page_137">[Pg 137]</a></span>part, I'm sure I wish
+it was spring all the year round, and that roses grew under our
+feet!</p>
+
+<p><i>Sir Peter</i>.&mdash;Oons! madam&mdash;if you had been born
+to this, I shouldn't wonder at your talking thus; but you forget
+what your situation was when I married you.</p>
+
+<p><i>Lady Teazle</i>.&mdash;No, no, I don't; 'twas a very
+disagreeable one, or I should never have married you.</p>
+
+<p><i>Sir Peter</i>.&mdash;Yes, yes, madam, you were then in
+somewhat a humbler style&mdash;the daughter of a plain country
+squire. Recollect, Lady Teazle, when I saw you first sitting at
+your tambour, in a pretty figured linen gown, with a bunch of keys
+at your side, your hair combed smooth over a roll, and your
+apartment hung round with fruits in worsted, of your own
+working.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Oh, yes! I remember it very well, and
+a curious life I led. My daily occupation to inspect the dairy,
+superintend the poultry, make extracts from the family receipt
+book, and comb my aunt Deborah's lap-dog.</p>
+
+<p><i>Sir Peter</i>.&mdash;Yes, yes, ma'am, 'twas so indeed.</p>
+
+<p><i>Lady Teazle</i>.&mdash;And then, you know, my evening
+amusements! To draw patterns for ruffles, which I had not materials
+to make up; to play Pope Joan with the curate; to read a sermon to
+my aunt; or to be stuck down to an old spinet to strum my father to
+sleep after a fox chase.</p>
+
+<p><i>Sir Peter</i>.&mdash;I am glad you have so good a memory.
+Yes, madam, these were the recreations I took you from; but now you
+must have your coach&mdash;<i>vis-&agrave;-vis</i>&mdash;and three
+powdered footmen before your chair; and, in the summer, a pair of
+white cats to draw you to Kensington Gardens. No recollection, I
+suppose, when you were <span class='pagenum'><a name="Page_138" id=
+"Page_138">[Pg 138]</a></span>content to ride double, behind the
+butler, on a docked coach horse.</p>
+
+<p><i>Lady Teazle</i>.&mdash;No&mdash;I swear I never did that: I
+deny the butler and the coach horse.</p>
+
+<p><i>Sir Peter</i>.&mdash;This, madam, was your situation; and
+what have I done for you? I have made you a woman of fashion, of
+fortune, of rank,&mdash;in short, I have made you my wife.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Well, then, and there is but one thing
+more you can make me to add to the obligation, that is&mdash;</p>
+
+<p><i>Sir Peter</i>.&mdash;My widow, I suppose?</p>
+
+<p><i>Lady Teazle</i>.&mdash;Hem! hem!</p>
+
+<p><i>Sir Peter</i>.&mdash;I thank you, madam&mdash;but don't
+flatter yourself, for, though your ill conduct may disturb my peace
+of mind, it shall never break my heart, I promise you: however, I
+am equally obliged to you for the hint.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Then why will you endeavour to make
+yourself so disagreeable to me, and thwart me in every little
+elegant expense.</p>
+
+<p><i>Sir Peter</i>.&mdash;Oons! madam, I say, had you any of these
+little elegant expenses when you married me?</p>
+
+<p><i>Lady Teazle</i>.&mdash;Lud, Sir Peter! would you have me be
+out of the fashion?</p>
+
+<p><i>Sir Peter</i>.&mdash;The fashion, indeed! what had you to do
+with the fashion before you married me?</p>
+
+<p><i>Lady Teazle</i>.&mdash;For my part, I should think you would
+like to have your wife thought a woman of taste.</p>
+
+<p><i>Sir Peter</i>.&mdash;Ay&mdash;there again&mdash;taste!
+Zounds! madam, you had no taste when you married me!</p>
+
+<p><i>Lady Teazle</i>.&mdash;That's very true, indeed, Sir Peter!
+<span class='pagenum'><a name="Page_139" id="Page_139">[Pg
+139]</a></span>and, after having married you, I should never
+pretend to taste again, I allow. But now, Sir Peter, since we have
+finished our daily jangle, I presume I may go to my engagement at
+Lady Sneerwell's.</p>
+
+<p><i>Sir Peter</i>.&mdash;Ay, there's another precious
+circumstance&mdash;a charming set of acquaintance you have made
+there.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Nay, Sir Peter, they are all people of
+rank and fortune, and remarkably tenacious of reputation.</p>
+
+<p><i>Sir Peter</i>.&mdash;Yes, they are tenacious of reputation
+with a vengeance; for they don't choose anybody should have a
+character but themselves! Such a crew! Ah! many a wretch has rid on
+a hurdle who has done less mischief than these utterers of forged
+tales, coiners of scandal, and clippers of reputation.</p>
+
+<p><i>Lady Teazle</i>.&mdash;What! would you restrain the freedom
+of speech?</p>
+
+<p><i>Sir Peter</i>.&mdash;Ah! they have made you just as bad as
+any one of the society.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Why, I believe I do bear a part with a
+tolerable grace.</p>
+
+<p><i>Sir Peter</i>.&mdash;Grace indeed!</p>
+
+<p><i>Lady Teazle</i>.&mdash;But I vow I bear no malice against the
+people I abuse: when I say an ill-natured thing, 'tis out of pure
+good humour: and I take it for granted they deal exactly the same
+with me. But, Sir Peter, you know you promised to come to Lady
+Sneerwell's too.</p>
+
+<p><i>Sir Peter</i>.&mdash;Well, well, I'll call in, just to look
+after my own character.</p>
+
+<p><i>Lady Teazle</i>.&mdash;Then, indeed, you must make haste
+after me, or you'll be too late. So good-bye to ye.
+(<i>Exit</i>)</p>
+
+<p><i>Sir Peter</i>.&mdash;So&mdash;I have gained much by my
+intended <span class='pagenum'><a name="Page_140" id="Page_140">[Pg
+140]</a></span>expostulation! Yet with what a charming air she
+contradicts everything I say, and how pleasantly she shows her
+contempt for my authority! Well, though I can't make her love me,
+there is great satisfaction in quarrelling with her; and I think
+she never appears to such advantage as when she is doing everything
+in her power to plague me. <i>(Exit</i>)</p>
+
+<p class="quotsig">&mdash;<i>Richard Brinsley Sheridan</i></p>
+
+<div class="blockquot">
+<p>Select the passages where Lady Teazle tries to enforce her
+opinion by (a) strong assertion, (b) peevishness and whining.</p>
+
+<p>In what passages does her desire to taunt and ridicule Sir Peter
+predominate?</p>
+
+<p>In what passages does she address Sir Peter in the tone of
+ordinary conversation?</p>
+
+<p>What Stress is used in each case? (Introduction, pp. <a href=
+"#Page_28">28</a>-30.)</p>
+
+<p><span class="smcap">Had you any of these little elegant
+expenses</span>? What Stress is placed on the last four words?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_140a" id="Page_140a"></a>THE PARTING OF MARMION
+AND DOUGLAS</h3>
+
+<p class="center2">From "Marmion"</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Not far advanced was morning
+day,</span> <span class="i0">When Marmion did his troop
+array</span> <span class="i2">To Surrey's camp to ride;</span>
+<span class="i0">He had safe-conduct for his band,</span> <span
+class="i0">Beneath the royal seal and hand,<span class=
+'linenum2'>5</span></span> <span class="i2">And Douglas gave a
+guide.</span><br />
+<span class="i0">The ancient Earl, with stately grace,</span> <span
+class="i0">Would Clara on her palfrey place,</span> <span class=
+"i0">And whispered in an undertone,</span> <span class="i0">"Let
+the hawk stoop, his prey is flown."<span class=
+'linenum2'>10</span></span> <span class="i0">The train from out the
+castle drew,</span> <span class="i0">But Marmion stopped to bid
+adieu:</span> <span class="i0"><span class='pagenum'><a name=
+"Page_141" id="Page_141">[Pg 141]</a></span>"Though something I
+might plain," he said,</span> <span class="i0">"Of cold respect to
+stranger guest,</span> <span class="i0">Sent hither by your King's
+behest,<span class='linenum2'>15</span></span> <span class=
+"i2">While in Tantallon's towers I stayed;</span> <span class=
+"i0">Part we in friendship from your land,</span> <span class=
+"i0">And, noble earl, receive my hand."</span><br />
+<span class="i0">But Douglas round him drew his cloak,</span> <span
+class="i0">Folded his arms, and thus he spoke:<span class=
+'linenum2'>20</span></span> <span class="i0">"My manors, halls, and
+bowers, shall still</span> <span class="i0">Be open, at my
+Sovereign's will,</span> <span class="i0">To each one whom he
+lists, howe'er</span> <span class="i0">Unmeet to be the owner's
+peer.</span> <span class="i0">My castles are my King's alone,<span
+class='linenum2'>25</span></span> <span class="i0">From turret to
+foundation-stone:</span> <span class="i0">The hand of Douglas is
+his own;</span> <span class="i0">And never shall, in friendly
+grasp,</span> <span class="i0">The hand of such as Marmion
+clasp."</span><br />
+<span class="i0">Burned Marmion's swarthy cheek like fire,<span
+class='linenum2'>30</span></span> <span class="i0">And shook his
+very frame for ire;</span> <span class="i2">And&mdash;"This to me,"
+he said,</span> <span class="i0">"An't were not for thy hoary
+beard,</span> <span class="i0">Such hand as Marmion's had not
+spared</span> <span class="i2">To cleave the Douglas' head!<span
+class='linenum2'>35</span></span> <span class="i0">And, first, I
+tell thee, haughty peer,</span> <span class="i0">He who does
+England's message here,</span> <span class="i0">Although the
+meanest in her state,</span> <span class="i0">May well, proud
+Angus, be thy mate:</span> <span class="i0">And, Douglas, more I
+tell thee here,<span class='linenum2'>40</span></span> <span class=
+"i2">Even in thy pitch of pride</span> <span class="i0">Here in thy
+hold, thy vassals near</span> <span class="i0"><span class=
+'pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>(Nay,
+never look upon your lord,</span> <span class="i0">And lay your
+hands upon your sword,)</span> <span class="i2">I tell thee,
+thou'rt defied!<span class='linenum2'>45</span></span> <span class=
+"i0">And if thou saidst, I am not peer</span> <span class="i0">To
+any lord in Scotland here,</span> <span class="i0">Lowland or
+Highland, far or near,</span> <span class="i2">Lord Angus, thou
+hast lied!"</span><br />
+<span class="i0">On the Earl's cheek the flush of rage<span class=
+'linenum2'>50</span></span> <span class="i0">O'ercame the ashen hue
+of age:</span> <span class="i0">Fierce he broke forth: "And darest
+thou, then,</span> <span class="i0">To beard the lion in his
+den,</span> <span class="i2">The Douglas in his hall?</span> <span
+class="i0">And hopest thou hence unscathed to go?&mdash;<span
+class='linenum2'>55</span></span> <span class="i0">No, by Saint
+Bride of Bothwell, no!&mdash;</span> <span class="i0">Up
+drawbridge, grooms!&mdash;what, Warder, ho!</span> <span class=
+"i2">Let the portcullis fall."</span><br />
+<span class="i0">Lord Marmion turned,&mdash;well was his
+need,&mdash;</span> <span class="i0">And dashed the rowels in his
+steed,<span class='linenum2'>60</span></span> <span class="i0">Like
+arrow through the archway sprung,</span> <span class="i0">The
+ponderous grate behind him rung:</span> <span class="i0">To pass
+there was such scanty room,</span> <span class="i0">The bars,
+descending, grazed his plume.</span><br />
+<span class="i0">The steed along the drawbridge flies,<span class=
+'linenum2'>65</span></span> <span class="i0">Just as it trembles on
+the rise;</span> <span class="i0">Nor lighter does the swallow
+skim</span> <span class="i0">Along the smooth lake's level
+brim:</span> <span class="i0">And when Lord Marmion reached his
+band,</span> <span class="i0">He halts, and turns with clenched
+hand,<span class='linenum2'>70</span></span> <span class="i0">And
+shout of loud defiance pours,</span> <span class="i0">And shook his
+gauntlet at the towers.</span> <span class="i0"><span class=
+'pagenum'><a name="Page_143" id="Page_143">[Pg
+143]</a></span></span> <span class="i0">"Horse! horse!" the Douglas
+cried, "and chase!"</span> <span class="i0">But soon he reined his
+fury's pace:</span> <span class="i0">"A royal messenger he
+came,<span class='linenum2'>75</span></span> <span class=
+"i0">Though most unworthy of the name.</span> <span class="i0">A
+letter forged! Saint Jude to speed!</span> <span class="i0">Did
+ever knight so foul a deed!</span> <span class="i0">At first, in
+heart, it liked me ill,</span> <span class="i0">When the King
+praised his clerkly skill.<span class='linenum2'>80</span></span>
+<span class="i0">Thanks to Saint Bothan, son of mine,</span> <span
+class="i0">Save Gawain, ne'er could pen a line.</span> <span class=
+"i0">Saint Mary mend my fiery mood!</span> <span class="i0">Old age
+ne'er cools the Douglas blood;</span> <span class="i0">I thought to
+slay him where he stood.<span class='linenum2'>85</span></span>
+<span class="i0">'Tis pity of him, too," he cried:</span> <span
+class="i0">"Bold can he speak, and fairly ride:</span> <span class=
+"i0">I warrant him a warrior tried."&mdash;</span> <span class=
+"i0">With this his mandate he recalls,</span> <span class="i0">And
+slowly seeks his castle halls.<span class=
+'linenum2'>90</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Walter Scott</i></p>
+
+<div class="blockquot">
+<p>In what Quality of voice should the following passages of this
+poem be read: (<i>a</i>) the descriptive parts; (<i>b</i>) l. 10;
+(<i>c</i>) the first speeches of Marmion and Douglas, ll. 14-18,
+and ll. 21-29; (<i>d</i>) the second speeches of Marmion and
+Douglas, ll. 32-49, and ll. 52-56; (<i>e</i>) ll. 57-58, and ll.
+75-88?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_143a" id="Page_143a"></a>COLUMBUS</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Behind him lay the gray
+Azores.</span> <span class="i1">Behind him the gates of
+Hercules;</span> <span class="i0">Before him not the ghost of
+shores,</span> <span class="i1">Before him only shoreless
+seas.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_144" id="Page_144">[Pg 144]</a></span>The good mate said:
+"Now we must pray,<span class='linenum2'>5</span></span> <span
+class="i1">For, lo! the very stars are gone.</span> <span class=
+"i0">Brave Adm'r'l, speak; what shall I say?"</span> <span class=
+"i1">"Why, say: 'Sail on! sail on! and on!'"</span><br />
+<span class="i0">"My men grow mutinous day by day;</span> <span
+class="i1">My men grow ghastly wan and weak."<span class=
+'linenum2'>10</span></span> <span class="i0">The stout mate thought
+of home; a spray</span> <span class="i1">Of salt wave washed his
+swarthy cheek.</span> <span class="i0">"What shall I say, brave
+Adm'r'l, say,</span> <span class="i1">If we sight naught but seas
+at dawn?"</span> <span class="i0">"Why, you shall say, at break of
+day:<span class='linenum2'>15</span></span> <span class="i1">'Sail
+on! sail on! sail on! and on!'"</span><br />
+<span class="i0">They sailed and sailed as winds might blow,</span>
+<span class="i1">Until at last the blanched mate said:</span> <span
+class="i0">"Why, now not even God would know</span> <span class=
+"i1">Should I and all my men fall dead.<span class=
+'linenum2'>20</span></span> <span class="i0">These very winds
+forget the way,</span> <span class="i1">For God from these dread
+seas is gone.</span> <span class="i0">Now speak, brave Adm'r'l,
+speak and say&mdash;"</span> <span class="i1">He said: "Sail on!
+sail on! and on!"</span><br />
+<span class="i0">They sailed. They sailed. Then spake the
+mate:<span class='linenum2'>25</span></span> <span class="i1">"This
+mad sea shows his teeth to-night;</span> <span class="i0">He curls
+his lip, he lies in wait,</span> <span class="i1">With lifted teeth
+as if to bite:</span> <span class="i0">Brave Adm'r'l, say but one
+good word;</span> <span class="i1">What shall we do when hope is
+gone?"<span class='linenum2'>30</span></span> <span class="i0">The
+words leapt as a leaping sword:</span> <span class="i1">"Sail on!
+sail on! sail on! and on!"</span> <span class="i0"><span class=
+'pagenum'><a name="Page_145" id="Page_145">[Pg
+145]</a></span></span><br />
+<span class="i0">Then, pale and worn, he kept his deck</span> <span
+class="i0">And peered through darkness. Ah, that night</span> <span
+class="i0">Of all dark nights! And then, a speck&mdash;<span class=
+'linenum2'>35</span></span> <span class="i0">A light! a light! a
+light! a light!</span> <span class="i0">It grew, a starlit flag
+unfurled!</span> <span class="i0">It grew to be Time's burst of
+dawn.</span> <span class="i0">He gained a world; he gave that
+world</span> <span class="i0">Its greatest lesson; "On! sail
+on!"<span class='linenum2'>40</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Joaquin Miller</i></p>
+
+<p class="quotsig">&mdash;<i>By permission of the publishers,
+Whitaker &amp; Ray-Wiggin Co.</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">What, shall, Why</span>. (Appendix <a href=
+"#A_7">A, 7</a> and <a href="#A_8">8</a>.)</p>
+
+<p>Give examples of words or phrases which when repeated become (1)
+unemphatic, (2) more emphatic, (3) equivalent to a climax.
+(Introduction, pp. 31 and 32.)</p>
+
+<p>Compare the mate's attitude of mind with that of the Admiral.
+How is the difference indicated by the Stress?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_145a" id="Page_145a"></a>FROM THE "APOLOGY" OF
+SOCRATES</h3>
+
+<p class="center2">From "The Dialogues of Plato"</p>
+
+<p>1. Not much time will be gained, O Athenians, in return for the
+evil name which you will get from the detractors of the city, who
+will say that you killed Socrates, a wise man; for they will call
+me wise, even although I am not wise, when they want to reproach
+you. If you had waited a little while, your desire would have been
+fulfilled in the course of nature. For I am far advanced in years,
+as you may perceive, and not far from death. I am speaking now only
+to those of you who have condemned me to death. And I have another
+thing to say to them: You think that I was convicted through
+deficiency of words&mdash;I mean, that if I had thought fit to
+leave nothing undone, nothing unsaid, I might have gained an
+acquittal. Not so; the deficiency <span class='pagenum'><a name=
+"Page_146" id="Page_146">[Pg 146]</a></span>which led to my
+conviction was not of words&mdash;certainly not. But I had not the
+boldness or impudence or inclination to address you as you would
+have liked me to address you, weeping and wailing and lamenting,
+and saying and doing many things which you have been accustomed to
+hear from others, and which, as I say, are unworthy of me. But I
+thought that I ought not to do anything common or mean in the hour
+of danger; nor do I now repent of the manner of my defence, and I
+would rather die having spoken after my manner, than speak in your
+manner and live. For neither in war nor yet at law ought any man to
+use every way of escaping death. For often in battle there is no
+doubt that if a man will throw away his arms, and fall on his knees
+before his pursuers, he may escape death; and in other dangers
+there are other ways of escaping death, if a man is willing to say
+and do anything. The difficulty, my friends, is not in avoiding
+death, but in avoiding unrighteousness; for that runs faster than
+death. I am old and move slowly, and the slower runner has
+overtaken me, and my accusers are keen and quick, and the faster
+runner, who is unrighteousness, has overtaken them. And now I
+depart hence, condemned by you to suffer the penalty of death, and
+they too go their ways, condemned by the truth to suffer the
+penalty of villainy and wrong; and I must abide by my
+reward&mdash;let them abide by theirs. I suppose that these things
+may be regarded as fated,&mdash;and I think that they are well.</p>
+
+<p>2. And now, O men who have condemned me, I would fain prophesy
+to you; for I am about to die, and that is the hour in which men
+are gifted with prophetic power. And I prophesy to you who are my
+murderers, <span class='pagenum'><a name="Page_147" id=
+"Page_147">[Pg 147]</a></span>that immediately after my death
+punishment far heavier than you have inflicted on me will surely
+await you. Me you have killed because you wanted to escape the
+accuser, and not to give an account of your lives. But that will
+not be as you suppose: far otherwise. For I say that there will be
+more accusers of you than there are now; accusers whom hitherto I
+have restrained: and as they are younger they will be more severe
+with you, and you will be more offended at them. For if you think
+that by killing men you can avoid the accuser censuring your lives,
+you are mistaken; that is not a way of escape which is either
+possible or honourable; the easiest and the noblest way is not to
+be crushing others, but to be improving yourselves. This is the
+prophecy which I utter before my departure to the judges who have
+condemned me.</p>
+
+<p>3. Friends, who would have acquitted me, I would like also to
+talk with you about this thing which has happened, while the
+magistrates are busy, and before I go to the place at which I must
+die. Stay then a while, for we may as well talk with one another
+while there is time. You are my friends, and I should like to show
+you the meaning of this event which has happened to me. O my
+judges&mdash;for you I may truly call judges&mdash;I should like to
+tell you of a wonderful circumstance. Hitherto the familiar oracle
+within me has constantly been in the habit of opposing me even
+about trifles, if I was going to make a slip or error about
+anything; and now, as you see, there has come upon me that which
+may be thought, and is generally believed to be, the last and worst
+evil. But the oracle made no sign of opposition, either as I was
+leaving my house and going out in the morning, or when I was going
+up into this court, or while I was <span class='pagenum'><a name=
+"Page_148" id="Page_148">[Pg 148]</a></span>speaking, at anything
+which I was going to say; and yet I have often been stopped in the
+middle of a speech, but now in nothing I either said or did
+touching this matter has the oracle opposed me. What do I take to
+be the explanation of this? I will tell you. I regard this as a
+proof that what has happened to me is a good, and that those of us
+who think that death is an evil are in error. This is a great proof
+to me of what I am saying, for the customary sign would surely have
+opposed me had I been going to evil and not to good.</p>
+
+<p>4. Let us reflect in another way, and we shall see that there is
+a great reason to hope that death is a good, for one of two things:
+either death is a state of nothingness and utter unconsciousness,
+or, as men say, there is a change and migration of the soul from
+this world to another. Now if you suppose that there is no
+consciousness, but a sleep like the sleep of him who is undisturbed
+even by the sight of dreams, death will be an unspeakable gain. For
+if a person were to select the night in which his sleep was
+undisturbed even by dreams, and were to compare with this the other
+days and nights of his life, and then were to tell us how many days
+and nights he had passed in the course of his life better and more
+pleasantly than this one, I think that any man, I will not say a
+private man, but even the great king will not find many such days
+or nights, when compared with the others. Now if death is like
+this, I say that to die is gain; for eternity is then only a single
+night. But if death is the journey to another place, and there, as
+men say, all the dead are, what good, O my friends and judges, can
+be greater than this? If indeed when the pilgrim arrives in the
+world below, he is delivered from the professors of justice in this
+world, and finds the true <span class='pagenum'><a name="Page_149"
+id="Page_149">[Pg 149]</a></span>judges who are said to give
+judgment there, Minos and Rhadamanthus, and Aeacus, and
+Triptolemus, and other sons of God who were righteous in their own
+life, that pilgrimage will be worth making. What would not a man
+give if he might converse with Orpheus and Musaeus and Hesiod and
+Homer? Nay, if this be true, let me die again and again. I, too,
+shall have a wonderful interest in a place where I can converse
+with Palamedes, and Ajax the son of Telamon, and other heroes of
+old, who have suffered death through an unjust judgment; and there
+will be no small pleasure, as I think, in comparing my own
+sufferings with theirs. Above all, I shall be able to continue my
+search into true and false knowledge; as in this world, so also in
+that; I shall find out who is wise, and who pretends to be wise and
+is not. What would not a man give, O judges, to be able to examine
+the leader of the great Trojan expedition; or Odysseus, or
+Sisyphus, or numberless others, men and women too! What infinite
+delight would there be in conversing with them and asking them
+questions! For in that world they do not put a man to death for
+this; certainly not. For besides being happier in that world than
+in this, they will be immortal, if what is said is true.</p>
+
+<p>5. Wherefore, O judges, be of good cheer about death, and know
+this of a truth&mdash;that no evil can happen to a good man, either
+in life or after death. He and his are not neglected by the gods;
+nor has my own approaching end happened by mere chance. But I see
+clearly that to die and be released was better for me; and
+therefore the oracle gave no sign. For which reason, also, I am not
+angry with my accusers or my condemners; they have done me no harm,
+although neither of <span class='pagenum'><a name="Page_150" id=
+"Page_150">[Pg 150]</a></span>them meant to do me any good; and for
+this I may gently blame them.</p>
+
+<p>6. Still I have a favour to ask of them. When my sons are grown
+up, I would ask you, O my friends, to punish them and I would have
+you trouble them, as I have troubled you, if they seem to care
+about riches, or anything, more than about virtue; or if they
+pretend to be something when they are really nothing,&mdash;then
+reprove them, as I have reproved you, for not caring about that for
+which they ought to care, and thinking that they are something when
+they are really nothing. And if you do this, I and my sons will
+have received justice at your hands.</p>
+
+<p>7. The hour of departure has arrived, and we go our ways&mdash;I
+to die, and you to live. Which is better God only knows.</p>
+
+<p>&mdash;<i>Benjamin Jowett</i></p>
+
+<div class="blockquot">
+<p>Illustrate from this extract the general principle that
+incompleteness is expressed by means of the Rising, and
+completeness by means of the Falling Inflection.</p>
+
+<p>Par. 1. <span class="smcap">For neither in war nor yet at law
+... death</span>. Explain the Inflection placed on this negative
+statement. Give a similar example from Par. 2.</p>
+
+<p><span class="smcap">I must abide by my award ... let them abide
+by theirs.</span> Explain the opposite Inflections on antithetical
+words and phrases. If one part of the antithesis is a negation,
+what is the Inflection? (Introduction, pp. <a href=
+"#Page_19">19</a> and <a href="#Page_20">20</a>.) Give examples
+from Par. 2.</p>
+
+<p><span class="smcap">I am old and move slowly ... wrong</span>.
+Explain the Emphasis in these sentences. Which one of a pair of
+contrasted words is necessarily emphatic? Give examples from this
+and the following paragraph, in which both are emphatic, and
+explain why. (Introduction, pp. <a href="#Page_30">30</a>-32.)</p>
+
+<p>Par. 4. Explain the Inflection on the questions. (Introduction,
+pp. <a href="#Page_18">18</a> and <a href="#Page_19">19</a>.)</p>
+
+<p>What clauses in this paragraph are really parenthetical in
+force? How does the voice subordinate them? Give similar examples
+from other paragraphs. (Introduction, pp. 24 and 25.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_151" id="Page_151">[Pg
+151]</a></span></p>
+
+<h3>HIGHLAND HOSPITALITY</h3>
+
+<p class="center2">From "The Lady of the Lake"</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">The shades of eve come slowly
+down,</span> <span class="i0">The woods are wrapt in deeper
+brown,</span> <span class="i0">The owl awakens from her
+dell,</span> <span class="i0">The fox is heard upon the
+fell;</span> <span class="i0">Enough remains of glimmering
+light<span class='linenum2'>5</span></span> <span class="i0">To
+guide the wanderer's steps aright,</span> <span class="i0">Yet not
+enough from far to show</span> <span class="i0">His figure to the
+watchful foe.</span> <span class="i0">With cautious step, and ear
+awake,</span> <span class="i0">He climbs the crag and threads the
+brake;<span class='linenum2'>10</span></span> <span class="i0">And
+not the summer solstice there,</span> <span class="i0">Tempered the
+midnight mountain air,</span> <span class="i0">But every breeze
+that swept the wold,</span> <span class="i0">Benumbed his drenched
+limbs with cold.</span> <span class="i0">In dread, in danger, and
+alone,<span class='linenum2'>15</span></span> <span class=
+"i0">Famished and chilled, through ways unknown,</span> <span
+class="i0">Tangled and steep, he journeyed on;</span> <span class=
+"i0">Till, as a rock's huge point he turned,</span> <span class=
+"i0">A watch-fire close before him burned.</span><br />
+<span class="i0">Beside its embers red and clear,<span class=
+'linenum2'>20</span></span> <span class="i0">Basked, in his plaid,
+a mountaineer;</span> <span class="i0">And up he sprung with sword
+in hand,&mdash;</span> <span class="i0">"Thy name and purpose!
+Saxon, stand!"&mdash;</span> <span class="i0">"A
+stranger."&mdash;"What dost thou require?"&mdash;</span> <span
+class="i0">"Rest and a guide, and food and fire.<span class=
+'linenum2'>25</span></span> <span class="i0">My life's beset, my
+path is lost.</span> <span class="i0">The gale has chilled my limbs
+with frost."&mdash;</span> <span class="i0">"Art thou a friend to
+Roderick?"&mdash; "No."&mdash;</span> <span class="i0"><span class=
+'pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span>"Thou
+darest not call thyself a foe?"&mdash;</span> <span class="i0">"I
+dare! to him and all the band<span class=
+'linenum2'>30</span></span> <span class="i0">He brings to aid his
+murderous hand."&mdash;</span> <span class="i0">"Bold
+words!&mdash;but, though the beast of game</span> <span class=
+"i0">The privilege of chase may claim,</span> <span class=
+"i0">Though space and law the stag we lend,</span> <span class=
+"i0">Ere hound we slip, or bow we bend,<span class=
+'linenum2'>35</span></span> <span class="i0">Who ever recked,
+where, how, or when,</span> <span class="i0">The prowling fox was
+trapped or slain?</span> <span class="i0">Thus, treacherous
+scouts,&mdash;yet sure they lie,</span> <span class="i0">Who say
+thou camest a secret spy!"&mdash;</span> <span class="i0">"They do,
+by Heaven!&mdash;Come Roderick Dhu,<span class=
+'linenum2'>40</span></span> <span class="i0">And of his clan the
+boldest two,</span> <span class="i0">And let me but till morning
+rest,</span> <span class="i0">I write the falsehood on their
+crest."&mdash;</span> <span class="i0">"If by the blaze I mark
+aright,</span> <span class="i0">Thou bear'st the belt and spur of
+Knight."&mdash;<span class='linenum2'>45</span></span> <span class=
+"i0">"Then, by these tokens mayest thou know,</span> <span class=
+"i0">Each proud oppressor's mortal foe."&mdash;</span> <span class=
+"i0">"Enough, enough; sit down and share</span> <span class="i0">A
+soldier's couch, a soldier's fare."&mdash;</span><br />
+<span class="i0">He gave him of his Highland cheer,<span class=
+'linenum2'>50</span></span> <span class="i0">The hardened flesh of
+mountain deer;</span> <span class="i0">Dry fuel on the fire he
+laid,</span> <span class="i0">And bade the Saxon share his
+plaid.</span> <span class="i0">He tended him like welcome
+guest,</span> <span class="i0">Then thus his further speech
+addressed:&mdash;<span class='linenum2'>55</span></span> <span
+class="i0">"Stranger, I am to Roderick Dhu</span> <span class=
+"i0">A clansman born, a kinsman true;</span> <span class="i0">Each
+word against his honour spoke,</span> <span class="i0">Demands of
+me avenging stroke;</span> <span class="i0">Yet more,&mdash;upon
+thy fate, 'tis said,<span class='linenum2'>60</span></span> <span
+class="i0"><span class='pagenum'><a name="Page_153" id=
+"Page_153">[Pg 153]</a></span>A mighty augury is laid.</span> <span
+class="i0">It rests with me to wind my horn,</span> <span class=
+"i0">Thou art with numbers overborne;</span> <span class="i0">It
+rests with me, here, brand to brand,</span> <span class="i0">Worn
+as thou art, to bid thee stand:<span class=
+'linenum2'>65</span></span> <span class="i0">But not for clan, nor
+kindred's cause,</span> <span class="i0">Will I depart from
+honour's laws;</span> <span class="i0">To assail a wearied man were
+shame,</span> <span class="i0">And stranger is a holy name;</span>
+<span class="i0">Guidance and rest, and food and fire,<span class=
+'linenum2'>70</span></span> <span class="i0">In vain he never must
+require.</span> <span class="i0">Then rest thee here till dawn of
+day;</span> <span class="i0">Myself will guide thee on the
+way,</span> <span class="i0">O'er stock and stone, through watch
+and ward.</span> <span class="i0">Till past Clan-Alpine's outmost
+guard,<span class='linenum2'>75</span></span> <span class="i0">As
+far as Coilantogle's ford;</span> <span class="i0">From thence thy
+warrant is thy sword."&mdash;</span> <span class="i0">"I take thy
+courtesy, by Heaven,</span> <span class="i0">As freely as 'tis
+nobly given!"&mdash;</span> <span class="i0">"Well, rest thee; for
+the bittern's cry<span class='linenum2'>80</span></span> <span
+class="i0">Sings us the lake's wild lullaby."</span> <span class=
+"i0">With that he shook the gathered heath,</span> <span class=
+"i0">And spread his plaid upon the wreath;</span> <span class=
+"i0">And the brave foemen, side by side,</span> <span class=
+"i0">Lay peaceful down, like brothers tried,<span class=
+'linenum2'>85</span></span> <span class="i0">And slept until the
+dawning beam</span> <span class="i0">Purpled the mountain and the
+stream.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Walter Scott</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Connect this scene
+with the rest of the poem.</p>
+
+<p>Give a dramatic form to this extract, describing definitely the
+scenery and stage-setting. One reader may render the descriptive
+parts, another the speeches of Roderick Dhu, and a third those of
+Fitz-James.</p>
+
+<p><span class='pagenum'><a name="Page_154" id="Page_154">[Pg
+154]</a></span> <span class="smcap">WANDERER'S STEPS, CAUTIOUS
+STEP, TRECHEROUS SCOUTS, BOLDEST TWO</span>. (Appendix <a href=
+"#A_6">A, 6</a>.)</p>
+
+<p>25 and 70. (Appendix <a href="#A_5">A, 5</a>.) 1-4. Note the
+word-pictures. How do they affect the Pause? (Introduction, pp. 7
+and 8.)</p>
+
+<p>7. <span class="smcap">NOT ENOUGH</span>. With what is it
+contrasted? Which word is emphatic? Where do the Pauses occur in
+this line?</p>
+
+<p>9. What is the atmosphere of this line? What is the Quality of
+voice? (Introduction, p. 34.)</p>
+
+<p>10-11. What Inflection? Why? What is the Shading when compared
+with the two following lines? (Introduction, p. <a href=
+"#Page_24">24</a>.)</p>
+
+<p>16-17. Give an example of Grouping.</p>
+
+<p>18-19. Compare the Shading of these two lines.</p>
+
+<p>22. What feeling and movement are here expressed? How does the
+voice give expression to them? (Introduction, pp. 5, 6, and
+27.)</p>
+
+<p>Describe the mental attitude of each of the speakers. What is
+the Stress in each case? (Introduction, pp. <a href=
+"#Page_27">27</a>-29.)</p>
+
+<p>38. <span class="smcap">The prowling fox ... scouts</span>. What
+is the mental attitude here? What Stress is the result?
+(Introduction, p. 28.) How does the rest of the speech differ from
+the preceding? What is the Inflection? (Introduction, p. <a href=
+"#Page_18">18</a>.)</p>
+
+<p>What is the Stress of ordinary conversation? Illustrate from the
+above selection.</p>
+
+<p>32-39. <span class="smcap">Bold words ... spy</span>.
+(Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>48. Why should <span class="smcap">SIT DOWN</span> be kept
+distinct from <span class="smcap">SHARE</span>? How is this
+effected?</p>
+
+<p>60. <span class="smcap">'TIS SAID</span>. How does the voice
+subordinate this phrase? (Introduction, p. <a href=
+"#Page_24">24</a>.)</p>
+
+<p>66-69. Which are the emphatic words and why are they
+emphatic?</p>
+
+<p>77. What feeling is introduced here? How does the voice express
+it?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_154a" id="Page_154a"></a>THE OUTLAW</h3>
+
+<p class="center2">From "Rokeby"</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">O, Brignall banks are wild and
+fair,</span> <span class="i1">And Greta woods are green,</span>
+<span class="i0">And you may gather garlands there,</span> <span
+class="i1">Would grace a summer queen.</span> <span class=
+"i0">&nbsp;<span class='pagenum'><a name="Page_155" id=
+"Page_155">[Pg 155]</a></span></span> <span class="i0">And as I
+rode by Dalton-Hall,<span class='linenum2'>5</span></span> <span
+class="i1">Beneath the turrets high,</span> <span class="i0">A
+Maiden on the castle wall</span> <span class="i1">Was singing
+merrily,&mdash;</span><br />
+<span class="i0">"O, Brignall banks are fresh and fair,</span>
+<span class="i1">And Greta woods are green;<span class=
+'linenum2'>10</span></span> <span class="i0">I'd rather rove with
+Edmund there</span> <span class="i1">Than reign our English
+queen."&mdash;</span><br />
+<span class="i0">"If, Maiden, thou would'st wend with me,</span>
+<span class="i1">To leave both tower and town,</span> <span class=
+"i0">Thou first must guess what life lead we<span class=
+'linenum2'>15</span></span> <span class="i1">That dwell by dale and
+down.</span> <span class="i0">And if thou canst that riddle
+read,</span> <span class="i1">As read full well you may,</span>
+<span class="i0">Then to the greenwood shalt thou speed</span>
+<span class="i1">As blithe as Queen of May."&mdash;<span class=
+'linenum2'>20</span></span><br />
+<span class="i0">Yet sung she, "Brignall banks are fair,</span>
+<span class="i1">And Greta woods are green;</span> <span class=
+"i0">I'd rather rove with Edmund there.</span> <span class=
+"i1">Than reign our English queen.</span><br />
+<span class="i0">"I read you by your bugle-horn,<span class=
+'linenum2'>25</span></span> <span class="i1">And by your palfrey
+good,</span> <span class="i0">I read you for a Ranger sworn,</span>
+<span class="i1">To keep the king's greenwood."&mdash;</span> <span
+class="i0">"A Ranger, lady, winds his horn,</span> <span class=
+"i1">And 'tis at peep of light;<span class=
+'linenum2'>30</span></span> <span class="i0">His blast is heard at
+merry morn,</span> <span class="i1">And mine at dead of
+night."&mdash;</span> <span class="i0">&nbsp;<span class=
+'pagenum'><a name="Page_156" id="Page_156">[Pg
+156]</a></span></span> <span class="i0">Yet sung she, "Brignall
+banks are fair,</span> <span class="i1">And Greta woods are
+gay;</span> <span class="i0">I would I were with Edmund there,<span
+class='linenum2'>35</span></span> <span class="i1">To reign his
+Queen of May!</span><br />
+<span class="i0">"With burnish'd brand and musketoon,</span> <span
+class="i1">So gallantly you come,</span> <span class="i0">I read
+you for a bold Dragoon,</span> <span class="i1">That lists the tuck
+of drum."&mdash;<span class='linenum2'>40</span></span> <span
+class="i0">"I list no more the tuck of drum,</span> <span class=
+"i1">No more the trumpet hear;</span> <span class="i0">But when the
+beetle sounds his hum</span> <span class="i1">My comrades take the
+spear.</span><br />
+<span class="i0">"And O! though Brignall banks be fair<span class=
+'linenum2'>45</span></span> <span class="i1">And Greta woods be
+gay,</span> <span class="i0">Yet mickle must the maiden dare</span>
+<span class="i1">Would reign my Queen of May!</span><br />
+<span class="i0">"Maiden! a nameless life I lead,</span> <span
+class="i1">A nameless death I'll die!<span class=
+'linenum2'>50</span></span> <span class="i0">The fiend whose
+lantern lights the mead</span> <span class="i1">Were better mate
+than I!</span> <span class="i0">And when I'm with my comrades
+met</span> <span class="i1">Beneath the greenwood bough,</span>
+<span class="i0">What once we were we all forget,<span class=
+'linenum2'>55</span></span> <span class="i1">Nor think what we are
+now.</span><br />
+<span class="i0">"Yet Brignall banks are fresh and fair,</span>
+<span class="i1">And Greta woods are green,</span> <span class=
+"i0">And you may gather garlands there</span> <span class=
+"i1">Would grace a summer queen."<span class=
+'linenum2'>60</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Walter Scott</i></p>
+
+<p><span class='pagenum'><a name="Page_157" id="Page_157">[Pg
+157]</a></span></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;"The Life of an
+Outlaw." Speak on this subject, illustrating from such characters
+as Rob Roy, Robin Hood, etc., and emphasizing the pathos of such a
+life.</p>
+
+<p>For dramatic rendering see preparatory notes on <i>Highland
+Hospitality</i>.</p>
+
+<p>1-4. What Stress indicates the state of mind reflected by these
+lines? (Introduction, p. <a href="#Page_29">29</a>.)</p>
+
+<p>3, 11. What Inflection is placed on <span class=
+"smcap">THERE</span>? (Introduction, p. <a href=
+"#Page_16">16</a>.)</p>
+
+<p>12. What word may be supplied after <span class=
+"smcap">REIGN</span>? How is this indicated in the reading?
+(Introduction, p. <a href="#Page_10">10</a>.)</p>
+
+<p>13-20. Read these lines with a view to Perspective.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>Give examples of Grouping throughout the poem and show how the
+Pause is affected. (Introduction, p. <a href=
+"#Page_11">11</a>.)</p>
+
+<p>What words in stanza iii are emphatic through contrast? In
+stanza v?</p>
+
+<p>What feeling in the last half of stanza v? (Introduction, pp. <a
+href="#Page_10">10</a>-12.) In what Time, Pitch, and Force are
+these lines read? Give your reasons.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_157a" id="Page_157a"></a>OF STUDIES</h3>
+
+<p class="center2">From the "Essays"</p>
+
+<p>Studies serve for delight, for ornament, and for ability. Their
+chief use for delight, is in privateness and retiring; for
+ornament, is in discourse; and for ability, is in the judgment and
+disposition of business. For expert men can execute, and perhaps
+judge of particulars, one by one; but the general counsels, and the
+plots, and marshalling of affairs, come best from those that are
+learned.</p>
+
+<p>To spend too much time in studies, is sloth; to use them too
+much for ornament, is affectation; to make judgment wholly by their
+rules, is the humour of a scholar. They perfect nature and are
+perfected by experience: for natural abilities are like natural
+plants, <span class='pagenum'><a name="Page_158" id="Page_158">[Pg
+158]</a></span>that need pruning by study; and studies themselves
+do give forth directions too much at large, except they be bounded
+in by experience.</p>
+
+<p>Crafty men contemn studies; simple men admire them; and wise men
+use them; for they teach not their own use; but that is a wisdom
+without them, and above them, won by observation. Read not to
+contradict and confute; nor to believe and take for granted; nor to
+find talk and discourse; but to weigh and consider.</p>
+
+<p>Some books are to be tasted, others to be swallowed, and some
+few to be chewed and digested; that is, some books are to be read
+only in parts; others to be read, but not curiously; and some few
+to be read wholly, and with diligence and attention. Some books
+also may be read by deputy, and extracts made of them by others;
+but that would be only in the less important arguments, and the
+meaner sort of books; else distilled books are like common
+distilled waters, flashy things.</p>
+
+<p>Reading maketh a full man; conference a ready man; and writing
+an exact man. And therefore, if a man write little, he had need
+have a good memory, if he confer little, he had need have a present
+wit; and if he read little, he had need have much cunning, to seem
+to know that he doth not.</p>
+
+<p>If a man's wit be wandering, let him study the mathematics; for
+in demonstrations, if his wit be called away never so little, he
+must begin again; if his wits be not apt to distinguish or find
+differences, let him study the schoolmen; if he be not apt to beat
+over matters, and to call up one thing to prove and illustrate
+another, let him study the lawyers' cases. So every defect of the
+mind may have a special receipt.</p>
+
+<p class="quotsig">&mdash;<i>Lord Bacon</i></p>
+
+<p><span class='pagenum'><a name="Page_159" id="Page_159">[Pg
+159]</a></span></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Observe the
+sentence structure employed throughout this extract, and make a
+list of the antithetical words and phrases.</p>
+
+<p>This lesson may be used as an exercise to illustrate the
+principle of Inflection as applied to antithetical words or phrases
+and to series of words or phrases parallel in construction.
+(Introduction, p. <a href="#Page_20">20</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_159a" id="Page_159a"></a>THE INFLUENCE OF
+ATHENS</h3>
+
+<p class="center2">From essay "On Mitford's History of Greece"</p>
+
+<p>If we consider merely the subtlety of disquisition, the force of
+imagination, the perfect energy and elegance of expression, which
+characterize the great works of Athenian genius, we must pronounce
+them intrinsically most valuable. But what shall we say when we
+reflect that from hence have sprung, directly or indirectly, all
+the noblest creations of the human intellect; that from hence were
+the vast accomplishments and the brilliant fancy of Cicero, the
+withering fire of Juvenal, the plastic imagination of Dante, the
+humour of Cervantes, the comprehension of Bacon, the wit of Butler,
+the supreme and universal excellence of Shakespeare?</p>
+
+<p>All the triumphs of truth and genius over prejudice and power,
+in every country and in every age, have been the triumphs of
+Athens. Wherever a few great minds have made a stand against
+violence and fraud, in the cause of liberty and reason, there has
+been her spirit in the midst of them; inspiring, encouraging,
+consoling;&mdash;by the lonely lamp of Erasmus, by the restless bed
+of Pascal, in the tribune of Mirabeau, in the cell of Galileo, on
+the scaffold of Sidney.</p>
+
+<p>But who shall estimate her influence on private happiness? Who
+shall say how many thousands have been <span class='pagenum'><a
+name="Page_160" id="Page_160">[Pg 160]</a></span>made wiser,
+happier, and better, by those pursuits in which she has taught
+mankind to engage; to how many the studies which took their rise
+from her have been wealth in poverty, liberty in bondage, health in
+sickness, society in solitude?</p>
+
+<p>Her power is, indeed, manifested at the bar, in the senate, in
+the field of battle, in the schools of philosophy. But these are
+not her glory. Wherever literature consoles sorrow, or assuages
+pain; wherever it brings gladness to eyes which fail with
+wakefulness and tears, and ache for the dark house and the long
+sleep,&mdash;there is exhibited, in its noblest form, the immortal
+influence of Athens.</p>
+
+<p>The dervish, in the Arabian tale, did not hesitate to abandon to
+his comrade the camels with their loads of jewels and gold, while
+he retained the casket of that mysterious juice which enabled him
+to behold at one glance all the hidden riches of the universe.
+Surely it is no exaggeration to say that no external advantage is
+to be compared with that purification of the intellectual eye which
+gives us to contemplate the infinite wealth of the mental world,
+all the hoarded treasures of its primeval dynasties, all the
+shapeless ore of its yet unexplored mines. This is the gift of
+Athens to man.</p>
+
+<p>Her freedom and her power have, for more than twenty centuries,
+been annihilated; her people have degenerated into timid slaves;
+her language, into a barbarous jargon; her temples have been given
+up to the successive depredations of Romans, Turks, and Scotchmen;
+but her intellectual empire is imperishable.</p>
+
+<p>And when those who have rivalled her greatness shall have shared
+her fate; when civilization and know<span class='pagenum'><a name=
+"Page_161" id="Page_161">[Pg 161]</a></span>ledge shall have fixed
+their abode in distant continents; when the sceptre shall have
+passed away from England; when, perhaps, travellers from distant
+regions shall in vain labour to decipher on some mouldering
+pedestal the name of our proudest chief, shall hear savage hymns
+chaunted to some misshapen idol over the ruined dome of our
+proudest temple, and shall see a single naked fisherman wash his
+nets in the river of the ten thousand masts,&mdash;her influence
+and her glory will still survive,&mdash;fresh in eternal youth,
+exempt from mutability and decay, immortal as the intellectual
+principle from which they derived their origin, and over which they
+exercise their control.</p>
+
+<p class="quotsig">&mdash;<i>Macaulay</i></p>
+
+<div class="blockquot">
+<p>Illustrate from this lesson the principle of Inflection as
+applied to (1) a series of words parallel in construction; (2)
+rhetorical questions.</p>
+
+<p>How should the principal clause in the last paragraph be made
+prominent by the voice? (Introduction, p. <a href=
+"#Page_33">33</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_161a" id="Page_161a"></a>NATIONAL MORALITY</h3>
+
+<p>1. I believe there is no permanent greatness to a nation except
+it be based upon morality. I do not care for military greatness or
+military renown. I care for the condition of the people among whom
+I live. There is no man in England who is less likely to speak
+irreverently of the Crown and Monarchy of England than I am; but
+crowns, coronets, mitres, military display, the pomp of war, wide
+colonies, and a huge empire, are, in my view, all trifles light as
+air, and not worth considering, unless with them you can have a
+fair share of comfort, contentment, and happiness, among the great
+body of the people. Palaces, baronial castles, great halls, stately
+mansions, do not make a nation. <span class='pagenum'><a name=
+"Page_162" id="Page_162">[Pg 162]</a></span>The nation in every
+country dwells in the cottage; and unless the light of your
+Constitution can shine there, unless the beauty of your legislation
+and the excellence of your statesmanship are impressed there on the
+feelings and condition of the people, rely upon it, you have yet to
+learn the duties of government.</p>
+
+<p>2. I have not pleaded, as you have observed, that this country
+should remain without adequate and scientific means of defence. I
+acknowledge it to be the duty of your statesmen, acting upon the
+known opinions and principles of ninety-nine out of every one
+hundred persons in the country, at all times, with all possible
+moderation, but with all possible efficiency, to take steps which
+shall preserve order within and on the confines of your kingdom.
+But I shall repudiate and denounce the expenditure of every
+shilling, the engagement of every man, the employment of every ship
+which has no object but intermeddling in the affairs of other
+countries and endeavouring to extend the boundaries of an Empire
+which is already large enough to satisfy the greatest ambition, and
+I fear is much too large for the highest statesmanship to which any
+man has yet attained.</p>
+
+<p>3. The most ancient of profane historians has told us that the
+Scythians of his time were a very warlike people, and that they
+elevated an old scimitar upon a platform as a symbol of Mars, for
+to Mars alone, I believe, they built altars and offered sacrifices.
+To this scimitar they offered sacrifices of horses and cattle, the
+main wealth of the country, and more costly sacrifices than to all
+the rest of their gods. I often ask myself whether we are at all
+advanced in one respect beyond those Scythians. What are our
+contributions to charity, to education, to morality, to religion,
+to justice, and to <span class='pagenum'><a name="Page_163" id=
+"Page_163">[Pg 163]</a></span>civil government, when compared with
+the wealth we expend in sacrifices to the old scimitar?</p>
+
+<p>4. Two nights ago I addressed in this hall a vast assembly
+composed to a great extent of your countrymen, who have no
+political power, who are at work from the dawn of the day to the
+evening, and who have therefore limited means of informing
+themselves on these great subjects. Now I am privileged to speak to
+a somewhat different audience. You represent those of your great
+community who have a more complete education, who have on some
+points greater intelligence, and in whose hands reside the power
+and influence of the district. I am speaking, too, within the
+hearing of those whose gentle nature, whose finer instincts, whose
+purer minds, have not suffered as some of us have suffered in the
+turmoil and strife of life. You can mould opinion, you can create
+political power,&mdash;you cannot think a good thought on this
+subject and communicate it to your neighbours,&mdash;you cannot
+make these points topics of discussion in your social circles and
+more general meetings, without affecting sensibly and speedily the
+course which the government of your country will pursue. May I ask
+you, then, to believe, as I do most devoutly believe, that the
+moral law was not written for men alone in their individual
+character, but that it was written as well for nations, and for
+nations great as this of which we are citizens. If nations reject
+and deride that moral law, there is a penalty which will inevitably
+follow. It may not come at once, it may not come in our lifetime;
+but, rely upon it, the great Italian is not a poet only, but a
+prophet, when he says:</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">The sword of heaven is not in
+haste to smite,</span> <span class="i0">Nor yet doth
+linger.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_164" id="Page_164">[Pg
+164]</a></span></p>
+
+<p>5. We have experience, we have beacons, we have landmarks
+enough. We know what the past has cost us, we know how much and how
+far we have wandered, but we are not left without a guide. It is
+true, we have not, as an ancient people had, Urim and
+Thummin&mdash;those oraculous gems in Aaron's breast&mdash;from
+which to take counsel, but we have the unchangeable and eternal
+principles of the moral law to guide us, and only so far as we walk
+by that guidance can we be permanently a great nation, or our
+people a happy people.</p>
+
+<p class="quotsig">&mdash;<i>The Right Honourable John
+Bright</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">BARONIAL, CASTLES, CHARACTER, PAST.</span>
+(Appendix <a href="#A_1">A, 1</a>.)</p>
+
+<p>Par. 1. <span class="smcap">MILITARY GREATNESS, MILITARY
+RENOWN</span>. Note the transferred Emphasis. (Introduction, pp. <a
+href="#Page_31">31</a> and <a href="#Page_32">32</a>.)</p>
+
+<p><span class="smcap">CROWNS, CORONETS, ETC</span>. Explain the
+Inflection on each member of this series. Give similar examples
+from this paragraph and from Pars. 3, 4, and 5.</p>
+
+<p><span class="smcap">UNLESS WITH THEM, ETC.</span> How does the
+voice prepare the listener for this clause? Give a similar example
+from Par. 4.</p>
+
+<p><span class="smcap">YOU HAVE YET TO LEARN, ETC</span>. How is
+this clause made prominent?</p>
+
+<p>Par. 2. Give an analysis of the second sentence from the
+standpoint of Perspective.</p>
+
+<p><span class="smcap">THE EXPENDITURE ... SHIP</span>. How is the
+Climax brought out?</p>
+
+<p><span class="smcap">FOR THE HIGHTEST ... ATTAINED</span>. Note
+the Grouping. Give another example from this sentence.</p>
+
+<p>Par. 4. <span class="smcap">NATIONS</span>. What Inflection on
+this word? With what is it contrasted?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_164a" id="Page_164a"></a>HAMLET'S ADVICE TO THE
+PLAYERS</h3>
+
+<p class="center2">Act III. Scene 2</p>
+
+<p>
+Speak&nbsp;the&nbsp;speech,&nbsp;I&nbsp;pray&nbsp;you,&nbsp;as&nbsp;I&nbsp;pronounced&nbsp;it&nbsp;to<br />
+you,&nbsp;trippingly&nbsp;on&nbsp;the&nbsp;tongue:&nbsp;but&nbsp;if&nbsp;you&nbsp;mouth&nbsp;it,&nbsp;as<br />
+many&nbsp;of&nbsp;your&nbsp;players&nbsp;do,&nbsp;I&nbsp;had&nbsp;as&nbsp;lief&nbsp;the&nbsp;town-crier<br />
+spoke&nbsp;my&nbsp;lines.&nbsp;Nor&nbsp;do&nbsp;not&nbsp;saw&nbsp;the&nbsp;air&nbsp;too&nbsp;much&nbsp;with<br />
+torrent,&nbsp;tempest,&nbsp;and,&nbsp;as&nbsp;I&nbsp;may&nbsp;say,&nbsp;the&nbsp;whirlwind&nbsp;of<span
+ class='linenum3'>5</span><br />
+<span class='pagenum'><a name="Page_165" id="Page_165">[Pg
+165]</a></span>passion,&nbsp;you&nbsp;must&nbsp;acquire&nbsp;and&nbsp;beget&nbsp;a&nbsp;temperance&nbsp;that<br />
+may&nbsp;give&nbsp;it&nbsp;smoothness.&nbsp;O,&nbsp;it&nbsp;offends&nbsp;me&nbsp;to&nbsp;the&nbsp;soul&nbsp;to<br />
+hear&nbsp;a&nbsp;robustious&nbsp;periwig-pated&nbsp;fellow&nbsp;tear&nbsp;a&nbsp;passion&nbsp;to<br />
+tatters,&nbsp;to&nbsp;very&nbsp;rags,&nbsp;to&nbsp;split&nbsp;the&nbsp;ears&nbsp;of&nbsp;the&nbsp;groundlings,<span
+ class='linenum3'>10</span><br />
+who,&nbsp;for&nbsp;the&nbsp;most&nbsp;part,&nbsp;are&nbsp;capable&nbsp;of&nbsp;nothing&nbsp;but<br />
+inexplicable&nbsp;dumb-shows&nbsp;and&nbsp;noise:&nbsp;I&nbsp;would&nbsp;have&nbsp;such<br />
+a&nbsp;fellow&nbsp;whipped&nbsp;for&nbsp;o'erdoing&nbsp;Termagant;&nbsp;it&nbsp;out-herods<br />
+Herod:&nbsp;pray&nbsp;you,&nbsp;avoid&nbsp;it.</p>
+
+<p>
+Be&nbsp;not&nbsp;too&nbsp;tame&nbsp;neither,&nbsp;but&nbsp;let&nbsp;your&nbsp;own&nbsp;discretion<span
+ class='linenum3'>15</span><br />
+be&nbsp;your&nbsp;tutor:&nbsp;suit&nbsp;the&nbsp;action&nbsp;to&nbsp;the&nbsp;word,&nbsp;the&nbsp;word&nbsp;to<br />
+the&nbsp;action;&nbsp;with&nbsp;this&nbsp;special&nbsp;observance,&nbsp;that&nbsp;you&nbsp;o'erstep<br />
+not&nbsp;the&nbsp;modesty&nbsp;of&nbsp;nature:&nbsp;for&nbsp;anything&nbsp;so&nbsp;overdone<br />
+is&nbsp;from&nbsp;the&nbsp;purpose&nbsp;of&nbsp;playing,&nbsp;whose&nbsp;end,&nbsp;both&nbsp;at&nbsp;the<br />
+first&nbsp;and&nbsp;now,&nbsp;was&nbsp;and&nbsp;is,&nbsp;to&nbsp;hold,&nbsp;as&nbsp;'twere,&nbsp;the&nbsp;mirror<span
+ class='linenum3'>20</span><br />
+up&nbsp;to&nbsp;nature;&nbsp;to&nbsp;show&nbsp;virtue&nbsp;her&nbsp;own&nbsp;feature,&nbsp;scorn&nbsp;her<br />
+own&nbsp;image,&nbsp;and&nbsp;the&nbsp;very&nbsp;age&nbsp;and&nbsp;body&nbsp;of&nbsp;the&nbsp;time&nbsp;his<br />
+form&nbsp;and&nbsp;pressure.&nbsp;Now,&nbsp;this&nbsp;overdone&nbsp;or&nbsp;come&nbsp;tardy<br />
+off,&nbsp;though&nbsp;it&nbsp;make&nbsp;the&nbsp;unskilful&nbsp;laugh,&nbsp;cannot&nbsp;but&nbsp;make<br />
+the&nbsp;judicious&nbsp;grieve;&nbsp;the&nbsp;censure&nbsp;of&nbsp;the&nbsp;which&nbsp;one<span
+ class='linenum3'>25</span><br />
+must,&nbsp;in&nbsp;your&nbsp;allowance,&nbsp;o'erweigh&nbsp;a&nbsp;whole&nbsp;theatre&nbsp;of<br />
+others.&nbsp;O,&nbsp;there&nbsp;be&nbsp;players&nbsp;that&nbsp;I&nbsp;have&nbsp;seen&nbsp;play,&nbsp;and<br />
+heard&nbsp;others&nbsp;praise,&nbsp;and&nbsp;that&nbsp;highly,&nbsp;not&nbsp;to&nbsp;speak&nbsp;it<br />
+profanely,&nbsp;that&nbsp;neither&nbsp;having&nbsp;the&nbsp;accent&nbsp;of&nbsp;Christains<br />
+nor&nbsp;the&nbsp;gait&nbsp;of&nbsp;Christain,&nbsp;pagan,&nbsp;nor&nbsp;man,&nbsp;have&nbsp;so<span
+ class='linenum3'>30</span><br />
+strutted&nbsp;and&nbsp;bellowed,&nbsp;that&nbsp;I&nbsp;have&nbsp;thought&nbsp;some&nbsp;of<br />
+nature's&nbsp;journeymen&nbsp;had&nbsp;made&nbsp;men,&nbsp;and&nbsp;not&nbsp;made&nbsp;them<br />
+well,&nbsp;they&nbsp;imitated&nbsp;humanity&nbsp;so&nbsp;abominably.</p>
+
+<p><i>&mdash;Shakespeare</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">MOUTH, TOWN-CRIER, TAME, JOURNEYMEN</span>.
+Why are these words emphatic? (Introduction, p. <a href=
+"#Page_30">30</a>.)</p>
+
+<p>Explain <span class="smcap">FROM THE PURPOSE OF PLAYING, COME
+TARDY OFF, THE CENSURE OF THE WHICH ... OTHERS</span>. What are the
+emphatic words in each?</p>
+
+<p><span class='pagenum'><a name="Page_166" id="Page_166">[Pg
+166]</a></span> <span class="smcap">TORRENT, TEMPEST,
+WHIRLWIND</span>. Observe the Climax.</p>
+
+<p>Give other examples of Climax from this selection and show how
+the Emphasis is employed. (Introduction, p. <a href=
+"#Page_31">31</a>.)</p>
+
+<p>Select parenthetical clauses and show how they are subordinated.
+(Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p>Read the last two sentences with a view to Perspective.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_166a" id="Page_166a"></a>ROSABELLE</h3>
+
+<p class="center2">From "The Lay of the Last Minstrel"</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">O listen, listen, ladies
+gay!</span> <span class="i2">No haughty feat of arms I tell;</span>
+<span class="i1">Soft is the note, and sad the lay</span> <span
+class="i2">That mourns the lovely Rosabelle.</span><br />
+<span class="i0">"Moor, moor the barge, ye gallant crew!</span>
+<span class="i1">And, gentle ladye, deign to stay!</span> <span
+class="i0">Rest thee in Castle Ravensheuch,</span> <span class=
+"i1">Nor tempt the stormy firth to-day.</span><br />
+<span class="i0">"The blackening wave is edged with white;</span>
+<span class="i1">To inch and rock the sea-mews fly;</span> <span
+class="i0">The fishers have heard the Water-Sprite,</span> <span
+class="i1">Whose screams forebode that wreck is nigh.</span><br />
+<span class="i0">"Last night the gifted Seer did view</span> <span
+class="i1">A wet shroud swathed round ladye gay;</span> <span
+class="i0">Then stay thee, Fair, in Ravensheuch;</span> <span
+class="i1">Why cross the gloomy firth to-day?"&mdash;</span><br />
+<span class="i0">"'Tis not because Lord Lindesay's heir</span>
+<span class="i1">To-night at Roslin leads the ball,</span> <span
+class="i0">But that my ladye-mother there</span> <span class=
+"i1">Sits lonely in her castle-hall.</span> <span class=
+"i0">&nbsp;<span class='pagenum'><a name="Page_167" id=
+"Page_167">[Pg 167]</a></span></span> <span class="i0">"'Tis not
+because the ring they ride,</span> <span class="i1">And Lindesay at
+the ring rides well,</span> <span class="i0">But that my sire the
+wine will chide</span> <span class="i1">If 'tis not fill'd by
+Rosabelle."&mdash;</span><br />
+<span class="i0">O'er Roslin all that dreary night</span> <span
+class="i1">A wondrous blaze was seen to gleam;</span> <span class=
+"i0">'Twas broader than the watch-fire's light,</span> <span class=
+"i1">And redder than the bright moonbeam.</span><br />
+<span class="i0">It glared on Roslin's castled rock,</span> <span
+class="i1">It ruddied all the copse-wood glen;</span> <span class=
+"i0">'Twas seen from Dryden's groves of oak,</span> <span class=
+"i1">And seen from cavern'd Hawthornden.</span><br />
+<span class="i0">Seem'd all on fire that chapel proud,</span> <span
+class="i1">Where Roslin's chiefs uncoffin'd lie,</span> <span
+class="i0">Each Baron, for a sable shroud,</span> <span class=
+"i1">Sheathed in his iron panoply.</span><br />
+<span class="i0">Seem'd all on fire within, around,</span> <span
+class="i1">Deep sacristy and altar's pale;</span> <span class=
+"i0">Shone every pillar foliage-bound,</span> <span class="i1">And
+glimmer'd all the dead men's mail.</span><br />
+<span class="i0">Blazed battlement and pinnet high,</span> <span
+class="i1">Blazed every rose-carved buttress fair&mdash;</span>
+<span class="i0">So still they blaze, when fate is nigh</span>
+<span class="i1">The lordly line of high Saint Clair.</span><br />
+<span class="i0">There are twenty of Roslin's barons bold</span>
+<span class="i1">Lie buried within that proud chapelle;</span>
+<span class="i0"><span class='pagenum'><a name="Page_168" id=
+"Page_168">[Pg 168]</a></span>Each one the holy vault doth
+hold&mdash;</span> <span class="i1">But the sea holds lovely
+Rosabelle!</span><br />
+<span class="i0">And each Saint Clair was buried there</span> <span
+class="i1">With candle, with book, and with knell;</span> <span
+class="i0">But the sea-caves rung, and the wild winds sung</span>
+<span class="i1">The dirge of lovely Rosabelle!</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Walter Scott</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Describe the scene
+suggested by the first stanza.</p>
+
+<p>Make three scenes of the rest of the poem, and give a
+descriptive title to each.</p>
+
+<p>Articulation. (Appendix <a href="#A_1">A, 1</a>, <a href=
+"#A_3">3</a>, and <a href="#A_6">6</a>.)</p>
+
+<p>Stanza i. How is the ellipsis in l. 3 indicated?</p>
+
+<p>Stanza ii. What is the difference between the way the speaker
+addresses the crew and that in which he addresses the lady?</p>
+
+<p>Stanzas iii-iv. How does the reader make prominent the four
+different arguments of the speaker in ll. 9-15, at the same time
+showing that each is a stronger warning than the last?
+(Introduction, pp. <a href="#Page_24">24</a>, <a href=
+"#Page_25">25</a> and <a href="#Page_31">31</a>.)</p>
+
+<p>Stanzas v-vi. What is the Inflection on the negative statements
+in the first two lines of each stanza?</p>
+
+<p>Stanzas vii-xi. What feeling pervades the description of the
+ominous light over Roslyn? What Quality of voice is the natural
+outcome? (Introduction, p. <a href="#Page_34">34</a>.)</p>
+
+<p>What are the central ideas in stanzas vii, ix, and x?</p>
+
+<p>How is the break in the thought after <span class=
+"smcap">FAIR</span>, (stanza xi) shown? (Introduction, pp. <a href=
+"#Page_8">8</a>, <a href="#Page_9">9</a>, and <a href=
+"#Page_25">25</a>.)</p>
+
+<p>Stanzas xii-xiii. What phrases contrast the burial of the Saint
+Clairs with that of Rosabelle? What contrast of feeling?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_168a" id="Page_168a"></a>THE ISLAND OF THE
+SCOTS</h3>
+
+<p class="center2">December, 1697</p>
+
+<div class="poem0">
+<div class="stanza"><span class="i0">The Rhine is running deep and
+red, the island lies before,&mdash;</span> <span class="i0">"Now is
+there one of all the host will dare to venture o'er?</span> <span
+class="i0"><span class='pagenum'><a name="Page_169" id=
+"Page_169">[Pg 169]</a></span>For not alone the river's sweep might
+make a brave man quail;</span> <span class="i0">The foe are on the
+further side, their shot comes fast as hail.</span> <span class=
+"i0">God help us, if the middle isle we may not hope to win;<span
+class='linenum2'>5</span></span> <span class="i0">Now is there any
+of the host will dare to venture in?"</span> <span class="i0">"The
+ford is deep, the banks are steep, the island-shore lies
+wide;</span> <span class="i0">Nor man nor horse could stem its
+force, or reach the further side.</span> <span class="i0">See
+there! amidst the willow-boughs the serried bayonets gleam;</span>
+<span class="i0">They've flung their bridge,&mdash;they've won the
+isle; the foe have cross'd the stream!<span class=
+'linenum2'>10</span></span> <span class="i0">Their volley flashes
+sharp and strong,&mdash;by all the saints! I trow</span> <span
+class="i0">There never yet was soldier born could force that
+passage now!"</span><br />
+<span class="i0">So spoke the bold French Mareschal with him who
+led the van,</span> <span class="i0">Whilst rough and red before
+their view the turbid river ran.</span> <span class="i0">Nor bridge
+nor boat had they to cross the wild and swollen Rhine,<span class=
+'linenum2'>15</span></span> <span class="i0">And thundering on the
+other bank far stretch'd the German line.</span> <span class=
+"i0">Hard by there stood a swarthy man was leaning on his
+sword,</span> <span class="i0">And a sadden'd smile lit up his face
+as he heard the Captain's word.</span> <span class="i0">"I've seen
+a wilder stream ere now than that which rushes there;</span> <span
+class="i0"><span class='pagenum'><a name="Page_170" id=
+"Page_170">[Pg 170]</a></span>I've stemm'd a heavier torrent yet
+and never thought to dare.<span class='linenum2'>20</span></span>
+<span class="i0">If German steel be sharp and keen, is ours not
+strong and true?</span> <span class="i0">There may be danger in the
+deed, but there is honour too."</span><br />
+<span class="i0">The old lord in his saddle turn'd, and hastily he
+said,</span> <span class="i0">"Hath bold Duguesclin's fiery heart
+awaken'd from the dead?</span> <span class="i0">Thou art the leader
+of the Scots,&mdash;now well and sure I know,<span class=
+'linenum2'>25</span></span> <span class="i0">That gentle blood in
+dangerous hour ne'er yet ran cold nor slow,</span> <span class=
+"i0">And I have seen ye in the fight do all that mortal may:</span>
+<span class="i0">If honour is the boon ye seek, it may be won this
+day,&mdash;</span> <span class="i0">The prize is in the middle
+isle, there lies the adventurous way,</span> <span class="i0">And
+armies twain are on the plain, the daring deed to see,&mdash;<span
+class='linenum2'>30</span></span> <span class="i0">Now ask thy
+gallant company if they will follow thee!"</span><br />
+<span class="i0">Right gladsome look'd the Captain then, and
+nothing did he say,</span> <span class="i0">But he turn'd him to
+his little band, O, few, I ween, were they!</span> <span class=
+"i0">The relics of the bravest force that ever fought in
+fray.</span> <span class="i0">No one of all that company but bore a
+gentle name,<span class='linenum2'>35</span></span> <span class=
+"i0">Not one whose fathers had not stood in Scotland's fields of
+fame.</span> <span class="i0">All they had march'd with great
+Dundee to where he fought and fell,</span> <span class="i0"><span
+class='pagenum'><a name="Page_171" id="Page_171">[Pg
+171]</a></span>And in the deadly battle-strife had venged their
+leader well;</span> <span class="i0">And they had bent the knee to
+earth when every eye was dim,</span> <span class="i0">As o'er their
+hero's buried corpse they sang the funeral hymn;<span class=
+'linenum2'>40</span></span> <span class="i0">And they had trod the
+Pass once more, and stoop'd on either side.</span> <span class=
+"i0">To pluck the heather from the spot where he had dropp'd and
+died;</span> <span class="i0">And they had bound it next their
+hearts, and ta'en a last farewell</span> <span class="i0">Of
+Scottish earth and Scottish sky, where Scotland's glory
+fell.</span> <span class="i0">Then went they forth to foreign lands
+like bent and broken men,<span class='linenum2'>45</span></span>
+<span class="i0">Who leave their dearest hope behind, and may not
+turn again.</span><br />
+<span class="i0">"The stream," he said, "is broad and deep, and
+stubborn is the foe,&mdash;</span> <span class="i0">Yon
+island-strength is guarded well,&mdash;say, brothers, will ye
+go?</span> <span class="i0">From home and kin for many a year our
+steps have wander'd wide,</span> <span class="i0">And never may our
+bones be laid our fathers' graves beside.<span class=
+'linenum2'>50</span></span> <span class="i0">No children have we to
+lament, no wives to wail our fall;</span> <span class="i0">The
+traitor's and the spoiler's hand have reft our hearths of
+all.</span> <span class="i0">But we have hearts, and we have arms,
+as strong to will and dare</span> <span class="i0"><span class=
+'pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span>As
+when our ancient banners flew within the northern air.</span> <span
+class="i0">Come, brothers! let me name a spell shall rouse your
+souls again,<span class='linenum2'>55</span></span> <span class=
+"i0">And send the old blood bounding free through pulse and heart
+and vein.</span> <span class="i0">Call back the days of bygone
+years,&mdash;be young and strong once more;</span> <span class=
+"i0">Think yonder stream, so stark and red, is one we've cross'd
+before.</span><br />
+<span class="i0">Rise, hill and glen! rise, crag and wood! rise up
+on either hand,&mdash;</span> <span class="i0">Again upon the
+Garry's banks, on Scottish soil we stand!<span class=
+'linenum2'>60</span></span> <span class="i0">Again I see the
+tartans wave, again the trumpets ring;</span> <span class=
+"i0">Again I hear our leader's call: 'Upon them for the
+King!'</span> <span class="i0">Stay'd we behind that glorious day
+for roaring flood or linn?</span> <span class="i0">The soul of
+Gr&aelig;me is with us still,&mdash;now, brothers, will ye
+in?"</span><br />
+<span class="i0">No stay,&mdash;no pause. With one accord, they
+grasp'd each other's hand,<span class='linenum2'>65</span></span>
+<span class="i0">Then plunged into the angry flood, that bold and
+dauntless band.</span> <span class="i0">High flew the spray above
+their heads, yet onward still they bore,</span> <span class=
+"i0">Midst cheer, and shout, and answering yell, and shot, and
+cannon-roar,&mdash;</span> <span class="i0">"Now, by the Holy
+Cross! I swear, since earth and sea began,</span> <span class=
+"i0">Was never such a daring deed essay'd by mortal man!"<span
+class='linenum2'>70</span></span> <span class="i0"><span class=
+'pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span>Thick
+blew the smoke across the stream, and faster flash'd the
+flame:</span> <span class="i0">The water plash'd in hissing jets as
+ball and bullet came.</span> <span class="i0">Yet onward push'd the
+Cavaliers all stern and undismay'd,</span> <span class="i0">With
+thousand armed foes before, and none behind to aid</span> <span
+class="i0">Once, as they near'd the middle stream, so strong the
+torrent swept,<span class='linenum2'>75</span></span> <span class=
+"i0">That scarce that long and living wall their dangerous footing
+kept.</span> <span class="i0">Then rose a warning cry behind, a
+joyous shout before:</span> <span class="i0">"The current's
+strong,&mdash;the way is long,&mdash;they'll never reach the
+shore!</span> <span class="i0">See, see! they stagger in the midst,
+they waver in their line!</span> <span class="i0">Fire on the
+madmen! break their ranks, and whelm them in the Rhine!"<span
+class='linenum2'>80</span></span><br />
+<span class="i0">Have you seen the tall trees swaying when the
+blast is sounding shrill,</span> <span class="i0">And the whirlwind
+reels in fury down the gorges of the hill?</span> <span class=
+"i0">How they toss their mighty branches struggling with the
+tempest's shock;</span> <span class="i0">How they keep their place
+of vantage, cleaving firmly to the rock?</span> <span class=
+"i0">Even so the Scottish warriors held their own against the
+river;<span class='linenum2'>85</span></span> <span class=
+"i0">Though the water flashed around them, not an eye was seen to
+quiver;</span> <span class="i0">Though the shot flew sharp and
+deadly, not a man relax'd his hold;</span> <span class="i0"><span
+class='pagenum'><a name="Page_174" id="Page_174">[Pg
+174]</a></span>For their hearts were big and thrilling with the
+mighty thoughts of old.</span> <span class="i0">One word was spoken
+among them, and through the ranks it spread,&mdash;</span> <span
+class="i0">"Remember our dead Claverhouse!" was all the Captain
+said.<span class='linenum2'>90</span></span> <span class="i0">Then,
+sternly bending forward, they wrestled on a while,</span> <span
+class="i0">Until they clear'd the heavy stream, then rush'd toward
+the isle.</span><br />
+<span class="i0">The German heart is stout and true, the German arm
+is strong;</span> <span class="i0">The German foot goes seldom back
+where armed foemen throng.</span> <span class="i0">But never had
+they faced in field so stern a charge before,<span class=
+'linenum2'>95</span></span> <span class="i0">And never had they
+felt the sweep of Scotland's broad claymore.</span> <span class=
+"i0">Not fiercer pours the avalanche adown the steep
+incline,</span> <span class="i0">That rises o'er the parent springs
+of rough and rapid Rhine,&mdash;</span> <span class="i0">Scarce
+swifter shoots the bolt from heaven than came the Scottish
+band</span> <span class="i0">Right up against the guarded trench,
+and o'er it sword in hand.<span class='linenum2'>100</span></span>
+<span class="i0">In vain their leaders forward press,&mdash;they
+meet the deadly brand!</span><br />
+<span class="i0">O lonely island of the Rhine,&mdash;where seed was
+never sown,</span> <span class="i0">What harvest lay upon thy
+sands, by those strong reapers thrown?</span> <span class=
+"i0"><span class='pagenum'><a name="Page_175" id="Page_175">[Pg
+175]</a></span>What saw the winter moon that night, as, struggling
+through the rain,</span> <span class="i0">She pour'd a wan and
+fitful light on marsh, and stream, and plain?<span class=
+'linenum2'>105</span></span> <span class="i0">A dreary spot with
+corpses strewn, and bayonets glistening round;</span> <span class=
+"i0">A broken bridge, a stranded boat, a bare and batter'd
+mound;</span> <span class="i0">And one huge watch-fire's kindled
+pile, that sent its quivering glare</span> <span class="i0">To tell
+the leaders of the host the conquering Scots were
+there.</span><br />
+<span class="i0">And did they twine the laurel-wreath, for those
+who fought so well?<span class='linenum2'>110</span></span> <span
+class="i0">And did they honour those who liv'd, and weep for those
+who fell?</span> <span class="i0">What meed of thanks was given to
+them let ag&egrave;d annals tell.</span> <span class="i0">Why
+should they bring the laurel-wreath,&mdash;why crown the cup with
+wine?</span> <span class="i0">It was not Frenchmen's blood that
+flow'd so freely on the Rhine,&mdash;</span> <span class="i0">A
+stranger band of beggar'd men had done the venturous deed:<span
+class='linenum2'>115</span></span> <span class="i0">The glory was
+to France alone, the danger was their meed.</span> <span class=
+"i0">And what cared they for idle thanks from foreign prince and
+peer?</span> <span class="i0">What virtue had such honey'd words
+the exiled heart to cheer?</span> <span class="i0">What matter'd it
+that men should vaunt and loud and fondly swear,</span> <span
+class="i0">&nbsp;<span class='pagenum'><a name="Page_176" id=
+"Page_176">[Pg 176]</a></span></span> <span class="i0">That higher
+feat of chivalry was never wrought elsewhere?<span class=
+'linenum2'>120</span></span> <span class="i0">They bore within
+their breasts the grief that fame can never heal,&mdash;</span>
+<span class="i0">The deep, unutterable woe which none save exiles
+feel.</span> <span class="i0">Their hearts were yearning for the
+land they ne'er might see again,&mdash;</span> <span class="i0">For
+Scotland's high and heather'd hills, for mountains, loch and
+glen&mdash;</span> <span class="i0">For those who haply lay at rest
+beyond the distant sea,<span class='linenum2'>125</span></span>
+<span class="i0">Beneath the green and daisied turf where they
+would gladly be!</span><br />
+<span class="i0">Long years went by. The lonely isle in Rhine's
+tempestuous flood</span> <span class="i0">Has ta'en another name
+from those who bought it with their blood:</span> <span class=
+"i0">And, though the legend does not live,&mdash;for legends
+lightly die&mdash;</span> <span class="i0">The peasant, as he sees
+the stream in winter rolling by,<span class=
+'linenum2'>130</span></span> <span class="i0">And foaming o'er its
+channel-bed between him and the spot</span> <span class="i0">Won by
+the warriors of the sword, still calls that deep and dangerous
+ford</span> <span class="i0">The Passage of the Scot.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>William Edmondstoune Aytoun</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Narrate briefly
+the events of this poem, and show by a blackboard diagram the
+situation of the island, the position of the armies, etc.</p>
+
+<p>Into how many dramatic scenes can the poem be divided? Describe
+each one, showing what part of the poem it covers.</p>
+
+<p>For exercise in dramatic rendering, see notes on <i>Highland
+Hospitality</i>, pp. <a href="#Page_153">153</a> and 154.</p>
+
+<p><span class='pagenum'><a name="Page_177" id="Page_177">[Pg
+177]</a></span> In what state of mind are the first two speakers?
+Compare their speeches in this respect with the first speech of the
+Scottish Captain&mdash;"<span class="smcap">I've seen a wilder,"
+etc.</span> What is the difference in Time, Pitch, and Stress?</p>
+
+<p>3. <span class="smcap">RIVER'S SWEEP, FOE</span>. Which is more
+emphatic? Compare <span class="smcap">MAN</span> and <span class=
+"smcap">HORSE</span>, l. 8.</p>
+
+<p>10-12. Give some examples of Climax in the second stanza and
+show how the Force and the Pitch are affected.</p>
+
+<p>24. "<span class="smcap">Hath bold Duguesclin's," etc</span>.
+Supply the undercurrent of thought between the first line of this
+speech and the second. How is this suggested in reading?
+(Introduction, p. <a href="#Page_14">14</a>.)</p>
+
+<p>33. <span class="smcap">he turned him to his little band&mdash;O
+few, etc.</span> How can the break in the thought be indicated?
+(Introduction, pp. <a href="#Page_8">8</a>, <a href=
+"#Page_9">9</a>, and 25.)</p>
+
+<p>33-46. <span class="smcap">O few I ween ... not turn
+again.</span> What two feelings predominate?</p>
+
+<p>Compare the first part of the Captain's speech with the second
+part from the standpoint of energy. What is the difference in Force
+and Pitch? (Introduction, pp. <a href="#Page_23">23</a> and <a
+href="#Page_26">26</a>.)</p>
+
+<p>65. <span class="smcap">No stay,&mdash;no pause, etc</span>.
+What part does spontaneous Imitation play here, and in the
+following stanza? (Introduction, pp. 4 and 5.)</p>
+
+<p>69. <span class="smcap">Now, by the Holy Cross! etc</span>.
+Where should the longest Pause be made in this line?</p>
+
+<p>78. <span class="smcap">The current's strong, etc</span>. What
+are the Pitch, Force, and Stress? (Introduction, pp. <a href=
+"#Page_22">22</a>, <a href="#Page_26">26</a>, and <a href=
+"#Page_29">29</a>.)</p>
+
+<p>93. <span class="smcap">The German heart, etc</span>. Emphasis.
+(Introduction, p. <a href="#Page_31">31</a>.)</p>
+
+<p>96. <span class="smcap">And never had they felt, etc</span>.
+Note Grouping and Pause.</p>
+
+<p>99. <span class="smcap">Scarce swifter, etc</span>. What is the
+Stress? Why? (Introduction, p. <a href="#Page_28">28</a>.)</p>
+
+<p>101. <span class="smcap">In vain</span>. Note the transition at
+this line. (Introduction, pp. <a href="#Page_8">8</a>, 9, and
+25.)</p>
+
+<p>113. <span class="smcap">Why should they bring, etc</span>. How
+does the voice indicate the insincerity of thought in these lines?
+(Introduction, pp. <a href="#Page_21">21</a>, <a href=
+"#Page_22">22</a>, and <a href="#Page_30">30</a>.)</p>
+
+<p>What Inflection is used on the various questions in this and the
+preceding stanzas? (Introduction, pp. <a href="#Page_18">18</a> and
+<a href="#Page_19">19</a>.)</p>
+
+<p>127-133. Note the Grouping and the Shading. (Introduction, p. <a
+href="#Page_33">33</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_178" id="Page_178">[Pg
+178]</a></span></p>
+
+<h3>CRANFORD SOCIETY</h3>
+
+<p class="center2">From "Cranford"</p>
+
+<p>In the first place, Cranford is in possession of the Amazons;
+all the holders of houses above a certain rent are women. If a
+married couple come to settle in the town, somehow the gentleman
+disappears; he is either fairly frightened to death by being the
+only man in the Cranford evening parties, or he is accounted for by
+being with his regiment, his ship, or closely engaged in business
+all the week in the great neighbouring commercial town of Drumble,
+distant only twenty miles on a railway. In short, whatever does
+become of the gentlemen, they are not at Cranford. What could they
+do if they were there? The surgeon has his round of thirty miles,
+and sleeps at Cranford; but every man cannot be a surgeon. For
+keeping the trim gardens full of choice flowers without a weed to
+speck them; for frightening away little boys who look wistfully at
+the said flowers through the railings; for rushing out at the geese
+that occasionally venture into the gardens if the gates are left
+open; for deciding all questions of literature and politics without
+troubling themselves with unnecessary reasons or arguments; for
+obtaining clear and correct knowledge of everybody's affairs in the
+parish; for keeping their neat maidservants in admirable order; for
+kindness (somewhat dictatorial) to the poor, and real tender good
+offices to each other whenever they are in distress&mdash;the
+ladies of Cranford are quite sufficient. "A man," as one of them
+observed to me once, "is <i>so</i> <span class='pagenum'><a name=
+"Page_179" id="Page_179">[Pg 179]</a></span>in the way in the
+house!" Although the ladies of Cranford know all each other's
+proceedings, they are exceedingly indifferent to each other's
+opinions. Indeed, as each has her own individuality, not to say
+eccentricity, pretty strongly developed, nothing is so easy as
+verbal retaliation; but, somehow, good-will reigns among them to a
+considerable degree.</p>
+
+<p>Then there were rules and regulations for visiting and calls;
+and they were announced to any young people who might be staying in
+the town, with all the solemnity with which the old Manx laws were
+read once a year on the Tinwald Mount.</p>
+
+<p>"Our friends have sent to inquire how you are after your journey
+to-night, my dear" (fifteen miles in a gentleman's carriage). "They
+will give you some rest to-morrow; but the next day, I have no
+doubt, they will call; so be at liberty after twelve&mdash;from
+twelve to three are our calling hours."</p>
+
+<p>Then, after they had called&mdash;</p>
+
+<p>"It is the third day, I dare say your mamma has told you, my
+dear, never to let more than three days elapse between receiving a
+call and returning it; and also, that you are never to stay longer
+than a quarter of an hour."</p>
+
+<p>"But am I to look at my watch? How am I to find out when a
+quarter of an hour has passed?"</p>
+
+<p>"You must keep thinking about the time, my dear, and not allow
+yourself to forget it in conversation."</p>
+
+<p>As everybody had this rule in their minds, whether they received
+or paid a call, of course no absorbing subject was ever spoken
+about. We kept ourselves to short sentences of small talk, and were
+punctual to our time.</p>
+
+<p><span class='pagenum'><a name="Page_180" id="Page_180">[Pg
+180]</a></span></p>
+
+<p>I imagine that a few of the gentlefolks of Cranford were poor,
+and had some difficulty in making both ends meet; but they were
+like the Spartans, and concealed their smart under a smiling face.
+We none of us spoke of money, because that subject savoured of
+commerce and trade; and though some might be poor, we were all
+aristocratic. The Cranfordians had that kindly <i>esprit de
+corps</i> which made them overlook all deficiencies in success when
+some among them tried to conceal their poverty. When Mrs.
+Forrester, for instance, gave a party in her baby-house of a
+dwelling, and the little maiden disturbed the ladies on the sofa by
+a request that she might get the tea-tray out from underneath,
+every one took this novel proceeding as the most natural thing in
+the world, and talked on about household forms and ceremonies as if
+we all believed that our hostess had a regular servants' hall,
+second table, with house-keeper and steward, instead of the one
+little charity-school maiden, whose short ruddy arms could never
+have been strong enough to carry the tray upstairs, if she had not
+been assisted in private by her mistress, who now sat in state,
+pretending not to know what cakes were sent up, though she knew,
+and we knew, and she knew that we knew, and we knew that she knew
+that we knew, she had been busy all morning making tea-bread and
+sponge-cakes.</p>
+
+<p>There were one or two consequences arising from this general but
+unacknowledged poverty, and this very much acknowledged gentility,
+which were not amiss, and which might be introduced into many
+circles of society to their great improvement. For instance, the
+inhabitants of Cranford kept early hours, and clattered home <span
+class='pagenum'><a name="Page_181" id="Page_181">[Pg
+181]</a></span>in their pattens, under the guidance of a
+lantern-bearer, about nine o'clock at night; and the whole town was
+abed and asleep by half-past ten. Moreover, it was considered
+"vulgar" (a tremendous word in Crawford) to give anything
+expensive, in the way of eatable or drinkable, at the evening
+entertainments. Wafer bread-and-butter and sponge-biscuits were all
+that the Honourable Mrs. Jamieson gave; and she was sister-in-law
+to the late Earl of Glenmire, although she did practise such
+"elegant economy."</p>
+
+<p>"Elegant economy!" How naturally one falls back into the
+phraseology of Cranford! There, economy was always "elegant," and
+money-spending always "vulgar and ostentatious;" a sort of
+sour-grapeism which made us very peaceful and satisfied. I never
+shall forget the dismay felt when a certain Captain Brown came to
+live at Cranford, and openly spoke about his being poor&mdash;not
+in a whisper to an intimate friend, the doors and windows being
+previously closed, but in the public street, in a loud military
+voice, alleging his poverty as a reason for not taking a particular
+house. The ladies of Cranford were already rather moaning over the
+invasion of their territories by a man and a gentleman. He was a
+half-pay captain, and had obtained some situation on a neighbouring
+railway, which had been vehemently petitioned against by the little
+town; and if, in addition to his masculine gender, and his
+connection with the obnoxious railway, he was so brazen as to talk
+of being poor&mdash;why, then, indeed, he must be sent to Coventry.
+Death was as true and as common as poverty; yet people never spoke
+about that loud out in the streets. It was a word not to be
+mentioned to ears <span class='pagenum'><a name="Page_182" id=
+"Page_182">[Pg 182]</a></span>polite. We had tacitly agreed to
+ignore that any with whom we associated on terms of visiting
+equality could ever be prevented by poverty from doing anything
+that they wished. If we walked to or from a party, it was because
+the night was <i>so</i> fine, or the air <i>so</i> refreshing, not
+because sedan-chairs were expensive. If we wore prints instead of
+summer silks, it was because we preferred a washing material; and
+so on, till we blinded ourselves to the vulgar fact that we were,
+all of us, people of very moderate means. Of course, then, we did
+not know what to make of a man who could speak of poverty as if it
+was not a disgrace. Yet, somehow, Captain Brown made himself
+respected in Cranford, and was called upon, in spite of all
+resolutions to the contrary.</p>
+
+<p class="quotsig">&mdash;<i>Mrs. Gaskell</i></p>
+
+<div class="blockquot">
+<p>Give examples of momentary completeness in the second and sixth
+sentences of Par. 1. (Introduction, p. <a href=
+"#Page_16">16</a>.)</p>
+
+<p>What Inflection is placed on the Interrogative sentence in Par.
+1? Introduction, p. <a href="#Page_19">19</a>.)</p>
+
+<p>Select words throughout the lesson which are emphatic through
+contrast and tell what Inflection is placed on them. (Introduction,
+pp. <a href="#Page_20">20</a> and <a href="#Page_21">21</a>.)</p>
+
+<p>How are the parenthetical clauses kept in the background?
+(Introduction, p. <a href="#Page_24">24</a>.)</p>
+
+<p><span class="smcap">When Mrs Forrester ... sponge-cakes</span>.
+Account for the Inflection on the various phrases and clauses of
+this sentence.</p>
+
+<p><span class="smcap">THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW
+THAT WE KNEW</span>. Explain the Emphasis. (Introduction, pp. <a
+href="#Page_30">30</a>-32.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_182a" id="Page_182a"></a>SIR GALAHAD</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">My good blade carves the
+casques of men,</span> <span class="i1">My tough lance thrusteth
+sure,</span> <span class="i0">My strength is as the strength of
+ten,</span> <span class="i1">Because my heart is pure.</span> <span
+class="i0">The shattering trumpet shrilleth high,<span class=
+'linenum2'>5</span></span> <span class="i1"><span class=
+'pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span>The
+hard brands shiver on the steel,</span> <span class="i0">The
+splinter'd spear-shafts crack and fly,</span> <span class="i1">The
+horse and rider reel:</span> <span class="i0">They reel, they roll
+in clanging lists,</span> <span class="i1">And when the tide of
+combat stands,<span class='linenum2'>10</span></span> <span class=
+"i0">Perfume and flowers fall in showers,</span> <span class=
+"i1">That lightly rain from ladies' hands.</span><br />
+<span class="i0">How sweet are looks that ladies bend</span> <span
+class="i1">On whom their favours fall!</span> <span class="i0">For
+them I battle till the end,<span class='linenum2'>15</span></span>
+<span class="i1">To save from shame and thrall:</span> <span class=
+"i0">But all my heart is drawn above,</span> <span class="i1">My
+knees are bow'd in crypt and shrine:</span> <span class="i0">I
+never felt the kiss of love,</span> <span class="i1">Nor maiden's
+hand in mine.<span class='linenum2'>20</span></span> <span class=
+"i0">More bounteous aspects on me beam,</span> <span class="i1">Me
+mightier transports move and thrill;</span> <span class="i0">So
+keep I fair thro' faith and prayer</span> <span class="i1">A virgin
+heart in work and will.</span><br />
+<span class="i0">When down the stormy crescent goes,<span class=
+'linenum2'>25</span></span> <span class="i1">A light before me
+swims,</span> <span class="i0">Between dark stems the forest
+glows,</span> <span class="i1">I hear a noise of hymns:</span>
+<span class="i0">Then by some secret shrine I ride;</span> <span
+class="i1">I hear a voice but none are there;<span class=
+'linenum2'>30</span></span> <span class="i0">The stalls are void,
+the doors are wide,</span> <span class="i1">The tapers burning
+fair.</span> <span class="i0">Fair gleams the snowy
+altar-cloth,</span> <span class="i1">The silver vessels sparkle
+clean,</span> <span class="i0">The shrill bell rings, the censer
+swings,<span class='linenum2'>35</span></span> <span class="i1">And
+solemn chaunts resound between.</span> <span class="i0">&nbsp;<span
+class='pagenum'><a name="Page_184" id="Page_184">[Pg
+184]</a></span></span> <span class="i0">Sometimes on lonely
+mountain-meres</span> <span class="i1">I find a magic bark;</span>
+<span class="i0">I leap on board: no helmsman steers:</span> <span
+class="i1">I float till all is dark.<span class=
+'linenum2'>40</span></span> <span class="i0">A gentle sound, an
+awful light!</span> <span class="i1">Three angels bear the Holy
+Grail;</span> <span class="i0">With folded feet, in stoles of
+white,</span> <span class="i1">On sleeping wings they sail.</span>
+<span class="i0">Ah, blessed vision! blood of God!<span class=
+'linenum2'>45</span></span> <span class="i1">My spirit beats her
+mortal bars,</span> <span class="i0">As down dark tides the glory
+slides,</span> <span class="i1">And star-like mingles with the
+stars.</span><br />
+<span class="i0">When on my goodly charger borne</span> <span
+class="i1">Thro' dreaming towns I go,<span class=
+'linenum2'>50</span></span> <span class="i0">The cock crows ere the
+Christmas morn,</span> <span class="i1">The streets are dumb with
+snow.</span> <span class="i0">The tempest crackles on the
+leads,</span> <span class="i1">And, ringing, springs from brand and
+mail;</span> <span class="i0">But o'er the dark a glory
+spreads,<span class='linenum2'>55</span></span> <span class=
+"i1">And gilds the driving hail.</span> <span class="i0">I leave
+the plain, I climb the height;</span> <span class="i1">No branchy
+thicket shelter yields;</span> <span class="i0">But blessed forms
+in whistling storms</span> <span class="i1">Fly o'er waste fens and
+windy fields.<span class='linenum2'>60</span></span><br />
+<span class="i0">A maiden knight&mdash;to me is given</span> <span
+class="i1">Such hope, I know not fear;</span> <span class="i0">I
+yearn to breathe the airs of heaven</span> <span class="i1">That
+often meet me here.</span> <span class="i0">I muse on joy that will
+not cease.<span class='linenum2'>65</span></span> <span class=
+"i1">Pure spaces clothed in living beams,</span> <span class=
+"i0">Pure lilies of eternal peace,</span> <span class='pagenum'><a
+name="Page_185" id="Page_185">[Pg 185]</a></span><span class=
+"i1">Whose odours haunt my dreams;</span> <span class="i0">And,
+stricken by an angel's hand,</span> <span class="i1">This mortal
+armour that I wear,<span class='linenum2'>70</span></span> <span
+class="i0">This weight and size, this heart and eyes,</span> <span
+class="i1">Are touch'd, are turn'd to finest air.</span><br />
+<span class="i0">The clouds are broken in the sky,</span> <span
+class="i1">And thro' the mountain-walls</span> <span class="i0">A
+rolling organ-harmony<span class='linenum2'>75</span></span> <span
+class="i1">Swells up, and shakes and falls.</span> <span class=
+"i0">Then move the trees, the copses nod,</span> <span class=
+"i1">Wings flutter, voices hover clear:</span> <span class="i0">"O
+just and faithful knight of God!</span> <span class="i1">Ride on!
+the prize is near."<span class='linenum2'>80</span></span> <span
+class="i0">So pass I hostel, hall, and grange;</span> <span class=
+"i1">By bridge and ford, by park and pale,</span> <span class=
+"i0">All-arm'd I ride, whate'er betide,</span> <span class=
+"i1">Until I find the Holy Grail.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Alfred Tennyson</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Point out the
+contrast of scene in stanza i. How has the poet obtained contrast
+of sound? Note the difficulties of Articulation.</p>
+
+<p>Enumerate the manifestations by means of which Sir Galahad
+apprehends the continual proximity of the Holy Grail.</p>
+
+<p>Select the lines in which the mystical element is most strongly
+marked. What feeling is aroused in reading these lines?</p>
+
+<p>In what Quality of voice does this feeling find expression?
+(Introduction, p. <a href="#Page_34">34</a>.)</p>
+
+<p>What is the prevailing Quality of voice?</p>
+
+<p><span class="smcap">A rolling organ-harmony, etc</span>. What
+idea predominates? How does it affect the Quality of voice?</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_186" id="Page_186">[Pg
+186]</a></span></p>
+
+<h3>SONG FOR SAINT CECILIA'S DAY</h3>
+
+<p class="center2">November 22, 1687</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">From harmony, from heavenly
+harmony</span> <span class="i2">This universal frame began;</span>
+<span class="i1">When Nature underneath a heap</span> <span class=
+"i3">Of jarring atoms lay,</span> <span class="i3">And could not
+heave her head,<span class='linenum2'>5</span></span> <span class=
+"i0">The tuneful voice was heard from high,</span> <span class=
+"i2">Arise ye more than dead.</span> <span class="i0">Then cold,
+and hot, and moist, and dry,</span> <span class="i0">In order to
+their stations leap,</span> <span class="i3">And Music's power
+obey.<span class='linenum2'>10</span></span> <span class="i0">From
+harmony, from heavenly harmony,</span> <span class="i2">This
+universal frame began;</span> <span class="i2">From harmony to
+harmony</span> <span class="i0">Through all the compass of the
+notes it ran,</span> <span class="i0">The diapason closing full in
+Man.<span class='linenum2'>15</span></span><br />
+<span class="i0">What passion cannot Music raise and quell?</span>
+<span class="i2">When Jubal struck the chorded shell,</span> <span
+class="i1">His listening brethren stood around,</span> <span class=
+"i2">And, wondering, on their faces fell</span> <span class="i1">To
+worship that celestial sound;<span class=
+'linenum2'>20</span></span> <span class="i0">Less than a God they
+thought there could not dwell</span> <span class="i2">Within the
+hollow of that shell,</span> <span class="i1">That spoke so sweetly
+and so well.</span> <span class="i0">What passion cannot Music
+raise and quell?</span> <span class="i0">&nbsp;<span class=
+'pagenum'><a name="Page_187" id="Page_187">[Pg
+187]</a></span></span> <span class="i0">The trumpet's loud
+clangour<span class='linenum2'>25</span></span> <span class=
+"i1">Excites us to arms</span> <span class="i0">With shrill notes
+of anger</span> <span class="i1">And mortal alarms.</span> <span
+class="i0">The double double double beat</span> <span class="i1">Of
+the thundering drum<span class='linenum2'>30</span></span> <span
+class="i1">Cries, Hark! the foes come;</span> <span class=
+"i0">Charge, charge, 'tis too late to retreat!</span><br />
+<span class="i1">The soft complaining flute</span> <span class=
+"i1">In dying notes discovers</span> <span class="i1">The woes of
+hopeless lovers,<span class='linenum2'>35</span></span> <span
+class="i0">Whose dirge is whisper'd by the warbling lute.</span>
+<span class="i1">Sharp violins proclaim</span> <span class=
+"i0">Their jealous pangs and desperation,</span> <span class=
+"i0">Fury, frantic indignation,</span> <span class="i0">Depth of
+pains, and height of passion<span class='linenum2'>40</span></span>
+<span class="i1">For the fair, disdainful dame.</span><br />
+<span class="i1">But oh! what art can teach,</span> <span class=
+"i1">What human voice can reach</span> <span class="i2">The sacred
+organ's praise?</span> <span class="i1">Notes inspiring holy
+love,<span class='linenum2'>45</span></span> <span class="i0">Notes
+that wing their heavenly ways</span> <span class="i1">To mend the
+choirs above.</span><br />
+<span class="i0">Orpheus could lead the savage race,</span> <span
+class="i0">And trees unrooted left their place,</span> <span class=
+"i1">Sequacious of the lyre:<span class='linenum2'>50</span></span>
+<span class="i0">But bright Cecilia rais'd the wonder
+higher:</span> <span class="i0">When to her organ vocal breath was
+given</span> <span class="i0">An angel heard, and straight
+appear'd</span> <span class="i1">Mistaking Earth for
+Heaven.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_188" id="Page_188">[Pg
+188]</a></span></p>
+
+<p class="center2"><span class="smcap">Grand Chorus</span></p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">As from the power of sacred
+lays <span class='linenum2'>55</span></span> <span class="i1">The
+spheres began to move,</span> <span class="i0">And sung the great
+Creator's praise</span> <span class="i1">To all the blessed
+above;</span> <span class="i0">So when the last and dreadful
+hour</span> <span class="i0">This crumbling pageant shall
+devour,<span class='linenum2'>60</span></span> <span class="i0">The
+trumpet shall be heard on high,</span> <span class="i0">The dead
+shall live, the living die,</span> <span class="i0">And Music shall
+untune the sky.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>John Dryden</i></p>
+
+<div class="blockquot">
+<p>What feeling pervades the first and last stanzas? The second
+stanza? In what Quality of voice does each of these feelings find
+expression? (Introduction, pp. <a href="#Page_33">33</a>-35.)</p>
+
+<p>Illustrate by means of the third, fourth, and fifth stanzas the
+extent to which Imitation enters into reading. (Introduction, pp. 4
+and 5.)</p>
+
+<p>Account for the gradually increasing Emphasis in ll. 11-15,
+48-54, and 60-63. (Introduction, p. <a href="#Page_31">31</a>.)</p>
+
+<p>3-6. What is the Shading and Inflection? (Introduction, pp. <a
+href="#Page_16">16</a> and <a href="#Page_33">33</a>.) Compare with
+these ll. 55-61.</p>
+
+<p>16. What is the Inflection on this question? (Introduction, p.
+<a href="#Page_19">19</a>.) Compare with this ll. 42-44.</p>
+
+<p>21. <span class="smcap">THEY THOUGHT</span>. How does the reader
+give to these words the force of a parenthetical clause?
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>22-23. Note the Grouping.</p>
+
+<p>31. How does the voice make the transition to direct discourse?
+(Introduction, p. 24.)</p>
+
+<p>42-54. What is the mental attitude? What is the corresponding
+Stress? (Introduction, p. <a href="#Page_29">29</a>.)</p>
+
+<p>44. <span class="smcap">ORGAN'S</span>. Account for the marked
+Emphasis on this word. Compare <span class="smcap">BRIGHT
+CECILIA</span>, l. 51.</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_189" id="Page_189">[Pg
+189]</a></span></p>
+
+<h3>THE DAY WAS LINGERING</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">The day was lingering in the
+pale northwest,</span> <span class="i1">And night was hanging o'er
+my head,&mdash;</span> <span class="i1">Night where a myriad stars
+were spread;</span> <span class="i0">While down in the east, where
+the light was least,</span> <span class="i1">Seem'd the home of the
+quiet dead.<span class='linenum2'>5</span></span> <span class=
+"i0">And, as I gazed on the field sublime,</span> <span class=
+"i1">To watch the bright, pulsating stars,</span> <span class=
+"i1">Adown the deep where the angels sleep</span> <span class=
+"i0">Came drawn the golden chime</span> <span class="i1">Of those
+great spheres that sound the years<span class=
+'linenum2'>10</span></span> <span class="i0">For the horologe of
+time.</span> <span class="i1">Millenniums numberless they
+told,</span> <span class="i1">Millenniums a million-fold</span>
+<span class="i0">From the ancient hour of prime.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Charles Heavysege</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory.</span>&mdash;Compare other
+passages from literature which suggest the "music of the spheres,"
+for example: Dryden's <i>Song for Saint Cecilia's Day, The
+Moonlight Scene</i> from <i>The Merchant of Venice</i>, Milton's
+<i>The Hymn</i>.</p>
+
+<p>What is the atmosphere of ll. 1-4? Of ll. 5-14? In what two
+different Qualities of voice do the corresponding feelings find
+expression?</p>
+
+<p>Read ll. 6-11, with a view to Perspective.</p>
+
+<p>Note the Grouping in ll. 9-11.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_189a" id="Page_189a"></a>ON FIRST LOOKING INTO
+CHAPMAN'S HOMER</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Much have I travelled in the
+realms of gold,</span> <span class="i1">And many goodly states and
+kingdoms seen;</span> <span class="i1">Round many western islands
+have I been,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_190" id="Page_190">[Pg 190]</a></span>Which bards in fealty
+to Apollo hold.</span> <span class="i0">Oft of one wide expanse had
+I been told<span class='linenum2'>5</span></span> <span class=
+"i1">That deep-browed Homer ruled as his demesne;</span> <span
+class="i1">Yet never did I breathe its pure serene</span> <span
+class="i0">Till I heard Chapman speak out loud and bold:</span>
+<span class="i0">Then felt I like some watcher of the skies</span>
+<span class="i1">When a new planet swims into his ken;<span class=
+'linenum2'>10</span></span> <span class="i0">Or like stout Cortez
+when with eagle eyes</span> <span class="i1">He stared at the
+Pacific&mdash;and all his men</span> <span class="i0">Looked at
+each other with a wild surmise&mdash;</span> <span class=
+"i1">Silent, upon a peak in Darien.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>John Keats</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;How is the
+fundamental idea of this sonnet illustrated in <i>The Key to Human
+Happiness?</i> (p. <a href="#Page_266">266</a>.)</p>
+
+<p>What feeling pervades the last six lines? In which line is this
+feeling most marked? In what Quality of voice does it find
+expression? (Introduction, pp. <a href="#Page_33">33</a>-35.)</p>
+
+<p>Select the words which are emphatic through contrast, expressed
+or implied. (Introduction, p. <a href="#Page_32">32</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_190a" id="Page_190a"></a>GREAT THINGS WERE NE'ER
+BEGOTTEN IN AN HOUR</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Great things were ne'er
+begotten in an hour;</span> <span class="i1">Ephemerons in birth,
+are such in life;</span> <span class="i1">And he who dareth, in the
+noble strife</span> <span class="i0">Of intellects, to cope for
+real power,&mdash;</span> <span class="i0">Such as God giveth as
+His rarest dower<span class='linenum2'>5</span></span> <span class=
+"i1">Of mastery, to the few with greatness rife,&mdash;</span>
+<span class="i0">Must, ere the morning mists have ceased to
+lower</span> <span class="i1">Till the long shadows of the night
+arrive,</span> <span class="i0">Stand in the arena. Laurels that
+are won,</span> <span class="i0">Plucked from green boughs, soon
+wither; those that last<span class='linenum2'>10</span></span>
+<span class="i0"><span class='pagenum'><a name="Page_191" id=
+"Page_191">[Pg 191]</a></span>Are gather'd patiently, when sultry
+noon</span> <span class="i0">And summer's fiery glare in vain are
+past.</span> <span class="i2">Life is the hour of labour; on
+Earth's breast</span> <span class="i2">Serene and undisturb'd shall
+be thy rest.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Sir Daniel Wilson (By
+permission)</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What is the
+essential thought in this sonnet? Quote corresponding passages.
+Give illustrations from history and fiction.</p>
+
+<p>What words are emphatic because of (<i>a</i>) contrast
+expressed, (<i>b</i>) contrast implied? (Introduction, pp. <a href=
+"#Page_30">30</a> and <a href="#Page_32">32</a>.)</p>
+
+<p>Read ll. 3-9, with a view to Perspective. (Introduction, p.
+33.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_191a" id="Page_191a"></a>A WOOD LYRIC</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Into the stilly woods I
+go,</span> <span class="i0">Where the shades are deep and the
+wind-flowers blow,</span> <span class="i0">And the hours are dreamy
+and lone and long,</span> <span class="i0">And the power of silence
+is greater than song.</span> <span class="i0">Into the stilly woods
+I go,<span class='linenum2'>5</span></span> <span class="i0">Where
+the leaves are cool and the wind-flowers blow.</span><br />
+<span class="i0">When I go into the stilly woods,</span> <span
+class="i0">And know all the flowers in their sweet, shy
+hoods,</span> <span class="i0">The tender leaves in their shimmer
+and sheen</span> <span class="i0">Of darkling shadow, diaphanous
+green,<span class='linenum2'>10</span></span> <span class="i0">In
+those haunted halls where my footstep falls,</span> <span class=
+"i0">Like one who enters cathedral walls,</span> <span class="i0">A
+spirit of beauty floods over me,</span> <span class="i0">As over a
+swimmer the waves of the sea,</span> <span class="i0">That
+strengthens and glories, refreshens and fills,<span class=
+'linenum2'>15</span></span> <span class="i0">Till all mine inner
+heart wakens and thrills</span> <span class="i0">With a new and a
+glad and a sweet delight,</span> <span class="i0">And a sense of
+the infinite out of sight,</span> <span class="i0"><span class=
+'pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span>Of
+the great unknown that we may not know,</span> <span class="i0">But
+only feel with an inward glow<span class=
+'linenum2'>20</span></span> <span class="i0">When into the great,
+glad woods we go.</span><br />
+<span class="i0">O life-worn brothers, come with me</span> <span
+class="i0">Into the wood's hushed sanctity,</span> <span class=
+"i0">Where the great, cool branches are heavy with June,</span>
+<span class="i0">And the voices of summer are strung in tune;<span
+class='linenum2'>25</span></span> <span class="i0">Come with me, O
+heart out-worn,</span> <span class="i0">Or spirit whom life's
+brute-struggles have torn,</span> <span class="i0">Come, tired and
+broken and wounded feet,</span> <span class="i0">Where the walls
+are greening, the floors are sweet,</span> <span class="i0">The
+roofs are breathing and heaven's airs meet.<span class=
+'linenum2'>30</span></span> <span class="i0">Come, wash earth's
+grievings from out of the face,</span> <span class="i0">The tear
+and the sneer and the warfare's trace,</span> <span class=
+"i0">Come, where the bells of the forest are ringing,</span> <span
+class="i0">Come, where the oriole's nest is swinging,</span> <span
+class="i0">Where the brooks are foaming in amber pools,<span class=
+'linenum2'>35</span></span> <span class="i0">The mornings are still
+and the noonday cools.</span> <span class="i0">Cast off earth's
+sorrows and know what I know,</span> <span class="i0">When into the
+glad, deep woods I go.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>William Wilfred Campbell (By
+permission)</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;"An Afternoon
+alone in the Woods." Tell what one may see, and think, and feel.
+Illustrate by quotations from the poets.</p>
+
+<p>Give numerous examples of momentary completeness throughout the
+poem. (Introduction, p. <a href="#Page_16">16</a>.)</p>
+
+<p>How does the reader show that ll. 7-12 are merely anticipative?
+(Introduction, p. <a href="#Page_17">17</a>.)</p>
+
+<p>What change is made in the Force in l. 13? (Introduction, p. <a
+href="#Page_33">33</a>.)</p>
+
+<p>How is l. 15 connected with l. 13?</p>
+
+<p>Observe the transition from description to appeal in l. 22. What
+is the change in vocal expression?</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_193" id="Page_193">[Pg
+193]</a></span></p>
+
+<h3>TO NIGHT</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Swiftly walk over the western
+wave,</span> <span class="i4">Spirit of Night!</span> <span class=
+"i0">Out of the misty eastern cave,</span> <span class="i0">Where,
+all the long and lone daylight,</span> <span class="i0">Thou wovest
+dreams of joy and fear,<span class='linenum2'>5</span></span> <span
+class="i0">Which make thee terrible and dear,&mdash;</span> <span
+class="i4">Swift be thy flight!</span><br />
+<span class="i0">Wrap thy form in a mantle gray,</span> <span
+style="margin-left: 4em;">Star-inwrought!</span> <span class=
+"i0">Blind with thine hair the eyes of Day,<span class=
+'linenum2'>10</span></span> <span class="i0">Kiss her until she be
+wearied out,</span> <span class="i0">Then wander o'er city, and
+sea, and land,</span> <span class="i0">Touching all with thine
+opiate wand&mdash;</span> <span class="i4">Come,
+long-sought!</span><br />
+<span class="i0">When I arose and saw the dawn,<span class=
+'linenum2'>15</span></span> <span class="i4">I sighed for
+thee;</span> <span class="i0">When light rode high, and the dew was
+gone,</span> <span class="i0">And noon lay heavy on flower and
+tree,</span> <span class="i0">And the weary Day turned to his
+rest,</span> <span class="i0">Lingering like an unloved guest,<span
+class='linenum2'>20</span></span> <span class="i4">I sighed for
+thee.</span><br />
+<span class="i0">Thy brother Death came, and cried,</span> <span
+class="i4">Wouldst thou me?</span> <span class="i0">Thy sweet child
+Sleep, the filmy-eyed,</span> <span class="i0">Murmured like a
+noontide bee<span class='linenum2'>25</span></span> <span class=
+"i0"><span class='pagenum'><a name="Page_194" id="Page_194">[Pg
+194]</a></span>Shall I nestle near thy side?</span> <span class=
+"i0">Wouldst thou me?&mdash;And I replied,</span> <span class=
+"i4">No, not thee!</span><br />
+<span class="i0">Death will come when thou art dead,</span> <span
+class="i4">Soon, too soon<span class='linenum2'>30</span></span>
+<span class="i0">Sleep will come when thou art fled;</span> <span
+class="i0">Of neither would I ask the boon</span> <span class=
+"i0">I ask of thee, belov&egrave;d Night&mdash;</span> <span class=
+"i0">Swift be thine approaching flight,</span> <span class=
+"i4">Come soon, soon!<span class='linenum2'>35</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Percy Bysshe Shelley</i></p>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_194a" id="Page_194a"></a>THE OPENING SCENE AT THE
+TRIAL OF WARREN HASTINGS</h3>
+
+<p class="center2">From "Essay on Warren Hastings"</p>
+
+<p>On the 13th of February, 1788, the sittings of the Court
+commenced. There have been spectacles more dazzling to the eye,
+more gorgeous with jewelry and cloth of gold, more attractive to
+grown-up children, than that which was then exhibited at
+Westminster; but, perhaps, there never was a spectacle so well
+calculated to strike a highly cultivated, a reflecting, an
+imaginative mind. All the various kinds of interest which belong to
+the near and to the distant, to the present and to the past, were
+collected on one spot and in one hour. All the talents and all the
+accomplishments which are developed by liberty and civilization
+were now displayed with every advantage that could be derived both
+from co-operation and from contrast. Every step in the proceedings
+carried the mind either backward, through many troubled centuries,
+to the days when the founda<span class='pagenum'><a name="Page_195"
+id="Page_195">[Pg 195]</a></span>tions of our constitution were
+laid; or far away, over boundless seas and deserts, to dusky
+nations living under strange stars, worshipping strange gods, and
+writing strange characters from right to left. The High Court of
+Parliament was to sit, according to forms handed down from the days
+of the Plantagenets, on an Englishman accused of exercising tyranny
+over the lord of the holy city of Benares and over the ladies of
+the princely house of Oude.</p>
+
+<p>The place was worthy of such a trial. It was the great hall of
+William Rufus, the hall which had resounded with acclamations at
+the inauguration of thirty kings, the hall which had witnessed the
+just sentence of Bacon and the just absolution of Somers, the hall
+where the eloquence of Strafford had for a moment awed and melted a
+victorious party inflamed with just resentment, the hall where
+Charles had confronted the High Court of Justice with the placid
+courage which has half redeemed his fame.</p>
+
+<p>Neither military nor civil pomp was wanting. The avenues were
+lined with grenadiers. The streets were kept clear by cavalry. The
+peers, robed in gold and ermine, were marshalled by the heralds
+under Garter King-at-Arms. The judges in their vestments of state
+attended to give advice on points of law. Near a hundred and
+seventy lords, three fourths of the Upper House as the Upper House
+then was, walked in solemn order from their usual place of
+assembling to the tribunal. The junior Baron present led the way,
+George Eliott, Lord Heathfield, recently ennobled for his memorable
+defence of Gibraltar against the fleets and armies of France and
+Spain. The long procession was closed by the Duke of Norfolk, Earl
+Marshal of the realm, by <span class='pagenum'><a name="Page_196"
+id="Page_196">[Pg 196]</a></span>the great dignitaries, and by the
+brothers and sons of the King. Last of all came the Prince of
+Wales, conspicuous by his fine person and noble bearing.</p>
+
+<p>The gray old walls were hung with scarlet. The long galleries
+were crowded by an audience such as has rarely excited the fears or
+the emulation of an orator. There were gathered together, from all
+parts of a great, free, enlightened and prosperous empire, grace
+and female loveliness, wit and learning, the representatives of
+every science and of every art. There were seated round the Queen,
+the fair-haired young daughters of the house of Brunswick. There
+the Ambassadors of great Kings and Commonwealths gazed with
+admiration on a spectacle which no other country in the world could
+present. There Siddons, in the prime of her majestic beauty, looked
+with emotion on a scene surpassing all the imitations of the stage.
+There the historian of the Roman Empire thought of the days when
+Cicero pleaded the cause of Sicily against Verres, and when, before
+a senate which still retained some show of freedom, Tacitus
+thundered against the oppressor of Africa.</p>
+
+<p>There were seen, side by side, the greatest painter and the
+greatest scholar of the age. The spectacle had allured Reynolds
+from that easel which has preserved to us the thoughtful foreheads
+of so many writers and statesmen, and the sweet smiles of so many
+noble matrons. It had induced Parr to suspend his labours in that
+dark and profound mine from which he had extracted a vast treasure
+of erudition&mdash;a treasure too often buried in the earth, too
+often paraded with injudicious and inelegant ostentation; but still
+precious, massive, and splendid. There appeared the voluptuous
+charms of her to whom the heir of the throne had in <span class=
+'pagenum'><a name="Page_197" id="Page_197">[Pg
+197]</a></span>secret plighted his faith. There too was she, the
+beautiful mother of a beautiful race, the Saint Cecilia, whose
+delicate features, lighted up by love and music, art has rescued
+from the common decay. There were the members of that brilliant
+society which quoted, criticised, and exchanged repartees under the
+rich peacock hangings of Mrs. Montague. And there the ladies, whose
+lips, more persuasive than those of Fox himself, had carried the
+Westminster election against palace and treasury, shone round
+Georgiana, Duchess of Devonshire.</p>
+
+<p>The Serjeants made proclamation. Hastings advanced to the bar
+and bent his knee. The culprit was indeed not unworthy of that
+great presence. He had ruled an extensive and populous country, had
+made laws and treaties, had sent forth armies, had set up and
+pulled down princes. And in his high place he had so borne himself
+that all had feared him, that most had loved him, and that hatred
+itself could deny him no title to glory except virtue. He looked
+like a great man and not like a bad man. A person small and
+emaciated, yet deriving dignity from a carriage which, while it
+indicated deference to the court, indicated also habitual
+self-possession and self-respect; a high and intellectual forehead;
+a brow pensive, but not gloomy; a mouth of inflexible decision; a
+face pale and worn, but serene, on which was written, as legibly as
+under the picture in the council-chamber at Calcutta, <i>Mens aequa
+in arduis</i>; such was the aspect with which the great Proconsul
+presented himself to his judges.</p>
+
+<p>His counsel accompanied him, men all of whom were afterwards
+raised by their talents and learning to the highest posts in their
+profession&mdash;the bold and strong-<span class='pagenum'><a name=
+"Page_198" id="Page_198">[Pg 198]</a></span>minded Law, afterwards
+Chief-Justice of the King's Bench; the more humane and eloquent
+Dallas, afterwards, Chief-Justice of the Common Pleas; and Plomer,
+who, near twenty years later, successfully conducted in the same
+high court the defence of Lord Melville, and subsequently became
+Vice-chancellor and Master of the Rolls.</p>
+
+<p>But neither the culprit nor his advocates attracted so much
+notice as the accusers. In the midst of the blaze of red drapery, a
+space had been fitted up with green benches and tables for the
+Commons. The managers, with Burke at their head, appeared in full
+dress. The collectors of gossip did not fail to remark that even
+Fox, generally so regardless of his appearance, had paid to the
+illustrious tribunal the compliment of wearing a bag and sword.
+Pitt had refused to be one of the conductors of the impeachment;
+and his commanding, copious, and sonorous eloquence was wanting to
+that great muster of various talents. Age and blindness had
+unfitted Lord North for the duties of a public prosecutor; and his
+friends were left without the help of his excellent sense, his
+tact, and his urbanity.</p>
+
+<p>But in spite of the absence of these two distinguished members
+of the Lower House, the box in which the managers stood contained
+an array of speakers such as perhaps had not appeared together
+since the great age of Athenian eloquence. There were Fox and
+Sheridan, the English Demosthenes and the English Hyperides. There
+was Burke, ignorant, indeed, or negligent of the art of adapting
+his reasonings and his style to the capacity and taste of his
+hearers, but in amplitude of comprehension and richness of
+imagination superior to every orator, ancient or modern.</p>
+
+<p><span class='pagenum'><a name="Page_199" id="Page_199">[Pg
+199]</a></span></p>
+
+<p>There, with eyes reverentially fixed on Burke, appeared the
+finest gentleman of the age&mdash;his form developed by every manly
+exercise, his face beaming with intelligence and spirit&mdash;the
+ingenious, the chivalrous, the high-souled Windham. Nor, though
+surrounded by such men, did the youngest manager pass unnoticed. At
+an age when most of those who distinguish themselves in life are
+still contending for prizes and fellowships at college, he had won
+for himself a conspicuous place in Parliament. No advantage of
+fortune or connection was wanting that could set off to the height
+his splendid talents and his unblemished honour. At twenty-three he
+had been thought worthy to be ranked with the veteran statesmen who
+appeared as the delegates of the British Commons at the bar of the
+British nobility. All who stood at the bar, save him alone, are
+gone&mdash;culprit, advocates, accusers. To the generation which is
+now in the vigour of life, he is the sole representative of a great
+age which has passed away. But those who, within the last ten
+years, have listened with delight till the morning sun shone on the
+tapestries of the House of Lords, to the lofty and animated
+eloquence of Charles, Earl Grey, are able to form some estimate of
+the powers of a race of men among whom he was not the foremost.</p>
+
+<p>The charges, and the answers of Hastings, were first read. The
+ceremony occupied two whole days, and was rendered less tedious
+than it would otherwise have been by the silver voice and just
+emphasis of Cowper, the clerk of the court, near relation of the
+amiable poet. On the third day Burke rose. Four sittings were
+occupied by his opening speech, which was intended to be a general
+introduction to all the charges. With an exuberance of <span class=
+'pagenum'><a name="Page_200" id="Page_200">[Pg
+200]</a></span>thought and splendour of diction which more than
+satisfied the highly raised expectations of the audience, he
+described the character and institutions of the natives of India;
+recounted the circumstances in which the Asiatic empire of Britain
+had originated; and set forth the constitution of the Company and
+of the English Presidencies. Having thus attempted to communicate
+to his hearers an idea of Eastern society, as vivid as that which
+existed in his own mind, he proceeded to arraign the administration
+of Hastings, as systematically conducted in defiance of morality
+and public law.</p>
+
+<p>The energy and pathos of the great orator extorted expressions
+of unwonted admiration from the stern and hostile Chancellor, and,
+for a moment, seemed to pierce even the resolute heart of the
+defendant. The ladies in the galleries, unaccustomed to such
+displays of eloquence, excited by the solemnity of the occasion,
+and perhaps not unwilling to display their taste and sensibility,
+were in a state of uncontrollable emotion. Handkerchiefs were
+pulled out, smelling-bottles were handed round; hysterical sobs and
+screams were heard; and Mrs. Sheridan was carried out in a fit. At
+length the orator concluded. Raising his voice till the old arches
+of Irish oak resounded: "Therefore," said he, "hath it with all
+confidence been ordered by the Commons of Great Britain, that I
+impeach Warren Hastings of high crimes and misdemeanours. I impeach
+him in the name of the Commons' House of Parliament, whose trust he
+has betrayed. I impeach him in the name of the English nation,
+whose ancient honour he has sullied. I impeach him in the name of
+the people of India, whose rights he has trodden under foot and
+whose country he has turned into a desert. Lastly in the name of
+human <span class='pagenum'><a name="Page_201" id="Page_201">[Pg
+201]</a></span>nature itself, in the name of both sexes, in the
+name of every age, in the name of every rank, I impeach the common
+enemy and oppressor of all."</p>
+
+<p class="quotsig">&mdash;<i>Macaulay</i></p>
+
+<div class="blockquot">
+<p>This lesson is an exercise on Inflection, especially as it
+occurs on antithetical words or phrases and on series of words or
+phrases parallel in construction. (Introduction, pp. <a href=
+"#Page_19">19</a> and <a href="#Page_20">20</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_201a" id="Page_201a"></a>PERORATION OF OPENING
+SPEECH AGAINST WARREN HASTINGS</h3>
+
+<p>1. In the name of the Commons of England, I charge all this
+villainy upon Warren Hastings, in this last moment of my
+application to you.</p>
+
+<p>2. My Lords, what is it that we want here to a great act of
+national justice. Do we want a cause, my Lords? You have the cause
+of oppressed princes, of undone women of the first rank, of
+desolated provinces, and of wasted kingdoms.</p>
+
+<p>3. Do you want a criminal, my Lords? When was there so much
+iniquity ever laid to the charge of any one? No, my Lords, you must
+not look to punish any other such delinquent from India. Warren
+Hastings has not left substance enough in India to nourish such
+another delinquent.</p>
+
+<p>4. My Lords, is it a prosecutor you want? You have before you
+the Commons of Great Britain as prosecutors; and I believe, my
+Lords, that the sun, in his beneficent progress round the world,
+does not behold a more glorious sight than that of men, separated
+from a remote people by the material bounds and barriers of nature,
+united by the bond of a social and moral community&mdash;all the
+Commons of England resenting, as <span class='pagenum'><a name=
+"Page_202" id="Page_202">[Pg 202]</a></span>their own, the
+indignities and cruelties that are offered to all the people of
+India.</p>
+
+<p>5. Do we want a tribunal? My Lords, no example of antiquity,
+nothing in the modern world, nothing in the range of human
+imagination, can supply us with a tribunal like this. My Lords,
+here we see virtually, in the mind's eye, that sacred majesty of
+the Crown, under whose authority you sit and whose power you
+exercise. We have here all the branches of the royal family, in a
+situation between majesty and subjection, between the sovereign and
+the subject&mdash;offering a pledge in that situation, for the
+support of the rights of the Crown and the liberties of the people,
+both which extremities they touch.</p>
+
+<p>6. My Lords, we have a great hereditary peerage here; those who
+have their own honour, the honour of their ancestors, and of their
+posterity, to guard, and who will justify, as they always have
+justified, that precision in the Constitution by which justice is
+made an hereditary office. My Lords, we have here a new nobility,
+who have risen and exalted themselves by various merits, by great
+civil and military services, which have extended the fame of this
+country from the rising to the setting sun. My Lords, you have
+here, also, the lights of our religion; you have the bishops of
+England. My Lords, you have that true image of the primitive church
+in its ancient form, in its ancient ordinances, purified from the
+superstitions and vices which a long succession of ages will bring
+upon the best institutions.</p>
+
+<p>7. My Lords, these are the securities which we have in all the
+constituent parts of the body of this House. We know them, we
+reckon, we rest upon them, and commit safely the interests of India
+and of humanity <span class='pagenum'><a name="Page_203" id=
+"Page_203">[Pg 203]</a></span>into your hands. Therefore, it is
+with confidence that, ordered by the Commons, I impeach Warren
+Hastings, Esquire, of high crimes and misdemeanours. I impeach him
+in the name of the Commons of Great Britain in Parliament
+assembled, whose parliamentary trust he has betrayed. I impeach him
+in the name of all the Commons of Great Britain, whose national
+character he has dishonoured. I impeach him in the name of the
+people of India, whose laws, rights, and liberties he has
+subverted, whose property he has destroyed, whose country he has
+laid waste and desolate. I impeach him in the name and by virtue of
+those eternal laws of justice which he has violated. I impeach him
+in the name of human nature itself, which he has cruelly outraged,
+injured and oppressed, in both sexes, in every age, rank,
+situation, and condition of life.</p>
+
+<p><i>&mdash;Edmund Burke</i></p>
+
+<div class="blockquot">
+<p>What effect would the solemnity of the occasion and the gravity
+of the accusation have on the Quality of the speaker's voice?
+(Introduction, p. <a href="#Page_34">34</a>.)</p>
+
+<p>Par. 2. <span class="smcap">CAUSE</span>. What words in Pars. 3,
+4, and 5 are emphatic through contrast with this word? Point out
+similar contrasts in Par. 6.</p>
+
+<p>Account for the Inflection on the various questions.</p>
+
+<p>How are the Climaxes in Pars. 2, 5, and 7 interpreted vocally?
+(Introduction, p. <a href="#Page_31">31</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_203a" id="Page_203a"></a>THE SONG MY PADDLE
+SINGS</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">West wind, blow from your
+prairie nest,</span> <span class="i0">Blow from the mountains, blow
+from the west.</span> <span class="i0">The sail is idle, the sailor
+too;</span> <span class="i0">O! wind of the west, we wait for
+you.</span> <span class="i0">Blow, blow!<span class=
+'linenum2'>5</span></span> <span class="i0">I have wooed you
+so,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_204" id="Page_204">[Pg 204]</a></span>But never a favour you
+bestow.</span> <span class="i0">You rock your cradle the hills
+between,</span> <span class="i0">But scorn to notice my white
+lateen.</span><br />
+<span class="i0">I stow the sail, unship the mast:<span class=
+'linenum2'>10</span></span> <span class="i0">I wooed you long, but
+my wooing's past;</span> <span class="i0">My paddle will lull you
+into rest.</span> <span class="i0">O! drowsy wind of the drowsy
+west,</span> <span class="i0">Sleep, sleep,</span> <span class=
+"i0">By your mountain steep,<span class='linenum2'>15</span></span>
+<span class="i0">Or down where the prairie grasses sweep!</span>
+<span class="i0">Now fold in slumber your laggard wings,</span>
+<span class="i0">For soft is the song my paddle sings.</span><br />
+<span class="i0">August is laughing across the sky,</span> <span
+class="i0">Laughing while paddle, canoe, and I,<span class=
+'linenum2'>20</span></span> <span class="i0">Drift, drift,</span>
+<span class="i0">Where the hills uplift</span> <span class="i0">On
+either side of the current swift.</span><br />
+<span class="i0">The river rolls in its rocky bed;</span> <span
+class="i0">My paddle is plying its way ahead<span class=
+'linenum2'>25</span></span> <span class="i0">Dip, dip,</span> <span
+class="i0">While the waters flip</span> <span class="i0">In foam as
+over their breast we slip.</span><br />
+<span class="i0">And oh, the river runs swifter now;</span> <span
+class="i0">The eddies circle about my bow.<span class=
+'linenum2'>30</span></span> <span class="i0">Swirl, swirl!</span>
+<span class="i0">How the ripples curl</span> <span class="i0">In
+many a dangerous pool awhirl!</span> <span class="i0">&nbsp;<span
+class='pagenum'><a name="Page_205" id="Page_205">[Pg
+205]</a></span></span> <span class="i0">And forward far the rapids
+roar,</span> <span class="i0">Fretting their margin for
+evermore.<span class='linenum2'>35</span></span> <span class=
+"i0">Dash, dash,</span> <span class="i0">With a mighty
+crash,</span> <span class="i0">They seethe, and boil, and bound,
+and splash.</span><br />
+<span class="i0">Be strong, O paddle! be brave, canoe!</span> <span
+class="i0">The reckless waves you must plunge into.<span class=
+'linenum2'>40</span></span> <span class="i0">Reel, reel,</span>
+<span class="i0">On your trembling keel,</span> <span class=
+"i0">But never a fear my craft will feel.</span><br />
+<span class="i0">We've raced the rapid, we're far ahead!</span>
+<span class="i0">The river slips through its silent bed.<span
+class='linenum2'>45</span></span> <span class="i0">Sway,
+sway,</span> <span class="i0">As the bubbles spray</span> <span
+class="i0">And fall in tinkling tunes away.</span><br />
+<span class="i0">And up on the hills against the sky,</span> <span
+class="i0">A fir-tree rocking its lullaby,<span class=
+'linenum2'>50</span></span> <span class="i0">Swings, swings,</span>
+<span class="i0">Its emerald wings,</span> <span class=
+"i0">Swelling the song that my paddle sings.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>E. Pauline Johnson
+(Tekahionwake)</i></p>
+
+<p class="quotsig">(<i>By arrangement with the Author</i>)</p>
+
+<div class="blockquot">
+<p>By examples from the above poem show to what extent Imitation
+enters into vocal expression. (Introduction, pp. 4-6.)</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_206" id="Page_206">[Pg
+206]</a></span></p>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_206a" id="Page_206a"></a>THE DEFENCE OF THE
+BRIDGE</h3>
+
+<p class="center2">From "Horatius"</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">... The Consul's brow was
+sad,</span> <span class="i1">And the Consul's speech was
+low,</span> <span class="i0">And darkly looked he at the
+wall</span> <span class="i1">And darkly at the foe.</span> <span
+class="i0">"Their van will be upon us<span class=
+'linenum2'>5</span></span> <span class="i1">Before the bridge goes
+down;</span> <span class="i0">And if they once may win the
+bridge,</span> <span class="i1">What hope to save the
+town?"</span><br />
+<span class="i0">Then out spake brave Horatius,</span> <span class=
+"i1">The Captain of the Gate:<span class=
+'linenum2'>10</span></span> <span class="i0">"To every man upon
+this earth</span> <span class="i1">Death cometh soon or
+late.</span> <span class="i0">And how can man die better</span>
+<span class="i1">Than facing fearful odds,</span> <span class=
+"i0">For the ashes of his fathers,<span class=
+'linenum2'>15</span></span> <span class="i1">And the temples of his
+gods?</span><br />
+<span class="i0">"Hew down the bridge, Sir Consul,</span> <span
+class="i1">With all the speed ye may;</span> <span class="i0">I,
+with two more to help me,</span> <span class="i1">Will hold the foe
+in play.<span class='linenum2'>20</span></span> <span class="i0">In
+yon straight path a thousand</span> <span class="i1">May well be
+stopped by three.</span> <span class="i0">Now who will stand on
+either hand,</span> <span class="i0">And keep the bridge with
+me?"</span> <span class="i0">&nbsp;<span class='pagenum'><a name=
+"Page_207" id="Page_207">[Pg 207]</a></span></span> <span class=
+"i0">Then out spake Spurius Lartius,&mdash;<span class=
+'linenum2'>25</span></span> <span class="i1">A Ramnian proud was
+he,&mdash;</span> <span class="i0">"Lo, I will stand at thy right
+hand,</span> <span class="i1">And keep the bridge with
+thee."</span> <span class="i0">And out spake strong
+Herminius,&mdash;</span> <span class="i1">Of Titian blood was
+he,&mdash;<span class='linenum2'>30</span></span> <span class=
+"i0">"I will abide on thy left side,</span> <span class="i1">And
+keep the bridge with thee."</span><br />
+<span class="i0">"Horatius," quoth the Consul,</span> <span class=
+"i1">"As thou sayest, so let it be."</span> <span class="i0">And
+straight against that great array<span class=
+'linenum2'>35</span></span> <span class="i1">Forth went the
+dauntless Three.</span> <span class="i0">For Romans in Rome's
+quarrel</span> <span class="i1">Spared neither land nor
+gold,</span> <span class="i0">Nor son nor wife, nor limb nor
+life,</span> <span class="i1">In the brave days of old.<span class=
+'linenum2'>40</span></span><br />
+<span class="i0">Then none was for a party;</span> <span class=
+"i1">Then all were for the state;</span> <span class="i0">Then the
+great man helped the poor,</span> <span class="i1">And the poor man
+loved the great:</span> <span class="i0">Then lands were fairly
+portioned;<span class='linenum2'>45</span></span> <span class=
+"i1">Then spoils were fairly sold:</span> <span class="i0">The
+Romans were like brothers</span> <span class="i1">In the brave days
+of old.</span><br />
+<span class="i0">Now, Roman is to Roman</span> <span class=
+"i1">More hateful than a foe,<span class=
+'linenum2'>50</span></span> <span class="i0">And the Tribunes beard
+the high,</span> <span class="i1">And the Fathers grind the
+low.</span> <span class="i0">As we wax hot in faction,</span> <span
+class="i1">In battle we wax cold:</span> <span class="i0"><span
+class='pagenum'><a name="Page_208" id="Page_208">[Pg
+208]</a></span>Wherefore men fight not as they fought<span class=
+'linenum2'>55</span></span> <span class="i1">In the brave days of
+old.</span><br />
+<span class="i0">Now while the Three were tightening</span> <span
+class="i1">Their harness on their backs,</span> <span class=
+"i0">The Consul was the foremost man</span> <span class="i1">To
+take in hand an axe:<span class='linenum2'>60</span></span> <span
+class="i0">And Fathers mixed with Commons</span> <span class=
+"i1">Seized hatchet, bar, and crow,</span> <span class="i0">And
+smote upon the planks above,</span> <span class="i1">And loosed the
+props below.</span><br />
+<span class="i0">Meanwhile the Tuscan army,<span class=
+'linenum2'>65</span></span> <span class="i1">Right glorious to
+behold,</span> <span class="i0">Came flashing back the noonday
+light,</span> <span class="i0">Rank behind rank, like surges
+bright</span> <span class="i1">Of a broad sea of gold.</span> <span
+class="i0">Four hundred trumpets sounded<span class=
+'linenum2'>70</span></span> <span class="i1">A peal of warlike
+glee,</span> <span class="i0">As that great host with measured
+tread,</span> <span class="i0">And spears advanced, and ensigns
+spread,</span> <span class="i0">Rolled slowly towards the bridge's
+head,</span> <span class="i1">Where stood the dauntless Three.<span
+class='linenum2'>75</span></span><br />
+<span class="i0">The Three stood calm and silent,</span> <span
+class="i1">And looked upon the foes,</span> <span class="i0">And a
+great shout of laughter</span> <span class="i1">From all the
+vanguard rose:</span> <span class="i0">And forth three chiefs came
+spurring<span class='linenum2'>80</span></span> <span class=
+"i1">Before that deep array;</span> <span class="i0">To earth they
+sprang, their swords they drew,</span> <span class="i0">And lifted
+high their shields, and flew</span> <span class="i1">To win the
+narrow way;</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_209" id="Page_209">[Pg 209]</a></span></span> <span
+class="i0">Aunus from green Tifernum,<span class=
+'linenum2'>85</span></span> <span class="i1">Lord of the Hill of
+Vines;</span> <span class="i0">And Seius, whose eight hundred
+slaves</span> <span class="i1">Sicken in Ilva's mines;</span> <span
+class="i0">And Picus, long to Clusium</span> <span class=
+"i1">Vassal in peace and war,<span class=
+'linenum2'>90</span></span> <span class="i0">Who led to fight his
+Umbrian powers</span> <span class="i0">From that gray crag where,
+girt with towers,</span> <span class="i0">The fortress of Nequinum
+lowers</span> <span class="i1">O'er the pale waves of
+Nar.</span><br />
+<span class="i0">Stout Lartius hurled down Aunus<span class=
+'linenum2'>95</span></span> <span class="i1">Into the stream
+beneath;</span> <span class="i0">Herminius struck at Seius,</span>
+<span class="i1">And clove him to the teeth;</span> <span class=
+"i0">At Picus brave Horatius</span> <span class="i1">Darted one
+fiery thrust;<span class='linenum2'>100</span></span> <span class=
+"i0">And the proud Umbrian's gilded arms</span> <span class=
+"i1">Clashed in the bloody dust.</span><br />
+<span class="i0">Then Ocnus of Falerii</span> <span class=
+"i1">Rushed on the Roman Three;</span> <span class="i0">And
+Lausulus of Urgo,<span class='linenum2'>105</span></span> <span
+class="i1">The rover of the sea;</span> <span class="i0">And Aruns
+of Volsinium,</span> <span class="i1">Who slew the great wild
+boar,</span> <span class="i0">The great wild boar that had his
+den</span> <span class="i0">Amidst the reeds of Cosa's fen,<span
+class='linenum2'>110</span></span> <span class="i0">And wasted
+fields, and slaughtered men,</span> <span class="i1">Along
+Albinia's shore.</span><br />
+<span class="i0">Herminius smote down Aruns;</span> <span class=
+"i1">Lartius laid Ocnus low;</span> <span class="i0"><span class=
+'pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span>Right
+to the heart of Lausulus<span class='linenum2'>115</span></span>
+<span class="i1">Horatius sent a blow.</span> <span class="i0">"Lie
+there," he cried, "fell pirate!</span> <span class="i1">No more,
+aghast and pale,</span> <span class="i0">From Ostia's walls the
+crowd shall mark</span> <span class="i0">The track of thy
+destroying bark.<span class='linenum2'>120</span></span> <span
+class="i0">No more Campania's hinds shall fly</span> <span class=
+"i0">To woods and caverns when they spy</span> <span class="i1">Thy
+thrice accurs&egrave;d sail."</span><br />
+<span class="i0">But now no sound of laughter</span> <span class=
+"i1">Was heard among the foes.<span class=
+'linenum2'>125</span></span> <span class="i0">A wild and wrathful
+clamour</span> <span class="i1">From all the vanguard rose.</span>
+<span class="i0">Six spears' lengths from the entrance</span> <span
+class="i1">Halted that deep array,</span> <span class="i0">And for
+a space no man came forth<span class='linenum2'>130</span></span>
+<span class="i1">To win the narrow way.</span><br />
+<span class="i0">But hark! the cry is Astur:</span> <span class=
+"i1">And lo! the ranks divide,</span> <span class="i0">And the
+great Lord of Luna</span> <span class="i1">Comes with his stately
+stride.<span class='linenum2'>135</span></span> <span class=
+"i0">Upon his ample shoulders</span> <span class="i1">Clangs loud
+the fourfold shield,</span> <span class="i0">And in his hand he
+shakes the brand</span> <span class="i1">Which none but he can
+wield.</span><br />
+<span class="i0">He smiled on those bold Romans<span class=
+'linenum2'>140</span></span> <span class="i1">A smile serene and
+high;</span> <span class="i0">He eyed the flinching Tuscans,</span>
+<span class="i1">And scorn was in his eye.</span> <span class=
+"i0">Quoth he: "The she-wolf's litter</span> <span class=
+'pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span><span
+class="i1">Stand savagely at bay;<span class=
+'linenum2'>145</span></span> <span class="i0">But will ye dare to
+follow</span> <span class="i1">If Astur clears the
+way?"</span><br />
+<span class="i0">Then, whirling up his broadsword</span> <span
+class="i1">With both hands to the height,</span> <span class=
+"i0">He rushed against Horatius,<span class=
+'linenum2'>150</span></span> <span class="i1">And smote with all
+his might.</span> <span class="i0">With shield and blade
+Horatius</span> <span class="i1">Right deftly turned the
+blow.</span> <span class="i0">The blow, though turned, came yet too
+nigh;</span> <span class="i0">It missed his helm, but gashed his
+thigh:<span class='linenum2'>155</span></span> <span class="i0">The
+Tuscans raised a joyful cry</span> <span class="i1">To see the red
+blood flow.</span><br />
+<span class="i0">He reeled, and on Herminius</span> <span class=
+"i1">He leaned one breathing-space;</span> <span class="i0">Then,
+like a wild cat mad with wounds,<span class=
+'linenum2'>160</span></span> <span class="i1">Sprang right at
+Astur's face.</span> <span class="i0">Through teeth, and skull, and
+helmet,</span> <span class="i1">So fierce a thrust he sped,</span>
+<span class="i0">The good sword stood a hand-breadth out</span>
+<span class="i1">Behind the Tuscan's head.<span class=
+'linenum2'>165</span></span><br />
+<span class="i0">And the great Lord of Luna</span> <span class=
+"i1">Fell at that deadly stroke,</span> <span class="i0">As falls
+on Mount Alvernus</span> <span class="i1">A thunder-smitten
+oak.</span> <span class="i0">Far o'er the crashing forest<span
+class='linenum2'>170</span></span> <span class="i1">The giant arms
+lie spread;</span> <span class="i0">And the pale augurs, muttering
+low,</span> <span class="i1">Gaze on the blasted head.</span> <span
+class="i0">&nbsp;<span class='pagenum'><a name="Page_212" id=
+"Page_212">[Pg 212]</a></span></span> <span class="i0">On Astur's
+throat Horatius</span> <span class="i1">Right firmly pressed his
+heel,<span class='linenum2'>175</span></span> <span class="i0">And
+thrice and four times tugged amain,</span> <span class="i1">Ere he
+wrenched out the steel.</span> <span class="i0">"And see," he
+cried, "the welcome,</span> <span class="i1">Fair guests, that
+waits you here!</span> <span class="i0">What noble Lucumo comes
+next,<span class='linenum2'>180</span></span> <span class="i1">To
+taste our Roman cheer?"</span><br />
+<span class="i0">But at his haughty challenge</span> <span class=
+"i1">A sullen murmur ran,</span> <span class="i0">Mingled of wrath,
+and shame, and dread,</span> <span class="i1">Along that glittering
+van.<span class='linenum2'>185</span></span> <span class="i0">There
+lacked not men of prowess,</span> <span class="i1">Nor men of
+lordly race;</span> <span class="i0">For all Etruria's
+noblest</span> <span class="i1">Were round the fatal place.</span>
+<span class="i0">But all Etruria's noblest<span class=
+'linenum2'>190</span></span> <span class="i1">Felt their hearts
+sink to see</span> <span class="i0">On the earth the bloody
+corpses,</span> <span class="i1">In the path the dauntless
+Three.</span><br />
+<span class="i0">Yet one man for one moment</span> <span class=
+"i1">Strode out before the crowd;<span class=
+'linenum2'>195</span></span> <span class="i0">Well known was he to
+all the Three,</span> <span class="i1">And they gave him greeting
+loud.</span> <span class="i0">"Now welcome, welcome, Sextus!</span>
+<span class="i1">Now welcome to thy home!</span> <span class=
+"i0">Why dost thou stay, and turn away?<span class=
+'linenum2'>200</span></span> <span class="i1">Here lies the road to
+Rome."</span><br />
+<span class="i0">Thrice looked he at the city;</span> <span class=
+"i1">Thrice looked he at the dead;</span> <span class="i0"><span
+class='pagenum'><a name="Page_213" id="Page_213">[Pg
+213]</a></span>And thrice came on in fury,</span> <span class=
+"i1">And thrice turned back in dread;<span class=
+'linenum2'>205</span></span> <span class="i0">And, white with fear
+and hatred,</span> <span class="i1">Scowled at the narrow
+way</span> <span class="i0">Where, wallowing in a pool of
+blood,</span> <span class="i1">The bravest Tuscans
+lay.</span><br />
+<span class="i0">But meanwhile axe and lever<span class=
+'linenum2'>210</span></span> <span class="i1">Have manfully been
+plied;</span> <span class="i0">And now the bridge hangs
+tottering</span> <span class="i1">Above the boiling tide.</span>
+<span class="i0">"Come back, come back, Horatius!"</span> <span
+class="i1">Loud cried the Fathers all.<span class=
+'linenum2'>215</span></span> <span class="i0">"Back Lartius! back
+Herminius!</span> <span class="i1">Back, ere the ruin
+fall!"</span><br />
+<span class="i0">Back darted Spurius Lartius;</span> <span class=
+"i1">Herminius darted back:</span> <span class="i0">And, as they
+passed beneath their feet<span class='linenum2'>220</span></span>
+<span class="i1">They felt the timbers crack.</span> <span class=
+"i0">But when they turned their faces.</span> <span class="i1">And
+on the farther shore</span> <span class="i0">Saw brave Horatius
+stand alone,</span> <span class="i1">They would have crossed once
+more.<span class='linenum2'>225</span></span><br />
+<span class="i0">But with a crash like thunder</span> <span class=
+"i1">Fell every loosened beam,</span> <span class="i0">And, like a
+dam, the mighty wreck</span> <span class="i1">Lay right athwart the
+stream:</span> <span class="i0">And a long shout of triumph<span
+class='linenum2'>230</span></span> <span class="i1">Rose from the
+walls of Rome,</span> <span class="i0">As to the highest
+turret-tops</span> <span class="i1">Was splashed the yellow
+foam.</span> <span class="i0">&nbsp;<span class='pagenum'><a name=
+"Page_214" id="Page_214">[Pg 214]</a></span></span> <span class=
+"i0">Alone stood brave Horatius,</span> <span class="i1">But
+constant still in mind;<span class='linenum2'>235</span></span>
+<span class="i0">Thrice thirty thousand foes before,</span> <span
+class="i1">And the broad flood behind.</span> <span class=
+"i0">"Down with him!" cried false Sextus,</span> <span class=
+"i1">With a smile on his pale face,</span> <span class="i0">"Now
+yield thee," cried Lars Porsena,<span class=
+'linenum2'>240</span></span> <span class="i1">"Now yield thee to
+our grace."</span><br />
+<span class="i0">Round turned he, as not deigning</span> <span
+class="i1">Those craven ranks to see;</span> <span class=
+"i0">Naught spake he to Lars Porsena,</span> <span class="i1">To
+Sextus naught spake he:<span class='linenum2'>245</span></span>
+<span class="i0">But he saw on Palatinus</span> <span class=
+"i1">The white porch of his home;</span> <span class="i0">And he
+spake to the noble river</span> <span class="i1">That rolls by the
+towers of Rome:</span><br />
+<span class="i0">"Oh, Tiber! Father Tiber!<span class=
+'linenum2'>250</span></span> <span class="i1">To whom the Romans
+pray,</span> <span class="i0">A Roman's life, a Roman's
+arms,</span> <span class="i1">Take thou in charge this day!"</span>
+<span class="i0">So he spake, and speaking sheathed</span> <span
+class="i1">The good sword by his side,<span class=
+'linenum2'>255</span></span> <span class="i0">And with his harness
+on his back,</span> <span class="i1">Plunged headlong in the
+tide.</span><br />
+<span class="i0">No sound of joy or sorrow</span> <span class=
+"i1">Was heard from either bank;</span> <span class="i0">But
+friends and foes in dumb surprise,<span class=
+'linenum2'>260</span></span> <span class="i0">With parted lips and
+straining eyes,</span> <span class="i1">Stood gazing where he
+sank;</span> <span class="i0"><span class='pagenum'><a name=
+"Page_215" id="Page_215">[Pg 215]</a></span>And when above the
+surges</span> <span class="i1">They saw his crest appear,</span>
+<span class="i0">All Rome sent forth a rapturous cry,<span class=
+'linenum2'>265</span></span> <span class="i0">And even the ranks of
+Tuscany</span> <span class="i1">Could scarce forbear to
+cheer.</span><br />
+<span class="i0">But fiercely ran the current,</span> <span class=
+"i1">Swollen high by months of rain:</span> <span class="i0">And
+fast his blood was flowing,<span class='linenum2'>270</span></span>
+<span class="i1">And he was sore in pain,</span> <span class=
+"i0">And heavy with his armour,</span> <span class="i1">And spent
+with changing blows:</span> <span class="i0">And oft they thought
+him sinking,</span> <span class="i1">But still again he rose.<span
+class='linenum2'>275</span></span><br />
+<span class="i0">Never, I ween, did swimmer,</span> <span class=
+"i1">In such an evil case</span> <span class="i0">Struggle through
+such a raging flood</span> <span class="i1">Safe to the
+landing-place:</span> <span class="i0">But his limbs were borne up
+bravely<span class='linenum2'>280</span></span> <span class="i1">By
+the brave heart within,</span> <span class="i0">And our good Father
+Tiber</span> <span class="i1">Bore bravely up his
+chin.</span><br />
+<span class="i0">"Curse on him!" quoth false Sextus:</span> <span
+class="i1">"Will not the villain drown?<span class=
+'linenum2'>285</span></span> <span class="i0">But for this stay,
+ere close of day</span> <span class="i1">We should have sacked the
+town!"</span> <span class="i0">"Heaven help him!" quoth Lars
+Porsena,</span> <span class="i1">"And bring him safe to
+shore;</span> <span class="i0">For such a gallant feat of arms<span
+class='linenum2'>290</span></span> <span class="i1">Was never seen
+before."</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_216" id="Page_216">[Pg 216]</a></span></span> <span
+class="i0">And now he feels the bottom;</span> <span class="i1">Now
+on dry earth he stands;</span> <span class="i0">Now round him
+throng the Fathers</span> <span class="i1">To press his gory
+hands;<span class='linenum2'>295</span></span> <span class="i0">And
+now, with shouts and clapping,</span> <span class="i1">And noise of
+weeping loud,</span> <span class="i0">He enters through the
+River-Gate,</span> <span class="i1">Borne by the joyous
+crowd.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Macaulay</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What is the
+historic back-ground of the ballad from which this selection is
+taken? Narrate briefly the events as told by Macaulay in
+<i>Horatius</i>. Where is the scene of the dramatic events here
+portrayed? Who are the chief actors? Who are the speakers?</p>
+
+<p>Show whether the words and phrases repeated in the following
+lines are accompanied by increased Emphasis or whether the Emphasis
+is transferred: ll. 1-4, 41-46, 108-109, 118-121, 188-190, 198-199,
+202-205, 214-217, 240-241, 244-245, 252, 292-295. (Introduction,
+pp. <a href="#Page_30">30</a>-32.) Give examples of Emphasis
+through contrast, throughout the selection.</p>
+
+<p>What Inflection is placed on the questions in ll. 8, 13-16,
+23-24? Give reasons.</p>
+
+<p>Compare the mental attitude of Horatius in ll. 11-16, and ll.
+17-24. What is the difference in Stress?</p>
+
+<p>ll. 38-39. What Inflection and Emphasis on the series of words?
+(Introduction, pp. 20 and 31.)</p>
+
+<p>In what way does Imitation enter into the reading of ll. 72-75,
+82-84, 95-100, 160-163, 218-221, 292-299? How are the Time and
+Stress affected? How does Imitation affect the Pitch in ll.
+230-233, 156-157, 172-173, 238-241, 265-267, 284-291?</p>
+
+<p>ll. 144-147. In what Quality of voice should Astur's speech be
+read?</p>
+
+<p>l. 153. What is the most important word?</p>
+
+<p>ll. 178-181, 196-201. How does the derision affect the Stress
+and the Inflection? (Introduction, pp. <a href="#Page_21">21</a>,
+<a href="#Page_22">22</a>, and <a href="#Page_30">30</a>.)</p>
+
+<p>ll. 186-187. Explain the Inflection on this negative
+statement.</p>
+
+<p>ll. 238-241, 284-291. Compare the feelings of Sextus with those
+of Lars Porsena. How is the difference shown in the Quality of
+voice? (Introduction, pp. <a href="#Page_33">33</a>-35.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_217" id="Page_217">[Pg
+217]</a></span></p>
+
+<h3>ON THE DEATH OF KING EDWARD VII</h3>
+
+<p class="center2">Delivered in the British House of Commons, May
+12th, 1910</p>
+
+<p>The late King, who has been suddenly taken away from us, had, at
+the time of his death, not yet completed the tenth year of his
+reign. Those years were crowded with moving and stirring events,
+both abroad, in the Empire, and here at home. In our relations with
+foreign countries they have been years of growing friendships, of
+new understandings, of stronger and surer safeguards for the peace
+of mankind. Within the Empire during the same time the sense of
+interdependence, the consciousness of common interests and common
+risks, the ever-tightening bonds of corporate unity have been
+developed and vivified as they had never been before. Here at home,
+as though it were by way of contrast, controversial issues of the
+gravest kind&mdash;economic, social, and constitutional&mdash;have
+ripened into a rapid maturity.</p>
+
+<p>Sir, in all these multiform manifestations of our national and
+imperial life, history will assign a part of singular dignity and
+authority to the great Ruler whom we have lost. In external affairs
+his powerful personal influence was steadily and zealously directed
+to the avoidance not only of war, but of the causes and pretexts of
+war, and he well earned the title by which he will always be
+remembered, "the Peacemaker of the World."</p>
+
+<p>Within the boundaries of his own Empire, by his intimate
+knowledge of its component parts, by his broad <span class=
+'pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span>and
+elastic sympathy not only with ambitions, and aspirations, but with
+the sufferings and the hardships of his people, by his response to
+any and every appeal whether to the sense of justice or the spirit
+of compassion, he won a degree of loyalty, affection, and
+confidence which few Sovereigns have ever enjoyed. At home, we all
+recognize that, above the din and dust of our hard-fought
+controversies, detached from party and attached only to the common
+interests, we had in him an arbiter ripe in experience, judicial in
+temper, at once a reverent worshipper of our traditions and a
+watchful guardian of our constitutional liberties.</p>
+
+<p>One is tempted, indeed constrained, on such an occasion as this
+to ask what were the qualities which enabled a man called
+comparatively late in life to new duties of unexampled
+complexity&mdash;what were the qualities which in practice proved
+him so admirably fitted to the task, and have given him an enduring
+and illustrious record among the rulers and governors of the
+nations? I should be disposed to assign the first place to what
+sounds a commonplace&mdash;but in its persistent and unfailing
+exercise is one of the rarest of virtues&mdash;his strong, abiding,
+dominating sense of public duty.</p>
+
+<p>King Edward, be it remembered, was a man of many and varied
+interests. He was a sportsman in the best sense, an ardent and
+discriminating patron of the Arts, and as well equipped as any man
+of his time for the give-and-take of social intercourse; wholly
+free from the prejudices and narrowing rules of caste; at home in
+all companies; an enfranchised citizen of the world. To such a man,
+endowed as he was by nature, placed where he was by fortune and by
+circumstances, there <span class='pagenum'><a name="Page_219" id=
+"Page_219">[Pg 219]</a></span>was open, if he had chosen to enter
+it, an unlimited field for self-indulgence. But, Sir, as every one
+will acknowledge who was brought into daily contact with him in the
+sphere of affairs, his duty to the State always came first. In this
+great business community there was no better man of business, no
+man by whom the humdrum obligations&mdash;punctuality, method,
+preciseness, and economy of time and speech&mdash;were more keenly
+recognized or more severely practised. I speak with the privilege
+of close experience when I say that wherever he was, whatever may
+have been his apparent preoccupations, in the transactions of the
+business of the State there were never any arrears, there was never
+any trace of confusion, there was never any moment of avoidable
+delay.</p>
+
+<p>Next to these, Sir&mdash;I am still in the domain of practice
+and administration&mdash;I should put his singular, perhaps an
+unrivalled, tact in the management of men, and a judgment of
+intuitive shrewdness as to the best outlet from perplexed and often
+baffling situations. He had, in its highest and best development,
+the genius of common sense. These rare gifts of practical
+efficiency were, during the whole of his Kingship, yoked to the
+service of a great ideal. He was animated every day of his
+Sovereignty by the thought that he was at once the head and the
+chief servant of that vast complex organism which we call the
+British Empire. He recognized in the fullest degree both the powers
+and the limitations of a Constitutional Monarch. Here, at home, he
+was, though no politician, as every one knows, a keen Social
+Reformer. He loved his people at home and over the seas. Their
+interests were his interests; <span class='pagenum'><a name=
+"Page_220" id="Page_220">[Pg 220]</a></span>their fame was his
+fame. He had no self apart from them.</p>
+
+<p>I will not touch for more than a moment on more delicate and
+sacred ground&mdash;on his personal charm, the warmth and wealth of
+his humanity; his unfailing considerateness for all who in any
+capacity were permitted to work for him. I will only say, in this
+connection that no man in our time has been more justly beloved by
+his family and his friends, and no Ruler in our or in any time has
+been more sincerely true, more unswervingly loyal, more uniformly
+kind to his advisers and his servants. By the unsearchable counsels
+of the Disposer of Events he has been called suddenly, and without
+warning, to his account. We are still dazed under the blow which
+has befallen us. It is too soon, as yet, even to attempt to realize
+its full meaning, but this, at least, we may say at once and with
+full assurance, that he has left to his people a memory and an
+example which they will never forget, a memory of great
+opportunities greatly employed, and an example which the humblest
+of his subjects may treasure and strive to follow, of simplicity,
+courage, self-denial, tenacious devotion up to the last moment of
+conscious life to work, to duty, and to service.</p>
+
+<p class="quotsig">&mdash;<i>The Right Honourable Herbert Henry
+Asquith</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Within the boundaries ... enjoyed</span>.
+Make an analysis of this sentence with a view to Perspective.
+(Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p><span class="smcap">DETACHED ... INTERESTS</span>. Note the
+contrasts and indicate the Inflection on each.</p>
+
+<p><span class="smcap">TEMPTED, ... CONSTRAINED</span>. What
+difference in Emphasis? (Introduction, p. <a href=
+"#Page_31">31</a>.) Compare <span class="smcap">SINGULAR, PERHAPS
+UNRIVALLED; IN OUR OR IN ANY TIME</span>.</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_221" id="Page_221">[Pg
+221]</a></span></p>
+
+<h3>THE HEROES OF MAGERSFONTEIN</h3>
+
+<p class="center2">Dec. 11, 1899</p>
+
+<p>1. During the night it was considered expedient that the
+Highland Brigade, 4,000 strong, under General Wauchope, should get
+close enough to the lines of the foe to make it possible to charge
+the heights. At midnight the gallant but ill-fated men moved
+cautiously through the darkness toward the kopje where the Boers
+were most strongly intrenched. They were led by a guide who was
+supposed to know every inch of the country, out into the darkness
+of an African night.</p>
+
+<p>2. So onward until three of the clock on the Monday. Then out of
+the darkness a rifle rang sharp and clear, a herald of
+disaster&mdash;a soldier had tripped in the dark over the hidden
+wires laid down by the enemy. In a second, in the twinkling of an
+eye, the searchlights of the Boers fell broad and clear as the
+noonday sun on the ranks of the doomed Highlanders, though it left
+the enemy concealed in the shadows of the frowning mass of hills
+behind them. For one brief moment the Scots seemed paralysed by the
+suddenness of their discovery, for they knew that they were huddled
+together like sheep within fifty yards of the trenches of the
+foes.</p>
+
+<p>3. Then clear above the confusion rolled the voice of the
+General: "Steady, men, steady!"&mdash;and like an echo to the
+veterans out came the crash of nearly a thousand rifles not fifty
+paces from them. The Highlanders reeled before the shock like trees
+before the tempest; their best, their bravest, fell in that wild
+hail of lead. General Wauchope was down, riddled with bullets; yet
+gasping, <span class='pagenum'><a name="Page_222" id="Page_222">[Pg
+222]</a></span>dying, bleeding from every vein, the Highland chief
+raised himself on his hands and knees and cheered his men forward.
+Men and officers fell in heaps together.</p>
+
+<p>4. The Black Watch charged, and the Gordons and the Seaforths,
+with a yell that stirred the British camp below, rushed onward to
+death or disaster. The accursed wires caught them around the legs
+until they floundered like trapped wolves, and all the time the
+rifles of the foe sang the song of death in their ears. They fell
+back broken and beaten, leaving nearly 1,300 dead and wounded, just
+where the broad breast of the grassy veldt melts into the embrace
+of the rugged African hills; and an hour later, the dawning came of
+the dreariest day that Scotland has known for a generation
+past.</p>
+
+<p>5. Of her officers, the flower of her chivalry, the pride of her
+breeding, but few remained to tell the tale&mdash;a sad tale truly,
+but one untinted with dishonour nor smirched with disgrace, for up
+these heights under similar circumstances, even a brigade of devils
+could scarce have hoped to pass. All that mortal man could do the
+Scots did; they tried, they failed, they fell, and there is nothing
+left us now but to revere their memory and give them a place of
+honour in the pages of history.</p>
+
+<hr style='width: 45%;' />
+<p>6. Three hundred yards to the rear of the little township of
+Modder River, just as the sun was sinking in a blaze of African
+splendour, on the evening of Tuesday, the 12th of December, a long
+shallow grave lay exposed in the breast of the veldt. To the
+westward, the broad river fringed with trees runs murmuringly; to
+the eastward, the heights still held by the enemy, scowled
+menacingly; north and south the veldt undulated peacefully; a few
+paces to the northward of that grave, fifty <span class=
+'pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span>dead
+Highlanders lay dressed as they had fallen on the field of battle:
+they had followed their chief to the field, and they were to follow
+him to the grave.</p>
+
+<p>7. How grim and stern these men looked as they lay face upward
+to the sky, with great hands clutched in the last agony, and brows
+still knit with the stern lust of the strife in which they had
+fallen. The plaids, dear to every Highland clan, were represented
+there, and out of the distance came the sound of pipes. It was the
+General coming to join his men. There, right under the eyes of the
+enemy, moved with slow and solemn tread all that remained of the
+Highland Brigade. In front of them walked the chaplain, with bared
+head, dressed in his robes of office; then came the pipers with
+their pipes, sixteen in all, and behind them, with arms reversed,
+moved the Highlanders, dressed in all the regalia of their
+regiments, and in the midst the dead General, borne by four of his
+comrades. Out swelled the pipes to the strains of "The Flowers of
+the Forest," now ringing proud and high until the soldier's head
+went back in haughty defiance&mdash;and eyes flashed through tears
+like sunlight on steel, now sinking to moaning wail like a woman
+mourning for her first-born, until the proud heads drooped forward
+till they rested on heaving chests, and tears rolled down the wan
+and scarred faces, and the choking sobs broke through the solemn
+rhythm of the march of death.</p>
+
+<p>8. Right up to the grave they marched, then broke away in
+companies, until the General lay in the shallow grave with a
+Scottish square of armed men around him. Only the dead man's son
+and a small remnant of his officers stood with the chaplain and the
+pipers, while the solemn service of the church was spoken.</p>
+
+<p><span class='pagenum'><a name="Page_224" id="Page_224">[Pg
+224]</a></span></p>
+
+<p>9. Then once again the pipes pealed out, and "Lochaber No More"
+cut through the stillness like a cry of pain until one could almost
+hear the widow in her Highland home mourning for the soldier she
+would welcome back no more.</p>
+
+<p>10. Then, as if touched with the magic of one thought, the
+soldiers turned their tear-damped eyes from the still form in the
+shallow grave toward the height where Cronje, the Lion of Africa,
+and his soldiers stood. Then every cheek flushed crimson, and
+strong jaws set like steel, and the veins on the hands that clasped
+the rifle handles swelled almost to bursting with the fervour of
+the grip, and that look from those silent, armed men spoke more
+eloquently than ever spoke the tongues of orators. For on each
+frowning face the spirit of vengeance sat, and each sparkling eye
+asked silently for blood.</p>
+
+<p>11. At the head of the grave, at the point nearest the enemy,
+the General was laid to sleep, his officers grouped around him,
+while in line behind him, his soldiers were laid in a double row
+wrapped in their blankets. No shots were fired over the dead men
+resting so peacefully, only the salute was given, and then the men
+marched campwards as the darkness of an African night rolled over
+the far-stretching breadth of the veldt.</p>
+
+<p class="quotsig">&mdash;<i>From "The London Daily News" (By
+permission)</i></p>
+
+<div class="blockquot">
+<p>Par. 1. Note the Grouping, Pause, and Shading in the last
+sentence. Compare the Grouping in the preceding sentence, in the
+last sentence of Par. 4, in the first sentence of Par. 7, and in
+the second sentence of Par. 10.</p>
+
+<p>Explain the Inflection and Emphasis on the phrases parallel in
+construction, in the fifth and sixth sentences of Par. 7, and the
+second sentence of Par. 10.</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_225" id="Page_225">[Pg
+225]</a></span></p>
+
+<h3>THE FUNERAL OF JULIUS C&AElig;SAR</h3>
+
+<p class="center2">From "Julius C&aelig;sar," Act III. Scene
+ii.</p>
+
+<p class="center2">The Forum. <i>Enter Brutus, Cassius, and a
+throng of Citizens.</i></p>
+
+<p><i>All.</i> We will be satisfied; let us be satisfied.</p>
+
+<p><i>Bru.</i> Then follow me, and give me audience,
+friends.&mdash;<br />
+Cassius, go you into the other street,<br />
+And part the numbers.&mdash;<br />
+Those that will hear me speak, let them stay here;<br />
+Those that will follow Cassius, go with him;<br />
+And public reasons shall be rendered<br />
+Of C&aelig;sar's death.</p>
+
+<p><i>1 Cit.</i><span style="margin-left: 8em;">I will hear Brutus
+speak.</span></p>
+
+<p><i>2 Cit.</i> I will hear Cassius; and compare their
+reasons,<br />
+When severally we hear them rendered.<span class=
+'linenum2'>10</span></p>
+
+<p><small>[<i>Exit Cassius, with some of the Citizens. Brutus goes
+into the rostrum.</i>]</small></p>
+
+<p><i>3 Cit.</i> The noble Brutus is ascended: silence!</p>
+
+<p><i>Bru.</i> Be patient till the last.<br />
+Romans, countrymen, and lovers! hear me for my cause;<br />
+and be silent, that you may hear: believe me for mine<br />
+honour; and have respect to mine honour, that you may<br />
+believe: censure me in your wisdom; and awake your<br />
+senses, that you may the better judge. If there be any<br />
+in this assembly, any dear friend of C&aelig;sar's, to him I<br />
+say, that Brutus' love to C&aelig;sar was no less than his.
+If<br />
+then that friend demand why Brutus rose against C&aelig;sar,<span
+class='linenum2'>20</span><br />
+this is my answer.&mdash;Not that I loved C&aelig;sar less, but
+that<br />
+I loved Rome more. Had you rather C&aelig;sar were living,<br />
+and die all slaves, than that C&aelig;sar were dead, to live<br />
+<span class='pagenum'><a name="Page_226" id="Page_226">[Pg
+226]</a></span> all free men? As C&aelig;sar loved me, I weep for
+him; as<br />
+he was fortunate, I rejoice at it; as he was valiant, I<br />
+honour him: but, as he was ambitious, I slew him.<br />
+There is tears for his love; joy for his fortune; honour<br />
+for his valour; and death for his ambition. Who is here<br />
+so base that would be a bondman? If any, speak; for<br />
+him have I offended. Who is here so rude that would<span class=
+'linenum2'>30</span><br />
+not be a Roman? If any, speak; for him have I offended.<br />
+Who is here so vile that will not love his country? If<br />
+any, speak; for him have I offended. I pause for a reply.</p>
+
+<p><i>All.</i> None, Brutus, none.</p>
+
+<p><i>Bru.</i> Then none have I offended. I have done no more<br />
+to C&aelig;sar than you shall do to Brutus. The question of<br />
+his death is enrolled in the Capitol; his glory not
+extenuated,<br />
+wherein he was worthy; nor his offences enforced,<br />
+for which he suffered death.<span class='linenum2'>40</span><br />
+</p>
+
+<p>[<i>Enter Antony and others, with C&aelig;sar's body.</i>]<br />
+</p>
+
+<p>Here comes his body, mourned by Mark Antony: who,<br />
+though he had no hand in his death, shall receive the<br />
+benefit of his dying, a place in the commonwealth; as<br />
+which of you shall not? With this I depart,&mdash;that, as<br />
+I slew my best lover for the good of Rome, I have the<br />
+same dagger for myself, when it shall please my country<br />
+to need my death.</p>
+
+<p><i>All.</i> Live, Brutus, live! live!</p>
+
+<p><i>1 Cit.</i> Bring him with triumph home unto his house.<br />
+</p>
+
+<p><i>2 Cit.</i> Give him a statue with his ancestors.<span class=
+'linenum2'>50</span><br />
+</p>
+
+<p><i>3 Cit.</i> Let him be C&aelig;sar.<br />
+</p>
+
+<p><i>4 Cit.</i> C&aelig;sar's better parts<br />
+Shall now be crown'd in Brutus.<br />
+<span class='pagenum'><a name="Page_227" id="Page_227">[Pg
+227]</a></span> <i>1 Cit.</i> We'll bring him to his house with
+shouts and<br />
+clamours.</p>
+
+<p><i>Bru.</i> My countrymen,&mdash;</p>
+
+<p><i>2 Cit.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</i>
+Peace! silence! Brutus speaks.</p>
+
+<p><i>1 Cit.</i> Peace, ho!</p>
+
+<p><i>Bru.</i> Good countrymen, let me depart alone,<br />
+And, for my sake, stay here with Antony:<br />
+Do grace to C&aelig;sar's corpse, and grace his speech<span class=
+'linenum2'>60</span><br />
+Tending to C&aelig;sar 's glories; which Mark Antony,<br />
+By our permission, is allow'd to make.<br />
+I do entreat you, not a man depart,<br />
+Save I alone, till Antony have spoke. [<i>Exit</i>]</p>
+
+<p><i>1 Cit.</i> Stay, ho! and let us hear Mark Antony.</p>
+
+<p><i>3 Cit.</i> Let him go up into the public chair;<br />
+We'll hear him.&mdash;Noble Antony, go up.</p>
+
+<p><i>Ant</i>. For Brutus' sake, I am beholding to you.</p>
+
+<p>[<i>He goes up into the rostrum.</i>]</p>
+
+<p><i>4 Cit.</i> What does he say of Brutus?</p>
+
+<p><i>3 Cit.</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;He
+says, for Brutus' sake,<span class='linenum2'>70</span><br />
+He finds himself beholding to us all.</p>
+
+<p><i>4 Cit.</i> 'T were best to speak no harm of Brutus here.</p>
+
+<p><i>1 Cit.</i> This C&aelig;sar was a tyrant.</p>
+
+<p><i>3 Cit.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</i>
+Nay, that's certain:<br />
+We are blest that Rome is rid of him.</p>
+
+<p><i>2 Cit.</i> Peace! let us hear what Antony can say.</p>
+
+<p><i>Ant.</i> You gentle Romans,&mdash;</p>
+
+<p>
+<i>All.</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Peace,
+ho! let us hear him.</p>
+
+<p><i>Ant.</i> Friends, Romans, countrymen, lend me your
+ears;<br />
+I come to bury C&aelig;sar, not to praise him.<span class=
+'linenum2'>80</span><br />
+The evil that men do lives after them;<br />
+The good is oft interred with their bones;<br />
+So let it be with C&aelig;sar. The noble Brutus<br />
+<span class='pagenum'><a name="Page_228" id="Page_228">[Pg
+228]</a></span> Hath told you, C&aelig;sar was ambitious:<br />
+If it were so, it was a grievous fault,<br />
+And grievously hath C&aelig;sar answer'd it.<br />
+Here, under leave of Brutus and the rest,&mdash;<br />
+For Brutus is an honourable man;<br />
+So are they all, all honourable men.&mdash;<br />
+Come I to speak in C&aelig;sar's funeral.<span class=
+'linenum2'>90</span><br />
+He was my friend, faithful and just to me:<br />
+But Brutus says he was ambitious;<br />
+And Brutus is an honourable man.<br />
+He hath brought many captives home to Rome,<br />
+Whose ransoms did the general coffers fill:<br />
+Did this in C&aelig;sar seem ambitious?<br />
+When that the poor have cried, C&aelig;sar hath wept:<br />
+Ambition should be made of sterner stuff:<br />
+Yet Brutus says he was ambitious;<br />
+And Brutus is an honourable man.<span class=
+'linenum2'>100</span><br />
+You all did see that on the Lupercal<br />
+I thrice presented him a kingly crown,<br />
+Which he did thrice refuse: was this ambition?<br />
+Yet Brutus says he was ambitious;<br />
+And, sure, he is an honourable man.<br />
+I speak not to disprove what Brutus spoke,<br />
+But here I am to speak what I do know.<br />
+You all did love him once, not without cause:<br />
+What cause withholds you then to mourn for him?<br />
+O judgment, thou art fled to brutish beasts,<span class=
+'linenum2'>110</span><br />
+And men have lost their reason!&mdash;Bear with me;<br />
+My heart is in the coffin there with C&aelig;sar,<br />
+And I must pause till it come back to me.</p>
+
+<p><i>1 Cit.</i> Methinks there is much reason in his sayings.</p>
+
+<p><i>2 Cit.</i> If thou consider rightly of the matter,<br />
+<span class='pagenum'><a name="Page_229" id="Page_229">[Pg
+229]</a></span><br />
+C&aelig;sar has had great wrong.</p>
+
+<p><i>3 Cit.</i> Has he, masters?<br />
+I fear there will a worse come in his place.</p>
+
+<p><i>4 Cit.</i> Mark'd ye his words? He would not take the<br />
+crown;<br />
+Therefore 't is certain he was not ambitious.<span class=
+'linenum2'>120</span><br />
+<br />
+<i>1 Cit.</i> If it be found so, some will dear abide it.<br />
+<br />
+<i>2 Cit.</i> Poor soul! his eyes are red as fire with
+weeping.<br />
+<br />
+<i>3 Cit.</i> There's not a nobler man in Rome than Antony.<br />
+<br />
+<i>4 Cit.</i> Now mark him, he begins again to speak.<br />
+<br />
+<i>Ant.</i> But yesterday the word of C&aelig;sar might<br />
+Have stood against the world: now lies he there,<br />
+And none so poor to do him reverence.<br />
+O masters! if I were dispos'd to stir<br />
+Your hearts and minds to mutiny and rage,<br />
+I should do Brutus wrong, and Cassius wrong,<span class=
+'linenum2'>130</span><br />
+Who, you all know, are honourable men;<br />
+I will not do them wrong; I rather choose<br />
+To wrong the dead, to wrong myself, and you,<br />
+Than I will wrong such honourable men.<br />
+But here's a parchment, with the seal of C&aelig;sar;<br />
+I found it in his closet, 'tis his will:<br />
+Let but the commons hear this testament,&mdash;<br />
+Which, pardon me, I do not mean to read,&mdash;<br />
+And they would go and kiss dead C&aelig;sar's wounds,<br />
+And dip their napkins in his sacred blood.<span class=
+'linenum2'>140</span><br />
+Yea, beg a hair of him for memory,<br />
+And, dying, mention it within their wills,<br />
+Bequeathing it as a rich legacy<br />
+Unto their issue.<br />
+<br />
+<i>4 Cit.</i> We'll hear the will: read it, Mark Antony.<br />
+<br />
+<i>All.</i> The will, the will! we will hear C&aelig;sar's
+will.<br />
+<span class='pagenum'><a name="Page_230" id="Page_230">[Pg
+230]</a></span><br />
+<i>Ant.</i> Have patience, gentle friends, I must not read
+it;<br />
+It is not meet you know how C&aelig;sar lov'd you.<br />
+You are not wood, you are not stones, but men;<br />
+And, being men, hearing the will of C&aelig;sar,<span class=
+'linenum2'>150</span><br />
+It will inflame you, it will make you mad:<br />
+'Tis good you know not that you are his heirs;<br />
+For, if you should, O, what would come of it!<br />
+<br />
+<i>4 Cit.</i> Read the will; we'll hear it, Antony;<br />
+You shall read us the will,&mdash;C&aelig;sar's will.<br />
+<br />
+<i>Ant.</i> Will you be patient? will you stay awhile?<br />
+I have o'ershot myself to tell you of it.<br />
+I fear I wrong the honourable men<br />
+Whose daggers have stabb'd C&aelig;sar-, I do fear it.<br />
+<br />
+<i>4 Cit.</i> They were traitors: honourable men!<span class=
+'linenum2'>160</span><br />
+<br />
+<i>All.</i> The will! the testament!<br />
+<br />
+<i>2 Cit.</i> They were villains, murderers: the will! read<br />
+the will!<br />
+<br />
+<i>Ant.</i> You will compel me, then, to read the will?<br />
+Then make a ring about the corpse of C&aelig;sar,<br />
+And let me show you him that made the will.<br />
+Shall I descend? and will you give me leave?<br />
+<br />
+<i>All.</i> Come down.<br />
+<br />
+<i>2 Cit.</i> Descend.<br />
+<br />
+<i>3 Cit.</i> You shall have leave.<br />
+<br />
+[<i>He comes down from the rostrum.</i>]<br />
+<br />
+<i>4 Cit.</i> A ring; stand round.<span class=
+'linenum2'>170</span><br />
+<br />
+<i>1 Cit.</i> Stand from the hearse, stand from the body.<br />
+<br />
+<i>2 Cit.</i> Room for Antony!&mdash;most noble Antony.<br />
+<br />
+<i>Ant.</i> Nay, press not so upon me; stand far off.<br />
+<br />
+<i>All.</i> Stand back! room! bear back!<br />
+<br />
+<i>Ant.</i> If you have tears, prepare to shed them now.<br />
+You all do know this mantle; I remember<br />
+<span class='pagenum'><a name="Page_231" id="Page_231">[Pg
+231]</a></span>The first time ever C&aelig;sar put it on;<br />
+'T was on a summer's evening, in his tent,<br />
+That day he overcame the Nervii:&mdash;<br />
+Look! in this place ran Cassius' dagger through:<span class=
+'linenum2'>180</span><br />
+See, what a rent the envious Casca made:<br />
+Through this, the well-beloved Brutus stabb'd;<br />
+And, as he pluck'd his cursed steel away,<br />
+Mark how the blood of C&aelig;sar follow'd it,<br />
+As rushing out of doors, to be resolv'd<br />
+If Brutus so unkindly knock'd, or no;<br />
+For Brutus, as you know, was C&aelig;sar's angel:<br />
+Judge, O you gods, how dearly C&aelig;sar lov'd him!<br />
+This was the most unkindest cut of all;<br />
+For when the noble C&aelig;sar saw him stab,<span class=
+'linenum2'>190</span><br />
+Ingratitude, more strong than traitors' arms,<br />
+Quite vanquish'd him: then burst his mighty heart;<br />
+And, in his mantle muffling up his face,<br />
+Even at the base of Pompey's statue,<br />
+Which all the while ran blood, great C&aelig;sar fell.<br />
+O, what a fall was there, my countrymen!<br />
+Then I, and you, and all of us fell down,<br />
+Whilst bloody treason flourish'd over us.<br />
+O, now you weep; and I perceive, you feel<br />
+The dint of pity: these are gracious drops.<span class=
+'linenum2'>200</span><br />
+Kind souls, what, weep you, when you but behold<br />
+Our C&aelig;sar's vesture wounded? Look you here.<br />
+Here is himself, marr'd, as you see, with traitors.<br />
+<br />
+<i>1 Cit.</i> O piteous spectacle!<br />
+<br />
+<i>2 Cit.</i> O noble C&aelig;sar!<br />
+<br />
+<i>3 Cit.</i> O woeful day!<br />
+<br />
+<i>4 Cit.</i> O traitors, villains!<br />
+<br />
+<i>1 Cit.</i> O most bloody sight!<br />
+<span class='pagenum'><a name="Page_232" id="Page_232">[Pg
+232]</a></span><br />
+<i>2 Cit.</i> We will be revenged.<br />
+<br />
+<i>All.</i> Revenge!
+About,&mdash;seek,&mdash;burn,&mdash;fire,&mdash;kill,&mdash;slay!<span
+ class='linenum2'>210</span><br />
+Let not a traitor live!<br />
+<br />
+<i>Ant.</i> Stay, countrymen.<br />
+<br />
+<i>1 Cit.</i> Peace there! Hear the noble Antony.<br />
+<br />
+<i>2 Cit.</i> We'll hear him, we'll follow him, we'll die
+with<br />
+him.<br />
+<br />
+<i>Ant.</i> Good friends, sweet friends, let me not stir you
+up<br />
+To such a sudden flood of mutiny.<br />
+They that have done this deed are honourable;<br />
+What private griefs they have, alas! I know not,<br />
+That made them do it; they are wise and honourable,<br />
+And will, no doubt, with reasons answer you.<span class=
+'linenum2'>220</span><br />
+I come not, friends, to steal away your hearts:<br />
+I am no orator, as Brutus is;<br />
+But as you know me all, a plain blunt man,<br />
+That love my friend; and that they know full well<br />
+That gave me public leave to speak of him.<br />
+For I have neither wit, nor words, nor worth,<br />
+Action, nor utterance, nor the power of speech,<br />
+To stir men's blood: I only speak right on;<br />
+I tell you that which you yourselves do know;<br />
+Show you sweet C&aelig;sar's wounds, poor, poor dumb mouths,<span
+class='linenum2'>230</span><br />
+And bid them speak for me: but were I Brutus,<br />
+And Brutus Antony, there were an Antony<br />
+Would ruffle up your spirits, and put a tongue<br />
+In every wound of C&aelig;sar, that should move<br />
+The stones of Rome to rise and mutiny.<br />
+<br />
+<i>All.</i> We'll mutiny!<br />
+<br />
+<i>1 Cit.</i> We'll burn the house of Brutus!<br />
+<span class='pagenum'><a name="Page_233" id="Page_233">[Pg
+233]</a></span><br />
+<i>3 Cit.</i> Away, then! come, seek the conspirators.<br />
+<br />
+<i>Ant.</i> Yet hear me, countrymen; yet hear me speak.<br />
+<br />
+<i>All.</i> Peace, ho! Hear Antony, most noble Antony.<span class=
+'linenum2'>240</span><br />
+<br />
+<i>Ant.</i> Why, friends, you go to do you know not what:<br />
+Wherein hath C&aelig;sar thus deserv'd your loves?<br />
+Alas, you know not: I must tell you then:<br />
+You have forgot the will I told you of.<br />
+<br />
+<i>All.</i> Most true;&mdash;the will!&mdash;let's stay, and hear
+the<br />
+will.<br />
+<br />
+<i>Ant.</i> Here is the will, and under C&aelig;sar's seal.<br />
+To every Roman citizen he gives,<br />
+To every several man, seventy-five drachmas.<br />
+<br />
+<i>2 Cit.</i> Most noble C&aelig;sar!&mdash;we'll revenge his
+death.<br />
+<br />
+<i>3 Cit.</i> O royal Caesar!<span class=
+'linenum2'>250</span><br />
+<br />
+<i>Ant.</i> Hear me with patience.<br />
+<br />
+<i>All.</i> Peace, ho!<br />
+<br />
+<i>Ant.</i> Moreover, he hath left you all his walks,<br />
+His private arbours, and new-planted orchards,<br />
+On this side Tiber; he hath left them you,<br />
+And to your heirs for ever,&mdash;common pleasures,<br />
+To walk abroad, and recreate yourselves.<br />
+Here was a C&aelig;sar! when comes such another?<br />
+<br />
+<i>1 Cit.</i> Never, never!&mdash;Come, away, away!<br />
+We'll burn his body in the holy place,<span class=
+'linenum2'>260</span><br />
+And with the brands fire the traitors' houses.<br />
+Take up the body.<br />
+<br />
+<i>2 Cit.</i> Go, fetch fire.<br />
+<br />
+<i>3 Cit.</i> Pluck down benches.<br />
+<br />
+<i>4 Cit.</i> Pluck down forms, windows, anything.<br />
+<br />
+[<i>Exeunt all, with the body.</i>]<br />
+<br />
+<i>Ant.</i> Now let it work! Mischief, thou art afoot,<br />
+Take thou what course thou wilt!<br />
+</p>
+
+<p class="quotsig">&mdash;<i>Shakespeare</i></p>
+
+<p><span class='pagenum'><a name="Page_234" id="Page_234">[Pg
+234]</a></span></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;For dramatic
+rendering see notes on <i>Highland Hospitality</i> pp. <a href=
+"#Page_153">153</a> and <a href="#Page_154">154</a>.</p>
+
+<p>The long speeches of Brutus and Antony may be practised by
+themselves as exercises in Emphasis and Inflection.</p>
+
+<p>88-89. How is the parenthetical clause subordinated? Give other
+examples from the extracts.</p>
+
+<p>153-154. Select the emphatic words.</p>
+
+<p>160. What Stress is placed on <span class=
+"smcap">TRAITORS</span> and <span class="smcap">HONOURABLE</span>
+respectively? Account for the difference.</p>
+
+<p>210. <span class="smcap">About, ... slay</span>! What is the
+Stress? Compare ll. 236-237, and ll. 259-265.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_234a" id="Page_234a"></a>THE REVENGE</h3>
+
+<p class="center2">A Ballad of the Fleet, 1591</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">At Flores in the Azores Sir
+Richard Grenville lay,</span> <span class="i0">And a pinnace, like
+a flutter'd bird, came flying from far away:</span> <span class=
+"i0">"Spanish ships of war at sea! we have sighted
+fifty-three!"</span> <span class="i0">Then sware Lord Thomas
+Howard: "'Fore God I am no coward;</span> <span class="i0">But I
+cannot meet them here, for my ships are out of gear,<span class=
+'linenum2'>5</span></span> <span class="i0">And the half my men are
+sick. I must fly, but follow quick.</span> <span class="i0">We are
+six ships of the line; can we fight with fifty-three?"</span><br />
+<span class="i0">Then spake Sir Richard Grenville: "I know you are
+no coward;</span> <span class="i0">You fly them for a moment to
+fight with them again.</span> <span class="i0">But I've ninety men
+and more that are lying sick ashore.<span class=
+'linenum2'>10</span></span> <span class="i0"><span class=
+'pagenum'><a name="Page_235" id="Page_235">[Pg
+235]</a></span></span> <span class="i0">I should count myself the
+coward if I left them, my Lord Howard,</span> <span class="i0">To
+these Inquisition dogs and the devildoms of Spain."</span><br />
+<span class="i0">So Lord Howard past away with five ships of war
+that day,</span> <span class="i0">Till he melted like a cloud in
+the silent summer heaven;</span> <span class="i0">But Sir Richard
+bore in hand all his sick men from the land<span class=
+'linenum2'>15</span></span> <span class="i0">Very carefully and
+slow,</span> <span class="i0">Men of Bideford in Devon,</span>
+<span class="i0">And we laid them on the ballast down below;</span>
+<span class="i0">For we brought them all aboard,</span> <span
+class="i0">And they blest him in their pain, that they were not
+left to Spain,<span class='linenum2'>20</span></span> <span class=
+"i0">To the thumbscrew and the stake, for the glory of the
+Lord.</span><br />
+<span class="i0">He had only a hundred seamen to work the ship and
+to fight,</span> <span class="i0">And he sailed away from Flores
+till the Spaniard came in sight,</span> <span class="i0">With his
+huge sea-castles heaving upon the weather bow.</span> <span class=
+"i0">"Shall we fight or shall we fly?<span class=
+'linenum2'>25</span></span> <span class="i0">Good Sir Richard, tell
+us now,</span> <span class="i0">For to fight is but to die!</span>
+<span class="i0">There'll be little of us left by the time this sun
+be set."</span> <span class="i0">And Sir Richard said again: "We be
+all good English men.</span> <span class="i0">Let us bang these
+dogs of Seville, the children of the devil,<span class=
+'linenum2'>30</span></span> <span class="i0">For I never turn'd my
+back upon Don or devil yet."</span> <span class="i0"><span class=
+'pagenum'><a name="Page_236" id="Page_236">[Pg
+236]</a></span></span> <span class="i0">Sir Richard spoke and he
+laugh'd, and we roar'd a hurrah, and so</span> <span class="i0">The
+little Revenge ran on sheer into the heart of the foe,</span> <span
+class="i0">With her hundred fighters on deck, and her ninety sick
+below;</span> <span class="i0">For half of their fleet to the right
+and half to the left were seen,<span class=
+'linenum2'>35</span></span> <span class="i0">And the little Revenge
+ran on thro' the long sea-lane between.</span><br />
+<span class="i0">Thousands of their soldiers look'd down from their
+decks and laugh'd,</span> <span class="i0">Thousands of their
+seamen made mock at the mad little craft</span> <span class=
+"i0">Running on and on, till delay'd</span> <span class="i0">By
+their mountain-like San Philip that, of fifteen hundred tons,<span
+class='linenum2'>40</span></span> <span class="i0">And up-shadowing
+high above us with her yawning tiers of guns,</span> <span class=
+"i0">Took the breath from our sails, and we stay'd.</span><br />
+<span class="i0">And while now the great San Philip hung above us
+like a cloud</span> <span class="i0">Whence the thunderbolt will
+fall</span> <span class="i0">Long and loud,<span class=
+'linenum2'>45</span></span> <span class="i0">Four galleons drew
+away</span> <span class="i0">From the Spanish fleet that
+day,</span> <span class="i0">And two upon the larboard and two upon
+the starboard lay,</span> <span class="i0">And the battle-thunder
+broke from them all.</span> <span class="i0"><span class=
+'pagenum'><a name="Page_237" id="Page_237">[Pg
+237]</a></span></span> <span class="i0">But anon the great San
+Philip she bethought herself and went<span class=
+'linenum2'>50</span></span> <span class="i0">Having that within her
+womb that had left her ill-content;</span> <span class="i0">And the
+rest they came aboard us, and they fought us hand to hand,</span>
+<span class="i0">For a dozen times they came with their pikes and
+musqueteers,</span> <span class="i0">And a dozen times we shook 'em
+off as a dog that shakes his ears</span> <span class="i0">When he
+leaps from the water to the land.<span class=
+'linenum2'>55</span></span><br />
+<span class="i0">And the sun went down, and the stars came out far
+over the summer sea,</span> <span class="i0">But never a moment
+ceased the fight of the one and the fifty-three.</span> <span
+class="i0">Ship after ship, the whole night long, their high-built
+galleons came,</span> <span class="i0">Ship after ship, the whole
+night long, with their battle-thunder and flame;</span> <span
+class="i0">Ship after ship, the whole night long, drew back with
+her dead and her shame:<span class='linenum2'>60</span></span>
+<span class="i0">For some were sunk and many were shatter'd, and so
+could fight us no more&mdash;</span> <span class="i0">God of
+battles, was ever a battle like this in the world
+before?</span><br />
+<span class="i0">For he said "Fight on! fight on!"</span> <span
+class="i0">Tho' his vessel was all but a wreck;</span> <span class=
+"i0">And it chanced that, when half of the short summer night was
+gone,<span class='linenum2'>65</span></span> <span class="i0">With
+a grisly wound to be drest he had left the deck,</span> <span
+class="i0"><span class='pagenum'><a name="Page_238" id=
+"Page_238">[Pg 238]</a></span></span> <span class="i0">But a bullet
+struck him that was dressing it suddenly dead,</span> <span class=
+"i0">And himself he was wounded again in the side and the
+head,</span> <span class="i0">And he said, "Fight on! fight
+on!"</span><br />
+<span class="i0">And the night went down, and the sun smiled out
+far over the summer sea,<span class='linenum2'>70</span></span>
+<span class="i0">And the Spanish fleet with broken sides lay round
+us all in a ring;</span> <span class="i0">But they dar'd not touch
+us again, for they fear'd that we still could sting,</span> <span
+class="i0">So they watch'd what the end would be.</span> <span
+class="i0">And we had not fought them in vain,</span> <span class=
+"i0">But in perilous plight were we,<span class=
+'linenum2'>75</span></span> <span class="i0">Seeing forty of our
+poor hundred were slain,</span> <span class="i0">And half of the
+rest of us maim'd for life</span> <span class="i0">In the crash of
+the cannonades and the desperate strife;</span> <span class=
+"i0">And the sick men down in the hold were most of them stark and
+cold,</span> <span class="i0">And the pikes were all broken or
+bent, and the powder was all of it spent;<span class=
+'linenum2'>80</span></span> <span class="i0">And the masts and the
+rigging were lying over the side;</span> <span class="i0">But Sir
+Richard cried in his English pride,</span> <span class="i0">"We
+have fought such a fight for a day and a night</span> <span class=
+"i0">As may never be fought again!</span> <span class="i0">We have
+won great glory, my men!<span class='linenum2'>85</span></span>
+<span class="i0">And a day less or more</span> <span class="i0">At
+sea or ashore,</span> <span class="i0">We die&mdash;does it matter
+when?</span> <span class="i0">Sink me the ship, Master
+Gunner&mdash;sink her, split her in twain!</span> <span class=
+'pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span>
+<span class="i0">Fall into the hands of God, not into the hands of
+Spain!"<span class='linenum2'>90</span></span><br />
+<span class="i0">And the gunner said "Ay, ay," but the seamen made
+reply:</span> <span class="i0">"We have children, we have
+wives,</span> <span class="i0">And the Lord hath spared our
+lives.</span> <span class="i0">We will make the Spaniard promise,
+if we yield, to let us go;</span> <span class="i0">We shall live to
+fight again and to strike another blow."<span class=
+'linenum2'>90</span></span> <span class="i0">And the lion there lay
+dying, and they yielded to the foe.</span><br />
+<span class="i0">And the stately Spanish men to their flagship bore
+him then</span> <span class="i0">Where they laid him by the mast,
+old Sir Richard caught at last,</span> <span class="i0">And they
+praised him to his face with their courtly foreign grace;</span>
+<span class="i0">But he rose upon their decks, and he cried:<span
+class='linenum2'>100</span></span> <span class="i0">"I have fought
+for Queen and Faith like a valiant man and true;</span> <span
+class="i0">I have only done my duty as a man is bound to do:</span>
+<span class="i0">With a joyful spirit I Sir Richard Grenville
+die!"</span> <span class="i0">And he fell upon their decks, and he
+died.</span><br />
+<span class="i0">And they stared at the dead that had been so
+valiant and true,<span class='linenum2'>105</span></span> <span
+class="i0">And had holden the power and glory of Spain so
+cheap</span> <span class="i0">That he dared her with one little
+ship and his English few;</span> <span class="i0">Was he devil or
+man? He was devil for aught they knew,</span> <span class="i0">But
+they sank his body with honour down into the deep,</span> <span
+class="i0"><span class='pagenum'><a name="Page_240" id=
+"Page_240">[Pg 240]</a></span></span> <span class="i0">And they
+mann'd the Revenge with a swarthier alien crew,<span class=
+'linenum2'>110</span></span> <span class="i0">And away she sail'd
+with her loss and long'd for her own;</span> <span class="i0">When
+a wind from the lands they had ruin'd awoke from sleep,</span>
+<span class="i0">And the water began to heave and the weather to
+moan,</span> <span class="i0">And or ever that evening ended a
+great gale blew,</span> <span class="i0">And a wave like the wave
+that is raised by an earthquake grew,<span class=
+'linenum2'>115</span></span> <span class="i0">Till it smote on
+their hulls and their sails and their masts and their flags,</span>
+<span class="i0">And the whole sea plunged and fell on the
+shot-shatter'd navy of Spain,</span> <span class="i0">And the
+little Revenge herself went down by the island crags</span> <span
+class="i0">To be lost evermore in the main.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Alfred Tennyson</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Give a series of
+titles suggestive of the events narrated in this ballad; describe
+the picture that each title calls up, and tell on what part of the
+poem it is based.</p>
+
+<p>What different ideals of bravery are brought out in this ballad,
+and by whom is each presented? Compare them with those set forth in
+<i>The Private of the Buffs</i> (Fourth Reader), and
+<i>Horatius</i>.</p>
+
+<p>1, 3, and 13. (Appendix <a href="#A_1">A, 1</a> and <a href=
+"#A_6">6</a>.)</p>
+
+<p><span class="smcap">'Fore God</span> ... sick. What Inflection
+prevails? (Introduction, pp. <a href="#Page_17">17</a> and <a href=
+"#Page_18">18</a>.)</p>
+
+<p>What Inflection is placed on the questions in ll. 7, 25, 62, 88,
+and 108? (Introduction, pp. <a href="#Page_18">18</a> and <a href=
+"#Page_19">19</a>.)</p>
+
+<p><span class="smcap">For the glory of the Lord</span>. How is the
+irony brought out by the voice? (Introduction, pp. <a href=
+"#Page_21">21</a>, <a href="#Page_22">22</a>, and <a href=
+"#Page_30">30</a>.)</p>
+
+<p>25-28. (Introduction, p. 18.)</p>
+
+<p>Compare the speech of the men (ll. 25-28) with that of Sir
+Richard (ll. 29-31) from the standpoint of mental attitude. How is
+this difference indicated by Stress?</p>
+
+<p><span class='pagenum'><a name="Page_241" id="Page_241">[Pg
+241]</a></span> 32. Which are the emphatic words? Give your
+reasons. Select words that are emphatic because of contrast from
+ll. 34, 35, and 91. What Inflection is placed on the emphatic words
+in each case?</p>
+
+<p>How does repetition affect the Emphasis in ll. 37-38, 53-54,
+58-60, 63, and 89? (Introduction, pp. <a href=
+"#Page_31">31</a>-33.)</p>
+
+<p>40. With what word is <span class="smcap">THAT</span> connected
+in sense? How does the voice make the connection? (Introduction, p.
+<a href="#Page_33">33</a>.)</p>
+
+<p>43-47. Analyse these lines from the standpoint of
+Perspective.</p>
+
+<p>66-67. Where do the Pauses occur? How does the Grouping affect
+them?</p>
+
+<p>68. Why is <span class="smcap">HIMSELF</span> emphatic?</p>
+
+<p>75-81. Give examples of "momentary completeness".</p>
+
+<p>93. Which is the most emphatic word in this line? Give your
+reason.</p>
+
+<p>101-103. To what extent should Imitation enter into the reading
+of this speech? (Introduction, pp. 4 and 5.)</p>
+
+<p>112-117. How can the effect of this Climax be brought out by the
+voice? (Introduction, p. <a href="#Page_31">31</a>.)</p>
+
+<p>118. Note the transition in thought and feeling. By what change
+in Time, Pitch, and Force is it accompanied?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_241a" id="Page_241a"></a>HERV&Eacute; RIEL</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">On the sea and at the Hogue,
+sixteen hundred ninety-two,</span> <span class="i1">Did the English
+fight the French,&mdash;woe to France!</span> <span class="i0">And
+the thirty-first of May, helter-skelter through the blue,</span>
+<span class="i0">Like a crowd of frightened porpoises a shoal of
+sharks pursue,</span> <span class="i1">Came crowding ship on ship
+to St. Malo on the Rance,<span class='linenum2'>5</span></span>
+<span class="i0">With the English fleet in view.</span><br />
+<span class="i0">'Twas the squadron that escaped, with the victor
+in full chase;</span> <span class="i1">First and foremost of the
+drove, in his great ship, Damfreville:</span> <span class=
+"i0"><span class='pagenum'><a name="Page_242" id="Page_242">[Pg
+242]</a></span></span> <span class="i2">Close on him fled, great
+and small,</span> <span class="i2">Twenty-two good ships in
+all;<span class='linenum2'>10</span></span> <span class="i0">And
+they signalled to the place,</span> <span class="i0">"Help the
+winners of a race!</span> <span class="i1">Get us guidance, give us
+harbour, take us quick&mdash;or, quicker still,</span> <span class=
+"i1">Here's the English can and will!"</span><br />
+<span class="i0">Then the pilots of the place put out brisk and
+leapt on board;<span class='linenum2'>15</span></span> <span class=
+"i1">"Why, what hope or chance have ships like these to pass?"
+laughed they:</span> <span class="i0">"Rocks to starboard, rocks to
+port, all the passage scarred and scored,</span> <span class=
+"i0">Shall the <i>Formidable</i> here, with her twelve and eighty
+guns,</span> <span class="i1">Think to make the river-mouth by the
+single narrow way,</span> <span class="i0">Trust to enter where
+'tis ticklish for a craft of twenty tons,<span class=
+'linenum2'>20</span></span> <span class="i2">And with flow at full
+beside?</span> <span class="i2">Now 'tis slackest ebb of
+tide.</span> <span class="i1">Reach the mooring? Rather say,</span>
+<span class="i0">While rock stands or water runs,</span> <span
+class="i1">Not a ship will leave the bay!"<span class=
+'linenum2'>25</span></span><br />
+<span class="i0">Then was called a council straight.</span> <span
+class="i0">Brief and bitter the debate:</span> <span class=
+"i0">"Here's the English at our heels; would you have them take in
+tow</span> <span class="i0">All that's left us of the fleet, linked
+together stern and bow,</span> <span class="i0">For a prize to
+Plymouth Sound?<span class='linenum2'>30</span></span> <span class=
+"i0"><span class='pagenum'><a name="Page_243" id="Page_243">[Pg
+243]</a></span></span> <span class="i0">Better run the ships
+aground!"</span> <span class="i1">(Ended Damfreville his
+speech.)</span> <span class="i0">Not a minute more to wait!</span>
+<span class="i1">"Let the captains all and each</span> <span class=
+"i1">Shove ashore, then blow up, burn the vessels on the
+beach!<span class='linenum2'>35</span></span><br />
+<span class="i0">Give the word!" But no such word</span> <span
+class="i0">Was ever spoke or heard;</span> <span class="i1">For up
+stood, for out stepped, for in struck amid all these,&mdash;</span>
+<span class="i0">A Captain? a Lieutenant? a Mate&mdash;first,
+second, third?<span class='linenum2'>40</span></span> <span class=
+"i1">No such man of mark, and meet</span> <span class="i1">With his
+betters to compete!</span> <span class="i1">But a simple Breton
+sailor pressed by Tourville for the fleet,</span> <span class=
+"i0">A poor coasting-pilot he, Herv&eacute; Riel the
+Croisickese.</span><br />
+<span class="i0">And, "What mockery or malice have we here?" cries
+Herv&eacute; Riel:<span class='linenum2'>45</span></span> <span
+class="i1">"Are you mad, you Malouins?&nbsp; Are you cowards,
+fools, or rogues?</span> <span class="i0">Talk to me of rocks and
+shoals, me who took the soundings, tell</span> <span class="i0">On
+my fingers every bank, every shallow, every swell</span> <span
+class="i1">'Twist the offing here and Gr&egrave;ve, where the river
+disembogues?</span> <span class="i0">Are you bought by English
+gold? Is it love the lying's for?<span class=
+'linenum2'>50</span></span> <span class="i1">Morn and eve, night
+and day,</span> <span class="i1">Have I piloted your bay,</span>
+<span class="i0">Entered free and anchored fast, at the foot of
+Solidor.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_244" id="Page_244">[Pg 244]</a></span></span> <span class=
+"i1">Burn the fleet and ruin France? That were worse than fifty
+Hogues!</span> <span class="i2">Sirs, they know I speak the truth!
+Sirs, believe me there's a way!<span class=
+'linenum2'>55</span></span> <span class="i0">Only let me lead the
+line,</span> <span class="i1">Have the biggest ship to
+steer,</span> <span class="i1">Get this <i>Formidable</i>
+clear,</span> <span class="i0">Make the others follow mine,</span>
+<span class="i0">And I lead them, most and least, by a passage I
+know well,<span class='linenum2'>60</span></span> <span class=
+"i1">Right to Solidor past Gr&egrave;ve,</span> <span class=
+"i2">And there lay them safe and sound;</span> <span class="i1">And
+if one ship misbehave&mdash;</span> <span class="i3">Keel so much
+as grate the ground&mdash;</span> <span class="i0">Why, I've
+nothing but my life,&mdash;here's my head!" cries Herv&eacute;
+Riel.<span class='linenum2'>65</span></span><br />
+<span class="i0">Not a minute more to wait.</span> <span class=
+"i0">"Steer us in, then, small and great!</span> <span class=
+"i1">Take the helm, lead the line, save the squadron!" cried its
+chief.</span> <span class="i0">Captains, give the sailor
+place!</span> <span class="i1">He is Admiral, in brief.<span class=
+'linenum2'>70</span></span> <span class="i0">Still the north wind,
+by God's grace!</span> <span class="i0">See the noble fellow's
+face</span> <span class="i0">As the big ship, with a bound,</span>
+<span class="i0">Clears the entry like a hound.</span> <span class=
+"i0">Keeps the passage, as its inch of way were the wide sea's
+profound!<span class='linenum2'>75</span></span> <span class=
+"i1">See, safe through shoal and rock,</span> <span class="i1">How
+they follow in a flock,</span> <span class="i0">Not a ship that
+misbehaves, not a keel that grates the ground,</span> <span class=
+"i0"><span class='pagenum'><a name="Page_245" id="Page_245">[Pg
+245]</a></span></span> <span class="i1">Not a spar that comes to
+grief!</span> <span class="i0">The peril, see, is past,<span class=
+'linenum2'>80</span></span> <span class="i0">All are harboured to
+the last,</span> <span class="i0">And just as Herv&eacute; Riel
+hollas "Anchor!"&mdash;sure as fate,</span> <span class="i0">Up the
+English come&mdash;too late.</span><br />
+<span class="i0">So, the storm subsides to calm:</span> <span
+class="i1">They see the green trees wave<span class=
+'linenum2'>85</span></span> <span class="i1">On the heights
+o'erlooking Gr&egrave;ve.</span> <span class="i0">Hearts that bled
+are stanched with balm.</span> <span class="i0">"Just our rapture
+to enhance,</span> <span class="i1">Let the English rake the
+bay,</span> <span class="i0">Gnash their teeth and glare
+askance<span class='linenum2'>90</span></span> <span class="i1">As
+they cannonade away!</span> <span class="i0">'Neath rampired
+Solidor pleasant riding on the Rance!"</span> <span class="i0">How
+hope succeeds despair on each captain's countenance!</span> <span
+class="i0">Out burst all with one accord,</span> <span class=
+"i1">"This is Paradise for Hell!<span class=
+'linenum2'>95</span></span> <span class="i1">Let France, let
+France's King,</span> <span class="i1">Thank the man that did the
+thing!"</span> <span class="i0">What a shout, and all one
+word,</span> <span class="i1">"Herv&eacute; Riel!"</span> <span
+class="i0">As he stepped in front once more,<span class=
+'linenum2'>100</span></span> <span class="i1">Not a symptom of
+surprise</span> <span class="i1">In the frank, blue Breton
+eyes,</span> <span class="i0">Just the same man as
+before.</span><br />
+<span class="i0">Then said Damfreville, "My friend,</span> <span
+class="i0">I must speak out at the end,<span class=
+'linenum2'>105</span></span> <span class="i1">Though I find the
+speaking hard.</span> <span class="i0">Praise is deeper than the
+lips:</span> <span class="i0">You have saved the King his
+ships,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_246" id="Page_246">[Pg 246]</a></span></span> <span class=
+"i1">You must name your own reward.</span> <span class="i0">'Faith,
+our sun was near eclipse!<span class='linenum2'>110</span></span>
+<span class="i0">Demand whate'er you will,</span> <span class=
+"i0">France remains your debtor still.</span> <span class="i0">Ask
+to heart's content and have! or my name's not
+Damfreville."</span><br />
+<span class="i0">Then a beam of fun outbroke</span> <span class=
+"i0">On the bearded mouth that spoke,<span class=
+'linenum2'>115</span></span> <span class="i0">As the honest heart
+laughed through</span> <span class="i0">Those frank eyes of Breton
+blue:</span> <span class="i0">"Since I needs must say my
+say,</span> <span class="i1">Since on board the duty's done,</span>
+<span class="i1">And from Malo Roads to Croisic Point, what is it
+but a run?&mdash;<span class='linenum2'>120</span></span> <span
+class="i0">Since 'tis ask and have, I may&mdash;</span> <span
+class="i1">Since the others go ashore&mdash;</span> <span class=
+"i0">Come! A good whole holiday!</span> <span class="i1">Leave to
+go and see my wife, whom I call the Belle Aurore!"</span> <span
+class="i1">That he asked and that he got,&mdash;nothing more.<span
+class='linenum2'>125</span></span><br />
+<span class="i0">Name and deed alike are lost:</span> <span class=
+"i0">Not a pillar nor a post</span> <span class="i1">In his Croisic
+keeps alive the feat as it befell;</span> <span class="i0">Not a
+head in white and black</span> <span class="i0">On a single
+fishing-smack,<span class='linenum2'>130</span></span> <span class=
+"i0">In memory of the man but for whom had gone to wrack</span>
+<span class="i1">All that France saved from the fight whence
+England bore the bell.</span> <span class="i0">Go to Paris: rank on
+rank</span> <span class="i1">Search the heroes flung
+pell-mell</span> <span class="i0">On the Louvre, face and
+flank!<span class='linenum2'>135</span></span> <span class=
+"i0"><span class='pagenum'><a name="Page_247" id="Page_247">[Pg
+247]</a></span></span> <span class="i1">You shall look long enough
+ere you come to Herv&eacute; Riel.</span> <span class="i0">So, for
+better and for worse,</span> <span class="i0">Herv&eacute; Riel,
+accept my verse!</span> <span class="i0">In my verse, Herv&eacute;
+Riel, do thou once more</span> <span class="i0">Save the squadron,
+honour France, love thy wife the Belle Aurore!<span class=
+'linenum2'>140</span></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Robert Browning</i></p>
+
+<p class="quotsig">(<i>By permission of the owner of the copyright
+and Smith, Elder &amp; Co.</i>)</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Narrate briefly
+the events of the poem and describe (<i>a</i>) the council,
+(<i>b</i>) the scene after the ships are safely anchored.</p>
+
+<p>How does this poem illustrate the truth that the highest motive
+in life is duty? From this standpoint compare Herv&eacute; Riel
+with Sir Richard Grenville in Tennyson's <i>The Revenge</i>.</p>
+
+<p>Give other examples to show that true nobility does not depend
+on such externals as rank and position.</p>
+
+<p>2. <span class="smcap">woe to France</span>. How does the voice
+indicate that this phrase is parenthetical?</p>
+
+<p>4. What is the subject of <span class="smcap">PURSUE</span>? Its
+object? How does the reader make the meaning clear?</p>
+
+<p>3-5. What is the Shading?</p>
+
+<p>8 and 14. Supply the ellipsis in each case. How is the reading
+affected by an ellipsis? (Introduction, p. <a href=
+"#Page_10">10</a>.)</p>
+
+<p>12-14. What is the Stress? (Introduction, pp. <a href=
+"#Page_27">27</a> and <a href="#Page_28">28</a>.)</p>
+
+<p>16-25. What energy characterizes these lines? With what Stress
+should they be read?</p>
+
+<p><span class="smcap">TWELVE AND EIGHTY GUNS, TWENTY TONS</span>.
+What is the difference in the Quality of voice? Compare <span
+class="smcap">man of mark, simple Breton sailor</span>, ll. 40 and
+42.</p>
+
+<p>26. Where is the Pause? Why?</p>
+
+<p>Note the transitions in ll. 27, 31, 32, and 33. How is each one
+indicated?</p>
+
+<p>38. <span class="smcap">STOOD, STEPPED, STRUCK</span>. Observe
+the increased Emphasis. Compare ll. 46 and 69.</p>
+
+<p>41-43. Note the contrast. What is the Inflection on each part?
+(Introduction, p. <a href="#Page_20">20</a>.)</p>
+
+<p>45-66. What state of mind does Herv&eacute; Riel's speech
+indicate throughout? What feelings predominate when he addresses
+(<i>a</i>) the Malouins, (<i>b</i>) the officers? What Time, Pitch,
+Force, and Stress are the natural expression?</p>
+
+<p><span class='pagenum'><a name="Page_248" id="Page_248">[Pg
+248]</a></span></p>
+
+<p>46. <span class="smcap">COWARDS, FOOLS, ROGUES</span>. What is
+the Inflection on each word? (Introduction, p. <a href=
+"#Page_20">20</a>.)</p>
+
+<p>65. <span class="smcap">Keel so much, etc.</span> Note the Pause
+and Grouping.</p>
+
+<p>72, 73-76, 77-84. What is the predominant feeling in each
+passage?</p>
+
+<p>104-113. Compare the self-control of Damfreville's speech with
+the impulsive shout of the preceding stanza. What is the resulting
+difference in vocal expression?</p>
+
+<p>114-116. Note the Pause and Grouping.</p>
+
+<p>118-122. What is the Inflection? (Introduction, p. <a href=
+"#Page_17">17</a>.)</p>
+
+<p>129-132. Observe the Grouping.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_248a" id="Page_248a"></a>THE HANDWRITING ON THE
+WALL</h3>
+
+<p class="center2">Daniel <span class="smcap">V</span></p>
+
+<p>Belshazzar the king made a great feast to a thousand of his
+lords, and drank wine before the thousand. Belshazzar, whiles he
+tasted the wine, commanded to bring the golden and silver vessels
+which his father Nebuchadnezzar had taken out of the temple which
+was in Jerusalem; that the king, and his princes, his wives, and
+his concubines, might drink therein. Then they brought the golden
+vessels that were taken out of the temple of the house of God which
+was in Jerusalem; and the king, and his princes, his wives, and his
+concubines, drank in them. They drank wine, and praised the gods of
+gold, and of silver, of brass, of iron, of wood, and of stone.</p>
+
+<p>In the same hour came forth fingers of a man's hand, and wrote
+over against the candlestick upon the plaister of the wall of the
+king's palace: and the king saw the part of the hand that wrote.
+Then the king's countenance was changed, and his thoughts troubled
+him, so that the joints of his loins were loosed, and his knees
+smote <span class='pagenum'><a name="Page_249" id="Page_249">[Pg
+249]</a></span>one against another. The king cried aloud to bring
+in the astrologers, the Chaldeans, and the soothsayers. And the
+king spake, and said to the wise men of Babylon, Whosoever shall
+read this writing, and shew me the interpretation thereof, shall be
+clothed with scarlet, and have a chain of gold about his neck, and
+shall be the third ruler in the kingdom. Then came in all the
+king's wise men: but they could not read the writing, nor make
+known to the king the interpretation thereof. Then was the king
+Belshazzar greatly troubled, and his countenance was changed in
+him, and his lords were astonied.</p>
+
+<p>Now the queen by reason of the words of the king and his lords
+came into the banquet house: and the queen spake and said, O king,
+live for ever: let not thy thoughts trouble thee, nor let thy
+countenance be changed: There is a man in thy kingdom, in whom is
+the spirit of the holy gods; and in the days of thy father light
+and understanding and wisdom, like the wisdom of the gods, was
+found in him; whom the king Nebuchadnezzar thy father, the king, I
+say, thy father, made master of the magicians, astrologers,
+Chaldeans, and soothsayers; Forasmuch as an excellent spirit and
+knowledge and understanding, interpreting of dreams, and shewing of
+hard sentences, and dissolving of doubts, were found in the same
+Daniel, whom the king named Belteshazzar: now let Daniel be called,
+and he will shew the interpretation.</p>
+
+<p>Then was Daniel brought in before the king. And the king spake
+and said unto Daniel, Art thou that Daniel, which art of the
+children of the captivity of Judah, whom the king my father brought
+out of Jewry? I have even heard of thee, that the spirit of the
+gods is in thee, and that light and understanding and excellent
+<span class='pagenum'><a name="Page_250" id="Page_250">[Pg
+250]</a></span>wisdom is found in thee. And now the wise men, the
+astrologers, have been brought in before me, that they should read
+this writing, and make known unto me the interpretation thereof:
+but they could not shew the interpretation of the thing: And I have
+heard of thee, that thou canst make interpretations, and dissolve
+doubts: now if thou canst read the writing, and make known to me
+the interpretation thereof, thou shalt be clothed with scarlet, and
+have a chain of gold about thy neck, and shalt be the third ruler
+in the kingdom.</p>
+
+<p>Then Daniel answered and said before the king, Let thy gifts be
+to thyself, and give thy reward to another; yet I will read the
+writing unto the king, and make known to him the interpretation. O
+thou king, the most high God gave Nebuchadnezzar thy father a
+kingdom, and majesty, and glory, and honour: And for the majesty
+that he gave him, all people, nations, and languages, trembled and
+feared before him: whom he would he slew; and whom he would he kept
+alive; and whom he would he set up; and whom he would he put down.
+But when his heart was lifted up, and his mind hardened in pride,
+he was deposed from his kingly throne, and they took his glory from
+him: And he was driven from the sons of men; and his heart was made
+like the beasts, and his dwelling was with the wild asses: they fed
+him with grass like oxen, and his body was wet with the dew of
+heaven; till he knew that the most high God ruled in the kingdom of
+men, and that he appointeth over it whomsoever he will. And thou,
+his son, O Belshazzar, hast not humbled thine heart, though thou
+knewest all this; But has lifted up thyself against the Lord of
+heaven; and they have brought the vessels of his house before thee,
+and thou, and thy lords, thy <span class='pagenum'><a name=
+"Page_251" id="Page_251">[Pg 251]</a></span>wives, and thy
+concubines, have drunk wine in them; and thou hast praised the gods
+of silver, of gold, of brass, iron, wood, and stone, which see not,
+nor hear, nor know: and the God in whose hand thy breath is, and
+whose are all thy ways, hast thou not glorified: Then was the part
+of the hand sent from him; and this writing was written.</p>
+
+<p>And this is the writing that was written, MENE, MENE, TEKEL,
+UPHARSIN. This is the interpretation of the thing: MENE; God hath
+numbered thy kingdom, and finished it. TEKEL; Thou art weighed in
+the balances, and art found wanting. PERES; Thy kingdom is divided,
+and given to the Medes and Persians. Then commanded Belshazzar, and
+they clothed Daniel with scarlet, and put a chain of gold about his
+neck, and made a proclamation concerning him, that he should be the
+third ruler in the kingdom.</p>
+
+<p>In that night was Belshazzar the king of the Chaldeans slain.
+And Darius the Median took the kingdom, being about threescore and
+two years old.</p>
+
+<div class="blockquot">
+<p>Give a dramatic form to this extract, indicating by suitable
+titles the various scenes suggested and the parts that would
+properly belong to the scenery, the action, and the dialogue
+respectively. The different parts may be read by different readers
+before one reader attempts all the parts.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_251a" id="Page_251a"></a>PAUL'S DEFENCE BEFORE
+KING AGRIPPA</h3>
+
+<p class="center2">Acts xxvi</p>
+
+<p>1. Then Agrippa said unto Paul, Thou art permitted to speak for
+thyself. Then Paul stretched forth the hand, and answered for
+himself: I think myself happy, King Agrippa, because I shall answer
+for myself this <span class='pagenum'><a name="Page_252" id=
+"Page_252">[Pg 252]</a></span>day before thee touching all the
+things whereof I am accused of the Jews: especially because I know
+thee to be expert in all customs and questions which are among the
+Jews: wherefore I beseech thee to hear me patiently.</p>
+
+<p>2. My manner of life from my youth, which was at the first among
+mine own nation at Jerusalem, know all the Jews; which knew me from
+the beginning, if they would testify, that after the most straitest
+sect of our religion I lived a Pharisee. And now I stand and am
+judged for the hope of the promise made of God unto our fathers:
+unto which promise our twelve tribes, instantly serving God day and
+night, hope to come. For which hope's sake, King Agrippa, I am
+accused of the Jews.</p>
+
+<p>3. Why should it be thought a thing incredible with you, that
+God should raise the dead? I verily thought with myself, that I
+ought to do many things contrary to the name of Jesus of Nazareth.
+Which thing I also did in Jerusalem: and many of the saints did I
+shut up in prison, having received authority from the chief
+priests; and when they were put to death, I gave my voice against
+them. And I punished them oft in every synagogue, and compelled
+them to blaspheme; and being exceedingly mad against them, I
+persecuted them even unto strange cities.</p>
+
+<p>4. Whereupon as I went to Damascus with authority and commission
+from the chief priests, at midday, O king, I saw in the way a light
+from heaven, above the brightness of the sun, shining round about
+me and them which journeyed with me. And when we were all fallen to
+the earth, I heard a voice speaking unto me, and saying in the
+Hebrew tongue, Saul, Saul, why persecutest thou me? It is hard for
+thee to kick against the <span class='pagenum'><a name="Page_253"
+id="Page_253">[Pg 253]</a></span>pricks. And I said, Who art thou,
+Lord? And he said, I am Jesus whom thou persecutest. But rise, and
+stand upon thy feet: for I have appeared unto thee for this
+purpose, to make thee a minister and a witness both of these things
+which thou hast seen, and of those things in the which I will
+appear unto thee; delivering thee from the people, and from the
+Gentiles, unto whom now I send thee, to open their eyes, and to
+turn them from darkness to light, and from the power of Satan unto
+God, that they may receive forgiveness of sins, and inheritance
+among them which are sanctified by faith that is in me.</p>
+
+<p>5. Whereupon, O King Agrippa, I was not disobedient unto the
+heavenly vision: but shewed first unto them of Damascus, and at
+Jerusalem, and throughout all the coasts of Jud&aelig;a, and then
+to the Gentiles, that they should repent and turn to God, and do
+works meet for repentance. For these causes the Jews caught me in
+the temple, and went about to kill me. Having therefore obtained
+help of God, I continue unto this day, witnessing both to small and
+great, saying none other things than those which the prophets and
+Moses did say should come: that Christ should suffer, and that he
+should be the first that should rise from the dead, and should shew
+light unto the people, and to the Gentiles.</p>
+
+<p>6. And as he thus spake for himself, Festus said with a loud
+voice, Paul, thou art beside thyself; much learning doth make thee
+mad. But he said, I am not mad, most noble Festus; but speak forth
+the words of truth and soberness. For the king knoweth of these
+things, before whom also I speak freely: for I am persuaded that
+none of these things are hidden from him; for this thing was not
+done in a corner. King Agrippa, believ<span class='pagenum'><a
+name="Page_254" id="Page_254">[Pg 254]</a></span>est thou the
+prophets? I know that thou believest. Then Agrippa said unto Paul,
+Almost thou persuadest me to be a Christian. And Paul said, I would
+to God, that not only thou, but also all that hear me this day,
+were both almost, and altogether such as I am, except these
+bonds.</p>
+
+<p>7. And when he had thus spoken, the king rose up, and the
+governor, and Bernice, and they that sat with them: And when they
+were gone aside, they talked between themselves, saying, This man
+doeth nothing worthy of death or of bonds. Then said Agrippa unto
+Festus, This man might have been set at liberty, if he had not
+appealed unto C&aelig;sar.</p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Under what
+circumstances did Paul deliver this defence? Picture the scene.</p>
+
+<p>What attitude of mind characterizes the chief speaker? How does
+this affect the reading?</p>
+
+<p>How are the direct speeches in Pars. 1, 4, 6, and 7 made to
+stand out from the narrative? (Introduction, p. <a href=
+"#Page_24">24</a>.)</p>
+
+<p>How do the mental and emotional states of the various speakers
+differ? Indicate this difference by the Quality of the voice.
+(Introduction, p. 34.)</p>
+
+<p>Point out the Climax in Par. 3. How does the voice express
+it?</p>
+
+<p><span class="smcap">IF THEY WOULD TESTIFY</span>. What change in
+the voice subordinates this clause? (Introduction, p. <a href=
+"#Page_33">33</a>.) Give another example from Par. 2.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_254a" id="Page_254a"></a>THE STRANDED SHIP</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Far up the lonely strand the
+storm had lifted her.</span> <span class="i0">And now along her
+keel the merry tides make stir</span> <span class="i0">No more. The
+running waves that sparkled at her prow</span> <span class=
+"i0">Seethe to the chains and sing no more with laughter
+now.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_255" id="Page_255">[Pg 255]</a></span>No more the clean
+sea-furrow follows her. No more</span> <span class="i0">To the hum
+of her gallant tackle the hale Nor'-westers roar.</span> <span
+class="i0">No more her bulwarks journey. For the only boon they
+crave</span> <span class="i0">Is the guerdon of all good ships and
+true, the boon of a deep-sea grave.</span><br />
+<span class="i1"><i>Take me out, sink me deep in the green
+profound,</i></span> <span class="i1"><i>To sway with the long
+weed, swing with the drowned,</i></span> <span class="i1"><i>Where
+the change of the soft tide makes no sound,</i></span> <span class=
+"i1"><i>Far below the keels of the outward bound.</i></span><br />
+<span class="i0">No more she mounts the circles from Fundy to the
+Horn,</span> <span class="i0">From Cuba to the Cape runs down the
+tropic morn,</span> <span class="i0">Explores the Vast Uncharted
+where great bergs ride in ranks,</span> <span class="i0">Nor shouts
+a broad "Ahoy" to the dories on the Banks.</span> <span class=
+"i0">No more she races freights to Zanzibar and back,</span> <span
+class="i0">Nor creeps where the fog lies blind along the liner's
+track,</span> <span class="i0">No more she dares the cyclone's
+disastrous core of calm</span> <span class="i0">To greet across the
+dropping wave the amber isles of palm.</span><br />
+<span class="i1"><i>Take me out, sink me deep in the green
+profound,</i></span> <span class="i1"><i>To sway with the long
+weed, swing with the drowned,</i></span> <span class="i1"><i>Where
+the change of the soft tide makes no sound,</i></span> <span class=
+"i1"><i>Far below the keels of the outward bound.</i></span><br />
+<span class="i0">Amid her trafficking peers, the wind-wise,
+journeyed ships,</span> <span class="i0">At the black wharves no
+more, nor at the weedy slips,</span> <span class="i0"><span class=
+'pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span>She
+comes to port with cargo from many a storied clime.</span> <span
+class="i0">No more to the rough-throat chantey her windlass creaks
+in time.</span> <span class="i0">No more she loads for London with
+spices from Ceylon,&mdash;</span> <span class="i0">With white
+spruce deals and wheat and apples from St. John.</span> <span
+class="i0">No more from Pernambuco with cotton-bales,&mdash;no
+more</span> <span class="i0">With hides from Buenos Ayres she
+clears for Baltimore.</span><br />
+<span class="i1"><i>Take me out, sink me deep in the green
+profound,</i></span> <span class="i1"><i>To sway with the long
+weed, swing with the drowned,</i></span> <span class="i1"><i>Where
+the change of the soft tide makes no sound,</i></span> <span class=
+"i1"><i>Far below the keels of the outward bound.</i></span><br />
+<span class="i0">Wan with the slow vicissitudes of wind and rain
+and sun</span> <span class="i0">How grieves her deck for the
+sailors whose hearty brawls are done!</span> <span class="i0">Only
+the wandering gull brings word of the open wave,</span> <span
+class="i0">With shrill scream at her taffrail deriding her alien
+grave.</span> <span class="i0">Around the keel that raced the
+dolphin and the shark</span> <span class="i0">Only the sand-wren
+twitters from barren dawn till dark;</span> <span class="i0">And
+all the long blank noon the blank sand chafes and mars</span> <span
+class="i0">The prow once swift to follow the lure of the dancing
+stars.</span><br />
+<span class="i1"><i>Take me out, sink me deep in the green
+profound,</i></span> <span class="i1"><i>To sway with the long
+weed, swing with the drowned,</i></span> <span class="i1"><i>Where
+the change of the soft tide makes no sound,</i></span> <span class=
+"i1"><i>Far below the keels of the outward bound.</i></span> <span
+class="i0">&nbsp;<span class='pagenum'><a name="Page_257" id=
+"Page_257">[Pg 257]</a></span></span> <span class="i0">And when the
+winds are low, and when the tides are still,</span> <span class=
+"i0">And the round moon rises inland over the naked hill,</span>
+<span class="i0">And o'er her parching seams the dry cloud-shadows
+pass,</span> <span class="i0">And dry along the land-rim lie the
+shadows of thin grass,</span> <span class="i0">Then aches her soul
+with longing to launch and sink away</span> <span class="i0">Where
+the fine silts lift and settle, and sea-things drift and
+stray,</span> <span class="i0">To make the port of Last Desire, and
+slumber with her peers</span> <span class="i0">In the tide-wash
+rocking softly through the unnumbered years.</span><br />
+<span class="i1"><i>Take me out, sink me deep in the green
+profound,</i></span> <span class="i1"><i>To sway with the long
+weed, swing with the drowned,</i></span> <span class="i1"><i>Where
+the change of the soft tide makes no sound,</i></span> <span class=
+"i1"><i>Far below the keels of the outward bound.</i></span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Charles G. D. Roberts (By
+arrangement)</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What is the
+fundamental idea of the first three stanzas? Of the fourth stanza?
+Of the last stanza? Of the refrain? Apply these ideas to human
+life? What feelings do they arouse? Show that these feelings grow
+stronger as the poem advances.</p>
+
+<p>What Time, Pitch, and Stress are the natural expression of the
+atmosphere pervading the poem? Where are they most marked?</p>
+
+<p>What effect has the atmosphere of the last stanza on the Quality
+of the voice?</p>
+
+<p><span class="smcap">HER, STIR</span>. (Appendix <a href=
+"#A_1">A, 1</a>.)</p>
+
+<p><span class="smcap">STRAND, FAR, CALM, BRAWLS</span>.
+Distinguish the sound of <i>a</i> in these words, and select other
+words from the poem with the same sound. (Appendix <a href=
+"#A_1">A, 1</a>.)</p>
+
+<p>What is the Inflection on the negative statements in the first
+three stanzas? On the entreaty in the refrain? (Introduction, p. <a
+href="#Page_18">18</a>.)</p>
+
+<p>What effect do the falling Inflection, and the marked Pause
+after <span class="smcap">MORE</span>, l. 3, stanza 1 produce?</p>
+
+<p><span class="smcap">And when the winds ... grass</span>. What is
+the Inflection? What is the Shading when compared with the next
+line?</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_258" id="Page_258">[Pg
+258]</a></span></p>
+
+<h3>SIR PATRICK SPENS</h3>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">The king sits, in Dunfermline
+toun,</span> <span class="i0">Drinking the blude-red wine;</span>
+<span class="i0">"O whare will I get a skeely skipper,</span> <span
+class="i0">To sail this new ship o' mine?"</span><br />
+<span class="i0">O up and spake an eldern knight,</span> <span
+class="i0">Sat at the king's right knee,&mdash;</span> <span class=
+"i0">"Sir Patrick Spens is the best sailor,</span> <span class=
+"i0">That ever sailed the sea."</span><br />
+<span class="i0">The king has written a braid letter,</span> <span
+class="i0">And sealed it wi' his hand,</span> <span class="i0">And
+sent it to Sir Patrick Spens,</span> <span class="i0">Was walking
+on the strand.</span><br />
+<span class="i0">"To Noroway, to Noroway,</span> <span class=
+"i0">To Noroway o'er the faem;</span> <span class="i0">The king's
+daughter of Noroway,</span> <span class="i0">'Tis thou maun bring
+her hame."</span><br />
+<span class="i0">The first word that Sir Patrick read,</span> <span
+class="i0">Sae loud, loud laugh&egrave;d he;</span> <span class=
+"i0">The neist word that Sir Patrick read,</span> <span class=
+"i0">The tear blindit his e'e.</span><br />
+<span class="i0">"O wha is this has done this deed,</span> <span
+class="i0">And tauld the king o'me,</span> <span class="i0"><span
+class='pagenum'><a name="Page_259" id="Page_259">[Pg
+259]</a></span>To send us out, this time o' the year,</span> <span
+class="i0">To sail upon the sea?</span><br />
+<span class="i0">Be't wind, be't weet, be't hail, be't
+sleet,</span> <span class="i0">Our ship must sail the faem;</span>
+<span class="i0">The king's daughter of Noroway,</span> <span
+class="i0">'Tis we must fetch her hame."</span><br />
+<span class="i0">They hoysed their sails on Monenday morn,</span>
+<span class="i0">Wi' a' the speed they may;</span> <span class=
+"i0">They hae landed in Noroway,</span> <span class="i0">Upon a
+Wodensday.</span><br />
+<span class="i0">They hadna been a week, a week,</span> <span
+class="i0">In Noroway, but twae,</span> <span class="i0">When that
+the lords o' Noroway</span> <span class="i0">Began aloud to
+say,&mdash;</span><br />
+<span class="i0">"Ye Scottishmen spend a' our king's goud,</span>
+<span class="i0">And a' our queenis fee."</span> <span class=
+"i0">"Ye lee, ye lee, ye lears loud!</span> <span class="i0">Fu'
+loud I hear ye lee!</span><br />
+<span class="i0">For I brought as mickle white monie,</span> <span
+class="i0">As gane my men and me,</span> <span class="i0">And I
+brought a half-fou o' gude red goud,</span> <span class="i0">Out
+o'er the sea wi' me.</span><br />
+<span class="i0">Mak' ready, mak' ready, my merry men a'!</span>
+<span class="i0">Our gude ship sails the morn."</span> <span class=
+"i0">"Now, ever alake, my master dear,</span> <span class="i0">I
+fear a deadly storm!</span> <span class="i0">&nbsp;<span class=
+'pagenum'><a name="Page_260" id="Page_260">[Pg
+260]</a></span></span> <span class="i0">I saw the new moon, late
+yestreen,</span> <span class="i0">Wi' the auld moon in her
+arm!</span> <span class="i0">And, if we gang to sea, master,</span>
+<span class="i0">I fear we'll come to harm."</span><br />
+<span class="i0">They hadna sailed a league, a league,</span> <span
+class="i0">A league, but barely three,</span> <span class="i0">When
+the lift grew dark, and the wind blew loud,</span> <span class=
+"i0">And gurly grew the sea.</span><br />
+<span class="i0">The ankers brak, and the topmasts lap,</span>
+<span class="i0">It was sic a deadly storm;</span> <span class=
+"i0">And the waves cam' o'er the broken ship,</span> <span class=
+"i0">Till a' her sides were torn.</span><br />
+<span class="i0">"O whare will I get a gude sailor,</span> <span
+class="i0">To tak' my helm in hand,</span> <span class="i0">Till I
+gae up to the tall topmast,</span> <span class="i0">To see if I spy
+land?"</span><br />
+<span class="i0">"O here am I, a sailor gude,</span> <span class=
+"i0">To tak' the helm in hand,</span> <span class="i0">Till you gae
+up to the tall topmast;</span> <span class="i0">But I fear ye'll
+ne'er spy land."</span><br />
+<span class="i0">He hadna gane a step, a step,</span> <span class=
+"i0">A step, but barely ane,</span> <span class="i0">When a bolt
+flew out o' our goodly ship,</span> <span class="i0">And the salt
+sea it cam' in.</span><br />
+<span class="i0">"Gae fetch a web o' the silken claith,</span>
+<span class="i0">Anither o' the twine,</span> <span class=
+"i0"><span class='pagenum'><a name="Page_261" id="Page_261">[Pg
+261]</a></span>And wap them into our ship's side,</span> <span
+class="i0">And letna the sea come in."</span><br />
+<span class="i0">They fetched a web o' the silken claith,</span>
+<span class="i0">Anither o' the twine,</span> <span class="i0">And
+they wapped them roun' that gude ship's side,</span> <span class=
+"i0">But still the sea cam' in.</span><br />
+<span class="i0">O laith, laith were our gude Scots lords,</span>
+<span class="i0">To weet their cork-heeled shoon!</span> <span
+class="i0">But lang or a' the play was played,</span> <span class=
+"i0">They wat their hats aboon.</span><br />
+<span class="i0">And mony was the feather-bed,</span> <span class=
+"i0">That floated o'er the faem;</span> <span class="i0">And mony
+was the gude lord's son,</span> <span class="i0">That never mair
+cam' hame.</span><br />
+<span class="i0">The ladyes wrang their fingers white,</span> <span
+class="i0">The maidens tore their hair,</span> <span class="i0">A'
+for the sake of their true loves;</span> <span class="i0">For them
+they'll see na mair.</span><br />
+<span class="i0">O lang, lang may the ladyes sit,</span> <span
+class="i0">Wi' their fans into their hand,</span> <span class=
+"i0">Before they see Sir Patrick Spens</span> <span class="i0">Come
+sailing to the strand!</span><br />
+<span class="i0">And lang, lang may the maidens sit,</span> <span
+class="i0">Wi' their goud kaims in their hair,</span> <span class=
+"i0">A' waiting for their ain dear loves!</span> <span class=
+"i0">For them they'll see na mair.</span> <span class=
+"i0">&nbsp;<span class='pagenum'><a name="Page_262" id=
+"Page_262">[Pg 262]</a></span></span> <span class="i0">Half ower,
+half ower to Aberdour,</span> <span class="i0">'Tis fifty fathoms
+deep,</span> <span class="i0">And there lies gude Sir Patrick
+Spens,</span> <span class="i0">Wi' the Scots lords at his
+feet.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Old Ballad</i></p>
+
+<div class="blockquot">
+<p>Into how many different scenes does this drama fall? Where is
+each one laid? How can each one be made to stand out by itself?
+(Introduction, p. <a href="#Page_10">10</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_262a" id="Page_262a"></a>KING JOHN AND THE ABBOT
+OF CANTERBURY</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">An ancient story Ile tell you
+anon.</span> <span class="i0">Of a notable prince, that was called
+king John;</span> <span class="i0">And he ruled England with maine
+and with might,</span> <span class="i0">For he did great wrong, and
+maintein'd little right.</span><br />
+<span class="i0">And Ile tell you a story, a story so
+merrye,</span> <span class="i0">Concerning the Abbot of
+Canterb&ugrave;rye;</span> <span class="i0">How for his
+house-keeping, and high renowne,</span> <span class="i0">They rode
+poste for him to fair London towne.</span><br />
+<span class="i0">An hundred men, the king did heare say,</span>
+<span class="i0">The abbot kept in his house every day;</span>
+<span class="i0">And fifty golde chaynes, without any doubt,</span>
+<span class="i0">In velvet coates waited the abbot
+about.</span><br />
+<span class="i0">"How now, father abbot, I heare it of thee,</span>
+<span class="i0">Thou keepest a farre better house than mee,</span>
+<span class="i0">And for thy house-keeping and high renowne,</span>
+<span class="i0">I feare thou work'st treason against my
+crown."</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_263" id="Page_263">[Pg 263]</a></span></span> <span
+class="i0">"My liege," quo' the abbot, "I would it were
+knowne,</span> <span class="i0">I never spend nothing, but what is
+my owne;</span> <span class="i0">And I trust, your grace will doe
+me no deere,</span> <span class="i0">For spending of my owne
+true-gotten geere."</span><br />
+<span class="i0">"Yes, yes, father abbot, thy fault it is
+highe,</span> <span class="i0">And now for the same thou needest
+must dye;</span> <span class="i0">For except thou canst answer me
+questions three,</span> <span class="i0">Thy head shall be smitten
+from thy bodie.</span><br />
+<span class="i0">And first," quo' the king, "when I'm in this
+stead,</span> <span class="i0">With my crowne of golde so faire on
+my head,</span> <span class="i0">Among all my liege-men so noble of
+birthe,</span> <span class="i0">Thou must tell me to one penny what
+I am worthe.</span><br />
+<span class="i0">Secondlye, tell me, without any doubt,</span>
+<span class="i0">How soone I may ride the whole world about.</span>
+<span class="i0">And at the third question thou must not
+shrink,</span> <span class="i0">But tell me here truly what do I
+think."</span><br />
+<span class="i0">"O, these are hard questions for my shallow
+witt,</span> <span class="i0">Nor I cannot answer your grace as
+yet:</span> <span class="i0">But if you will give me but three
+weekes space,</span> <span class="i0">Ile do my endeavour to answer
+your grace."</span><br />
+<span class="i0">"Now three weeks space to thee will I give,</span>
+<span class="i0">And that is the longest time thou hast to
+live;</span> <span class="i0">For if thou dost not answer my
+questions three,</span> <span class="i0">Thy lands and thy livings
+are forfeit to mee."</span><br />
+<span class="i0">Away rode the abbot all sad at that word,</span>
+<span class="i0">And he rode to Cambridge, and Oxenford;</span>
+<span class="i0">But never a doctor there was so wise,</span> <span
+class="i0">That could with his learning an answer devise.</span>
+<span class="i0">&nbsp;<span class='pagenum'><a name="Page_264" id=
+"Page_264">[Pg 264]</a></span></span> <span class="i0">Then home
+rode the abbot of comfort so cold,</span> <span class="i0">And he
+mett his shepheard a going to fold:</span> <span class="i0">"How
+now, my lord abbot, you are welcome home;</span> <span class=
+"i0">What newes do you bring us from good king John?"</span><br />
+<span class="i0">"Sad newes, sad newes, shepheard, I must
+give;</span> <span class="i0">That I have but three days more to
+live:</span> <span class="i0">For if I do not answer him questions
+three,</span> <span class="i0">My head will be smitten from my
+bodie.</span><br />
+<span class="i0">The first is to tell him, there in that
+stead,</span> <span class="i0">With his crowne of golde so fair on
+his head,</span> <span class="i0">Among all his liege-men so noble
+of birth,</span> <span class="i0">To within one penny of what he is
+worth.</span><br />
+<span class="i0">The seconde, to tell him, without any
+doubt,</span> <span class="i0">How soon he may ride this whole
+world about:</span> <span class="i0">And at the third question I
+must not shrinke,</span> <span class="i0">But tell him there truly
+what he does thinke."</span><br />
+<span class="i0">"Now cheare up, sire abbot, did you never hear
+yet,</span> <span class="i0">That a fool he may learn a wise man
+witt?</span> <span class="i0">Lend me horse, and serving-men, and
+your apparel,</span> <span class="i0">And I'll ride to London to
+answere your quarrel.</span><br />
+<span class="i0">Nay frowne not, if it hath bin told unto
+mee,</span> <span class="i0">I am like your lordship, as ever may
+bee:</span> <span class="i0">And if you will but lend me your
+gowne,</span> <span class="i0">There is none shall knowe us at fair
+London towne."</span><br />
+<span class="i0">"Now horses, and serving-men thou shalt
+have,</span> <span class="i0">With sumptuous array most gallant and
+brave;</span> <span class="i0">With crozier, and miter, and rochet,
+and cope,</span> <span class="i0">Fit to appeare 'fore our fader
+the pope."</span> <span class="i0">&nbsp;<span class='pagenum'><a
+name="Page_265" id="Page_265">[Pg 265]</a></span></span> <span
+class="i0">"Now welcome, sire abbot," the king he did say,</span>
+<span class="i0">"Tis well thou'rt come back to keepe thy
+day;</span> <span class="i0">For and if thou canst answer my
+questions three,</span> <span class="i0">Thy life and thy living
+both saved shall bee.</span><br />
+<span class="i0">And first, when thou seest me here in this
+stead,</span> <span class="i0">With my crown of golde so faire on
+my head,</span> <span class="i0">Among all my liege-men so noble of
+birthe,</span> <span class="i0">Tell me to one penny what I am
+worth."</span><br />
+<span class="i0">"For thirty pence our Saviour was sold</span>
+<span class="i0">Amonge the false Jewes, as I have bin told;</span>
+<span class="i0">And twenty-nine is the worth of thee,</span> <span
+class="i0">For I thinke, thou art one penny worser than
+hee."</span><br />
+<span class="i0">The king he laughed, and swore by St.
+Bittel,</span> <span class="i0">"I did not thinke I had been worth
+so littel!</span> <span class="i0">&mdash;Now secondly tell me,
+without any doubt,</span> <span class="i0">How soone I may ride
+this whole world about."</span><br />
+<span class="i0">"You must rise with the sun, and ride with the
+same,</span> <span class="i0">Until the next morning he riseth
+againe;</span> <span class="i0">And then your grace need not make
+any doubt,</span> <span class="i0">But in twenty-four hours you'll
+ride it about."</span><br />
+<span class="i0">The king he laughed, and swore by St. Jone,</span>
+<span class="i0">"I did not think, it could be gone so
+soone!</span> <span class="i0">&mdash;Now from the third question
+thou must not shrinke,</span> <span class="i0">But tell me here
+truly what I do thinke."</span> <span class="i0">&nbsp;<span class=
+'pagenum'><a name="Page_266" id="Page_266">[Pg
+266]</a></span></span> <span class="i0">"Yea, that shall I do, and
+make your grace merry:</span> <span class="i0">You thinke I'm the
+Abbot of Canterb&ugrave;ry;</span> <span class="i0">But I'm his
+poor shepheard, as plain you may see,</span> <span class="i0">That
+am come to beg pardon for him and for mee."</span><br />
+<span class="i0">The king he laughed, and swore "by the
+masse,</span> <span class="i0">He make thee lord abbot this day in
+his place!"</span> <span class="i0">"Now naye, my liege, be not in
+such speede,</span> <span class="i0">For alacke I can neither write
+ne reade."</span><br />
+<span class="i0">"Four nobles a weeke, then, I will give
+thee,</span> <span class="i0">For this merry jest thou hast showne
+unto mee;</span> <span class="i0">And tell the old abbot when thou
+comest home,</span> <span class="i0">Thou hast brought him a pardon
+from good king John."</span></div>
+</div>
+
+<p class="quotsig2"><i>Old Ballad</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Divide this poem
+into three dramatic scenes. Who are the actors in each scene?</p>
+
+<p>What is the king's attitude toward the abbot in the first scene?
+Toward the supposed abbot in the third scene? Where does this
+attitude suddenly change? Show at what points this changed attitude
+gradually increases in strength and where it reaches its climax.
+Indicate these changes by means of the voice.</p>
+
+<p>What is the abbot's attitude toward the king in the first scene?
+How does it differ from his attitude toward the shepherd? What is
+the difference in vocal expression?</p>
+
+<p>Where does the shepherd's attitude toward the king change? How
+does the voice indicate this change?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_266a" id="Page_266a"></a>THE KEY TO HUMAN
+HAPPINESS</h3>
+
+<p class="center2">From "The Mill on the Floss"</p>
+
+<p>1. At last Maggie's eyes glanced down on the books that lay on
+the window-shelf, and she half forsook her reverie to turn over
+listlessly the leaves of the "Portrait Gallery"; but she soon
+pushed this aside to examine the little row of books tied together
+with, string. "Beauties <span class='pagenum'><a name="Page_267"
+id="Page_267">[Pg 267]</a></span>of the Spectator", "Rasselas",
+"Economy of Human Life", "Gregory's Letters",&mdash;she knew the
+sort of matter that was inside all these; the "Christian
+Year"&mdash;that seemed to be a hymn-book, and she laid it down
+again; but "Thomas &agrave; Kempis"&mdash;the name had come across
+her in her reading, and she felt the satisfaction, which every one
+knows, of getting some ideas to attach to a name that strays
+solitary in the memory. She took up the little, old, clumsy book
+with some curiosity; it had the corners turned down in many places,
+and some hand, now for ever quiet, had made at certain passages
+strong pen-and-ink marks, long since browned by time. Maggie turned
+from leaf to leaf, and read where the quiet hand pointed ... "Know
+that the love of thyself doth hurt thee more than anything in the
+world.... If thou seekest this or that, and would'st be here or
+there to enjoy thy own will and pleasure, thou shalt never be quiet
+nor free from care; for in everything somewhat will be wanting, and
+in every place there will be some that will cross thee.... Both
+above and below, which way soever thou dost turn thee, everywhere
+thou shalt find the Cross; and everywhere of necessity thou must
+have patience, if thou wilt have inward peace, and enjoy an
+everlasting crown.... It is but little thou sufferest in comparison
+of them that have suffered so much, were so strongly tempted, so
+grievously afflicted, so many ways tried and exercised. Thou
+oughtest therefore to call to mind the more heavy sufferings of
+others, that thou mayest the easier bear thy little adversities.
+And if they seem not little unto thee, beware lest thy impatience
+be the cause thereof.... Blessed are those ears that receive the
+whispers of the divine voice, and listen not to the whisperings of
+the <span class='pagenum'><a name="Page_268" id="Page_268">[Pg
+268]</a></span>world. Blessed are those ears which hearken not unto
+the voice which soundeth outwardly, but unto the Truth which
+teacheth inwardly...."</p>
+
+<p>2. A strange thrill of awe passed through Maggie while she read,
+as if she had been awakened in the night by a strain of solemn
+music, telling of beings whose souls had been astir while hers was
+in stupor. She went on from one brown mark to another, where the
+quiet hand seemed to point, hardly conscious that she was
+reading&mdash;seeming rather to listen while a low voice
+said:&mdash;</p>
+
+<p>3. "Why dost thou here gaze about, since this is not the place
+of thy rest? In heaven ought to be thy dwelling, and all earthly
+things are to be looked on as they forward thy journey thither. All
+things pass away, and thou together with them. Beware thou cleave
+not unto them, lest thou be entangled and perish.... If a man
+should give all his substance yet it is as nothing. And, if he
+should do great penances, yet they are but little. And if he should
+attain to all knowledge, he is yet far off. And if he should be of
+great virtue, and very fervent devotion, yet is there much
+wanting&mdash;to wit, one thing, which is most necessary for him.
+What is that? That having left all, he leave himself, and go wholly
+out of himself, and retain nothing of self-love.... I have often
+said unto thee, and now again I say the same: Forsake thyself,
+resign thyself, and thou shalt enjoy much inward peace.... Then
+shall all vain imaginations, evil perturbations, and superfluous
+cares fly away; then shall immoderate fear leave thee, and
+inordinate love shall die."</p>
+
+<p>4. Maggie drew a long breath and pushed her heavy hair back as
+if to see a sudden vision more clearly. Here, then, was a secret of
+life that would enable her to <span class='pagenum'><a name=
+"Page_269" id="Page_269">[Pg 269]</a></span>renounce all other
+secrets; here was a sublime height to be reached without the help
+of outward things; here was insight, and strength and conquest, to
+be won by means entirely within her own soul, where a supreme
+Teacher was waiting to be heard. It flashed through her, like the
+suddenly apprehended solution of a problem, that all the miseries
+of her young life had come from fixing her heart on her own
+pleasure, as if that were the central necessity of the universe;
+and for the first time she saw the possibility of shifting the
+position from which she looked at the gratification of her own
+desires, of taking her stand out of herself, and looking at her own
+life as an insignificant part of a divinely-guided whole. She read
+on and on in the old book, devouring eagerly the dialogues with the
+invisible Teacher, the pattern of sorrow, the source of all
+strength, returning to it after she had been called away, and
+reading till the sun went down behind the willows. With all the
+hurry of an imagination that could never rest in the present, she
+sat in the deepening twilight forming plans of self-humiliation and
+entire devotedness; and, in the ardour of first discovery,
+renunciation seemed to her the entrance into that satisfaction
+which she had so long been craving in vain. She had not
+perceived&mdash;how could she until she had lived longer?&mdash;the
+inmost truth of the old monk's outpourings, that renunciation
+remains sorrow, though a sorrow borne willingly. Maggie was still
+panting for happiness, and was in ecstasy because she had found the
+key to it. She knew nothing of doctrines and systems&mdash;of
+mysticism or quietism; but this voice out of the far-off Middle
+Ages was the direct communication of a human soul's belief and
+experience, and came to Maggie as an unquestioned message.</p>
+
+<p><span class='pagenum'><a name="Page_270" id="Page_270">[Pg
+270]</a></span> 5. I suppose that is the reason why the small,
+old-fashioned book, for which you need pay only sixpence at a
+book-stall, works miracles to this day, turning bitter waters into
+sweetness; while expensive sermons and treatises, newly issued,
+leave all things as they were before. It was written down by a hand
+that waited for the heart's prompting; it is the chronicle of a
+solitary hidden anguish, struggle, trust, and triumph&mdash;not
+written on velvet cushions to teach endurance to those who are
+treading with bleeding feet on the stones. And so it remains to all
+time a lasting record of human needs and human
+consolations&mdash;the voice of a brother who, ages ago, felt and
+suffered and renounced in the cloister, perhaps, with serge gown
+and tonsured head, with much chanting and long fasts, and with a
+fashion of speech different from ours, but under the same silent
+far-off heavens, and with the same passionate desires, the same
+strivings, the same failures, the same weariness.</p>
+
+<p><i>&mdash;George Eliot</i></p>
+
+<div class="blockquot">
+<p>Par. 1. <span class="smcap">If thou seekest ... pleasure</span>.
+What principle of Inflection does this clause illustrate? Give
+similar examples from Par. 3.</p>
+
+<p><span class="smcap">Both above and below ... everywhere</span>.
+Which phrase in this series has the strongest Emphasis?</p>
+
+<p><span class="smcap">THOU SUFFEREST</span>. Which word is
+emphatic? (Introduction, p. <a href="#Page_30">30</a>.) What
+phrases are contrasted with it?</p>
+
+<p>Account for the Inflection used in the last two sentences.
+(Introduction, p. <a href="#Page_20">20</a>.)</p>
+
+<p>Par. 4. Indicate the Grouping in sentences 3 and 5.</p>
+
+<p><span class="smcap">HOW COULD SHE, ETC.</span> What is the
+Inflection and Shading? (Introduction, pp. <a href=
+"#Page_24">24</a> and <a href="#Page_25">25</a>.)</p>
+
+<p>Par. 5. What is the Inflection on <span class="smcap">NOT
+WRITTEN ... STONES</span>? (Introduction p. <a href=
+"#Page_18">18</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_271" id="Page_271">[Pg
+271]</a></span></p>
+
+<h3>THE VISION OF SIR LAUNFAL</h3>
+
+<p class="center2">PART FIRST</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">"My golden spurs now bring to
+me,</span> <span class="i1">And bring to me my richest mail,</span>
+<span class="i0">For to-morrow I go over land and sea</span> <span
+class="i1">In search of the Holy Grail;</span> <span class=
+"i0">Shall never a bed for me be spread,<span class=
+'linenum2'>5</span></span> <span class="i0">Nor shall a pillow be
+under my head,</span> <span class="i0">Till I begin my vow to
+keep;</span> <span class="i0">Here on the rushes will I
+sleep,</span> <span class="i0">And perchance there may come a
+vision true</span> <span class="i0">Ere day create the world
+anew."<span class='linenum2'>10</span></span> <span class=
+"i1">Slowly Sir Launfal's eyes grew dim,</span> <span class=
+"i1">Slumber fell like a cloud on him,</span> <span class="i0">And
+into his soul the vision flew.</span><br />
+<span class="i0">The crows flapped over by twos and threes,</span>
+<span class="i0">In the pool drowsed the cattle up to their
+knees,<span class='linenum2'>15</span></span> <span class="i1">The
+little birds sang as if it were</span> <span class="i1">The one day
+of summer in all the year,</span> <span class="i0">And the very
+leaves seemed to sing on the trees.</span> <span class="i0">The
+castle alone in the landscape lay</span> <span class="i0">Like an
+outpost of winter, dull and gray:<span class=
+'linenum2'>20</span></span><br />
+<span class="i0">'Twas the proudest hall in the North
+Countree,</span> <span class="i0">And never its gates might opened
+be,</span> <span class="i0">Save to lord or lady of high
+degree;</span> <span class="i0"><span class='pagenum'><a name=
+"Page_272" id="Page_272">[Pg 272]</a></span>Summer besieged it on
+every side,</span> <span class="i0">But the churlish stone her
+assaults defied;<span class='linenum2'>25</span></span> <span
+class="i0">She could not scale the chilly wall,</span> <span class=
+"i0">Though round it for leagues her pavilions tall</span> <span
+class="i0">Stretched left and right,</span> <span class="i0">Over
+the hills and out of sight;</span> <span class="i1">Green and broad
+was every tent,<span class='linenum2'>30</span></span> <span class=
+"i1">And out of each a murmur went</span> <span class="i0">Till the
+breeze fell off at night.</span> <span class="i0">The drawbridge
+dropped with a surly clang,</span> <span class="i0">And through the
+dark arch a charger sprang,</span> <span class="i0">Bearing Sir
+Launfal, the maiden knight,<span class='linenum2'>35</span></span>
+<span class="i0">In his gilded mail that flamed so bright</span>
+<span class="i0">It seemed the dark castle had gathered all</span>
+<span class="i0">Those shafts the fierce sun had shot over its
+wall</span> <span class="i1">In his siege of three hundred summers
+long,</span> <span class="i0">And, binding them all in one blazing
+sheaf,<span class='linenum2'>40</span></span> <span class="i1">Had
+cast them forth: so, young and strong,</span> <span class="i0">And
+lightsome as a locust leaf,</span> <span class="i0">Sir Launfal
+flashed forth in his unscarred mail,</span> <span class="i0">To
+seek in all climes for the Holy Grail.</span><br />
+<span class="i0">It was morning on hill and stream and tree<span
+class='linenum2'>45</span></span> <span class="i1">And morning in
+the young knight's heart;</span> <span class="i0">Only the castle
+moodily</span> <span class="i0">Rebuffed the gift of the sunshine
+free,</span> <span class="i1">And gloomed by itself apart;</span>
+<span class="i0">The season brimmed all other things up<span class=
+'linenum2'>50</span></span> <span class="i0">Full as the rain fills
+the pitcher-plant's cup.</span><br />
+<span class="i0">As Sir Launfal made morn through the darksome
+gate</span> <span class="i1">He was 'ware of a leper, crouched by
+the same,</span> <span class="i0"><span class='pagenum'><a name=
+"Page_273" id="Page_273">[Pg 273]</a></span>Who begged with his
+hand and moaned as he sate;</span> <span class="i1">And a loathing
+over Sir Launfal came;<span class='linenum2'>55</span></span> <span
+class="i0">The sunshine went out of his soul with a thrill,</span>
+<span class="i1">The flesh 'neath his armour 'gan shrink and
+crawl,</span> <span class="i0">And midway its leap his heart stood
+still</span> <span class="i1">Like a frozen waterfall;</span> <span
+class="i0">For this man, so foul and bent of stature,<span class=
+'linenum2'>60</span></span> <span class="i0">Rasped harshly against
+his dainty nature,</span> <span class="i0">And seemed the one blot
+on the summer morn,&mdash;</span> <span class="i0">So he tossed him
+a piece of gold in scorn.</span><br />
+<span class="i0">The leper raised not the gold from the
+dust:</span> <span class="i0">"Better to me the poor man's
+crust,<span class='linenum2'>65</span></span> <span class=
+"i0">Better the blessing of the poor,</span> <span class=
+"i0">Though I turn me empty from his door;</span> <span class=
+"i0">That is no true alms which the hand can hold;</span> <span
+class="i0">He gives nothing but worthless gold</span> <span class=
+"i1">Who gives from a sense of duty;<span class=
+'linenum2'>70</span></span> <span class="i0">But he who gives a
+slender mite,</span> <span class="i0">And gives to that which is
+out of sight,</span> <span class="i1">That thread of the
+all-sustaining Beauty</span> <span class="i0">Which runs through
+all and doth all unite,&mdash;</span> <span class="i0">The hand
+cannot clasp the whole of his alms,<span class=
+'linenum2'>75</span></span> <span class="i0">The heart outstretches
+its eager palms,</span> <span class="i0">For a god goes with it and
+makes it store</span> <span class="i0">To the soul that was
+starving in darkness before."</span></div>
+</div>
+
+<p class="center2">PART SECOND</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">There was never a leaf on bush
+or tree,</span> <span class="i0">The bare boughs rattled
+shudderingly;<span class='linenum2'>80</span></span> <span class=
+"i0">The river was numb and could not speak,</span> <span class=
+"i1"><span class='pagenum'><a name="Page_274" id="Page_274">[Pg
+274]</a></span>For the weaver Winter its shroud had spun;</span>
+<span class="i0">A single crow on the tree-top bleak</span> <span
+class="i1">From his shining feathers shed off the cold sun;</span>
+<span class="i0">Again it was morning, but shrunk and cold<span
+class='linenum2'>85</span></span> <span class="i0">As if her veins
+were sapless and old,</span> <span class="i0">And she rose up
+decrepitly</span> <span class="i0">For a last dim look at earth and
+sea.</span><br />
+<span class="i0">Sir Launfal turned from his own hard gate,</span>
+<span class="i0">For another heir in his earldom sate;<span class=
+'linenum2'>90</span></span> <span class="i0">An old, bent man, worn
+out and frail,</span> <span class="i0">He came back from seeking
+the Holy Grail;</span> <span class="i0">Little he recked of his
+earldom's loss,</span> <span class="i0">No more on his surcoat was
+blazoned the cross,</span> <span class="i0">But deep in his soul
+the sign he wore,<span class='linenum2'>95</span></span> <span
+class="i0">The badge of the suffering and the poor.</span><br />
+<span class="i0">Sir Launfal's raiment thin and spare</span> <span
+class="i0">Was idle mail 'gainst the barbed air,</span> <span
+class="i0">For it was just at the Christmas time;</span> <span
+class="i0">So he mused, as he sat, of a sunnier clime,<span class=
+'linenum2'>100</span></span> <span class="i0">And sought for a
+shelter from cold and snow</span> <span class="i0">In the light and
+warmth of long-ago:</span> <span class="i0">He sees the snake-like
+caravan crawl</span> <span class="i0">O'er the edge of the desert,
+black and small.</span> <span class="i0">Then nearer and nearer,
+till, one by one,<span class='linenum2'>105</span></span> <span
+class="i0">He can count the camels in the sun,</span> <span class=
+"i0">As over the red-hot sands they pass</span> <span class="i0">To
+where, in its slender necklace of grass,</span> <span class=
+"i0">The little spring laughed and leapt in the shade,</span> <span
+class="i0">And with its own self like an infant played,<span class=
+'linenum2'>110</span></span> <span class="i0">And waved its signal
+of palms.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_275" id="Page_275">[Pg 275]</a></span>"For Christ's sweet
+sake I beg an alms;"&mdash;</span> <span class="i0">The happy
+camels may reach the spring,</span> <span class="i0">But Sir
+Launfal sees only the grewsome thing,</span> <span class="i0">The
+leper, lank as the rain-blanched bone,<span class=
+'linenum2'>115</span></span> <span class="i0">That cowers beside
+him, a thing as lone</span> <span class="i0">And white as the
+ice-isles of Northern seas</span> <span class="i0">In the desolate
+horror of his disease.</span><br />
+<span class="i0">And Sir Launfal said, "I behold in thee</span>
+<span class="i0">An image of Him who died on the tree;<span class=
+'linenum2'>120</span></span> <span class="i0">Thou also hast had
+thy crown of thorns,</span> <span class="i0">Thou also hast had the
+world's buffets and scorns,</span> <span class="i0">And to thy life
+were not denied</span> <span class="i0">The wounds in the hands and
+feet and side:</span> <span class="i0">Mild Mary's Son, acknowledge
+me;<span class='linenum2'>125</span></span> <span class=
+"i0">Behold, through him, I give to thee!"</span><br />
+<span class="i0">Then the soul of the leper stood up in his
+eyes</span> <span class="i1">And looked at Sir Launfal, and
+straightway he</span> <span class="i0">Remembered in what a
+haughtier guise</span> <span class="i1">He had flung an alms to
+leprosie,<span class='linenum2'>130</span></span> <span class=
+"i0">When he girt his young life up in gilded mail</span> <span
+class="i0">And set forth in search of the Holy Grail.</span> <span
+class="i0">The heart within him was ashes and dust;</span> <span
+class="i0">He parted in twain his single crust,</span> <span class=
+"i0">He broke the ice on the streamlet's brink,<span class=
+'linenum2'>135</span></span> <span class="i0">And gave the leper to
+eat and drink:</span> <span class="i0">'Twas a mouldy crust of
+coarse brown bread,</span> <span class="i1">'Twas water out of a
+wooden bowl,&mdash;</span> <span class="i0">Yet with fine wheaten
+bread was the leper fed,</span> <span class="i1">And 'twas red wine
+he drank with his thirsty soul.<span class=
+'linenum2'>140</span></span><br />
+<span class="i0">As Sir Launfal mused with a downcast face,</span>
+<span class="i0">A light shone round about the place;</span> <span
+class="i0"><span class='pagenum'><a name="Page_276" id=
+"Page_276">[Pg 276]</a></span>The leper no longer crouched at his
+side,</span> <span class="i0">But stood before him
+glorified,</span> <span class="i0">Shining and tall and fair and
+straight<span class='linenum2'>145</span></span> <span class=
+"i0">As the pillar that stood by the Beautiful Gate,&mdash;</span>
+<span class="i0">Himself the Gate whereby men can</span> <span
+class="i0">Enter the temple of God in Man.</span><br />
+<span class="i0">His words were shed softer than leaves from the
+pine,</span> <span class="i0">And they fell on Sir Launfal as snows
+on the brine,<span class='linenum2'>150</span></span> <span class=
+"i0">Which mingle their softness and quiet in one</span> <span
+class="i0">With the shaggy unrest they float down upon:</span>
+<span class="i0">And the voice that was calmer than silence
+said:</span> <span class="i0">"Lo it is I, be not afraid!</span>
+<span class="i0">In many climes, without avail,<span class=
+'linenum2'>155</span></span> <span class="i0">Thou has spent thy
+life for the Holy Grail;</span> <span class="i0">Behold it is
+here,&mdash;this cup which thou</span> <span class="i0">Didst fill
+at the streamlet for me but now;</span> <span class="i0">This crust
+is my body broken for thee,</span> <span class="i0">This water His
+blood that died on the tree;<span class=
+'linenum2'>160</span></span> <span class="i0">The Holy Supper is
+kept, indeed,</span> <span class="i0">In whatso we share with
+another's need;</span> <span class="i0">Not what we give, but what
+we share,&mdash;</span> <span class="i0">For the gift without the
+giver is bare;</span> <span class="i0">Who gives himself with his
+alms feeds three,&mdash;<span class='linenum2'>165</span></span>
+<span class="i0">Himself, his hungering neighbour, and
+me."</span><br />
+<span class="i0">Sir Launfal awoke as from a swound:&mdash;</span>
+<span class="i0">"The Grail in my castle here is found!</span>
+<span class="i0">Hang my idle armour up on the wall,</span> <span
+class="i0">Let it be the spider's banquet-hall;<span class=
+'linenum2'>170</span></span> <span class="i0">He must be fenced
+with stronger mail</span> <span class="i0">Who would seek and find
+the Holy Grail."</span> <span class="i0"><span class='pagenum'><a
+name="Page_277" id="Page_277">[Pg 277]</a></span></span> <span
+class="i0">The castle gate stands open now,</span> <span class=
+"i1">And the wanderer is welcome to the hall</span> <span class=
+"i0">As the hangbird is to the elm-tree bough;<span class=
+'linenum2'>175</span></span> <span class="i1">No longer scowl the
+turrets tall,</span> <span class="i0">The Summer's long siege at
+last is o'er;</span> <span class="i0">When the first poor outcast
+went in at the door,</span> <span class="i0">She entered with him
+in disguise,</span> <span class="i0">And mastered the fortress by
+surprise;<span class='linenum2'>180</span></span> <span class=
+"i0">There is no spot she loves so well on ground,</span> <span
+class="i0">She lingers and smiles there the whole year
+round.</span> <span class="i0">The meanest serf on Sir Launfal's
+land</span> <span class="i0">Has hall and bower at his
+command;</span> <span class="i0">And there's no poor man in the
+North Countree<span class='linenum2'>185</span></span> <span class=
+"i0">But is lord of the earldom as much as he.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>James Russell Lowell</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;Read Tennyson's
+<i>The Holy Grail</i>.</p>
+
+<p>Compare the mode in which Tennyson treats the pursuit of the
+Holy Grail, in <i>Sir Galahad</i>, with that adopted by Lowell in
+this poem.</p>
+
+<p>Show the connection between the fundamental ideas in this poem,
+and those in Longfellow's <i>King Robert of Sicily</i> and <i>The
+Legend Beautiful</i>.</p>
+
+<p>Point out the various contrasts (<i>a</i>) of scene, (<i>b</i>)
+of thought, (<i>c</i>) of emotion, and show a corresponding
+contrast in vocal expression.</p>
+
+<p>Articulation. (Appendix <a href="#A_1">A, 1</a> and <a href=
+"#A_2">A, 2</a>.)</p>
+
+<p>5 and 6. What is the Inflection?</p>
+
+<p>11. What changes of vocal expression accompany the
+transition?</p>
+
+<p>14-20. Note the word-pictures and the effect of the Imaging
+process on the Time.</p>
+
+<p>22. What is the Inflection on <span class="smcap">BE</span>?</p>
+
+<p>27-29 and 37-39. Observe the Grouping, Pause, and
+Inflection.</p>
+
+<p>41. <span class="smcap">Had cast them forth</span>. With what
+phrase is this parallel? How does the voice express the
+parallelism?</p>
+
+<p>42-44. Which line expresses the main thought? How is it made
+prominent? (Introduction, p. <a href="#Page_33">33</a>.)</p>
+
+<p>51. Where is the Pause?</p>
+
+<p><span class='pagenum'><a name="Page_278" id="Page_278">[Pg
+278]</a></span> 65-67. Show the relative importance of the emphatic
+words and phrases. (Introduction, pp. <a href="#Page_30">30</a> and
+<a href="#Page_31">31</a>.)</p>
+
+<p>69-78. Read these lines with a view to (<i>a</i>) Perspective,
+(<i>b</i>) Inflection.</p>
+
+<p>91. <span class="smcap">OLD, BENT</span>. Account for the pause
+between these two adjectives. (Introduction, pp. 7 and 8.)</p>
+
+<p>95. What is the emphatic word? Why?</p>
+
+<p>107-111. Note the difference in the sound of the letter <i>a</i>
+in the various words.</p>
+
+<p>119-126. What feeling predominates? How are the Force, Pitch,
+and Time affected?</p>
+
+<p>137-140. How does the voice indicate the contrast between the
+meagre and the sumptuous? (Introduction, pp. <a href=
+"#Page_34">34</a> and <a href="#Page_35">35</a>.)</p>
+
+<p>141-142. Note the transition from the subjective to the
+objective. How is it indicated in reading?</p>
+
+<p>154-166. What atmosphere pervades this speech? What Quality of
+voice suggests it? (Introduction, p. <a href=
+"#Page_35">35</a>.)</p>
+
+<p>167. Note the transition. What movement is suggested? What is
+the Stress and Quality of voice?</p>
+
+<p>168-172. What state of mind does this speech suggest? What is
+the change in Stress and Quality?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_278a" id="Page_278a"></a>ON THE DEATH OF
+GLADSTONE</h3>
+
+<p class="center2">Delivered in the Canadian House of Commons, May
+26, 1898</p>
+
+<p>England has lost the most illustrious of her sons; but the loss
+is not England's alone, nor is it confined to the great empire
+which acknowledges England's suzerainty, nor even to the proud race
+which can claim kinship with the people of England. The loss is the
+loss of mankind. Mr. Gladstone gave his whole life to his country;
+but the work which he did for his country, was conceived and
+carried out, on principles of such high elevation, for purposes so
+noble, and aims so lofty, that not his country alone, but the whole
+of mankind, benefited by his work. It is no exaggeration to say
+that he has raised the standard of civilization, and the world
+to-day is undoubtedly better for both the precept and the example
+of his life.</p>
+
+<p><span class='pagenum'><a name="Page_279" id="Page_279">[Pg
+279]</a></span></p>
+
+<p>His death is mourned not only by England, the land of his birth,
+not only by Scotland, the land of his ancestors, not only by
+Ireland for whom he did so much, and attempted so much more; but
+also by the people of the two Sicilies, for whose outraged rights
+he once aroused the conscience of Europe, by the people of the
+Ionian Islands, whose independence he secured, and by the people of
+Bulgaria and the Danubian Provinces, in whose cause he enlisted the
+sympathy of his own native country. Indeed, since the days of
+Napoleon, no man has lived whose name has travelled so far and so
+wide, over the surface of the earth; no man has lived whose name
+alone so deeply moved the hearts of so many millions of men.
+Whereas Napoleon impressed his tremendous personality upon peoples
+far and near, by the strange fascination which the genius of war
+has always exercised over the imagination of men in all lands and
+in all ages, the name of Gladstone had come to be in the minds of
+all civilized nations, the living incarnation of right against
+might&mdash;the champion, the dauntless, tireless champion, of the
+oppressed against the oppressor. It is, I believe, equally true to
+say that he was the most marvellous mental organization which the
+world has seen since Napoleon&mdash;certainly the most compact, the
+most active and the most universal.</p>
+
+<p>This last half century in which we live, has produced many able
+and strong men who, in different walks of life, have attracted the
+attention of the world at large; and of the men who have
+illustrated this age, it seems to me that in the eyes of posterity
+four will outlive and outshine all others&mdash;Cavour, Lincoln,
+Bismarck, and Gladstone. If we look simply at the magnitude of the
+results obtained, compared with the exiguity of the <span class=
+'pagenum'><a name="Page_280" id="Page_280">[Pg
+280]</a></span>resources at command,&mdash;if we remember that out
+of the small Kingdom of Sardinia grew united Italy, we must come to
+the conclusion that Count Cavour was undoubtedly a statesman of
+marvellous skill and prescience. Abraham Lincoln, unknown to fame
+when he was elected to the presidency, exhibited a power for the
+government of men which has scarcely been surpassed in any age. He
+saved the American Union, he enfranchised the black race, and for
+the task he had to perform he was endowed in some respects almost
+miraculously. No man ever displayed a greater insight into the
+motives, the complex motives, which shape the public opinion of a
+free country, and he possessed almost to the degree of an instinct,
+the supreme quality in a statesman of taking the right decision,
+taking it at the right moment and expressing it in language of
+incomparable felicity. Prince Bismarck was the embodiment of
+resolute common sense, unflinching determination, relentless
+strength, moving onward to his end, and crushing everything in his
+way as unconcerned as fate itself. Mr. Gladstone undoubtedly
+excelled every one of these men. He had in his person a combination
+of varied powers of the human intellect, rarely to be found in one
+single individual. He had the imaginative fancy, the poetic
+conception of things, in which Count Cavour was deficient. He had
+the aptitude for business, the financial ability which Lincoln
+never exhibited. He had the lofty impulses, the generous
+inspirations which Prince Bismarck always discarded, even if he did
+not treat them with scorn. He was at once an orator, a statesman, a
+poet, and a man of business. As an orator he stands certainly in
+the very front rank of orators of his country or any country of his
+age or any age. I remember when Louis Blanc was in <span class=
+'pagenum'><a name="Page_281" id="Page_281">[Pg
+281]</a></span>England, in the days of the Second Empire, he used
+to write to the press of Paris, and in one of his letters to "Le
+Temps" he stated that Mr. Gladstone would undoubtedly have been the
+foremost orator of England, if it were not for the existence of Mr.
+Bright. It may be admitted, and I think it is admitted generally,
+that on some occasions Mr. Bright reached heights of grandeur and
+pathos which even Mr. Gladstone did not attain. But Mr. Gladstone
+had an ability, a vigour, a fluency which no man in his age or any
+age ever rivalled or even approached. That is not all. To his
+marvellous mental powers he added no less marvellous physical
+gifts. He had the eye of a god, the voice of a silver bell; and the
+very fire of his eye, the very music of his voice swept the hearts
+of men even before they had been dazzled by the torrents of his
+eloquence.</p>
+
+<p>As a statesman, it was the good fortune of Mr. Gladstone that
+his career was not associated with war. The reforms which he
+effected, the triumphs which he achieved, were not won by the
+supreme arbitrament of the sword. The reforms which he effected and
+the triumphs which he achieved were the result of his power of
+persuasion over his fellow-men. The reforms which he achieved in
+many ways amounted to a revolution. They changed, in many
+particulars, the face of the realm. After Sir Robert Peel had
+adopted the great principle which eventually carried England from
+protection to free trade, it was Mr. Gladstone who created the
+financial system which has been admitted ever since by all students
+of finance, as the secret of Great Britain's commercial success. He
+enforced the extension of the suffrage to the masses of the nation,
+and practically thereby made the government of monarchical England
+as <span class='pagenum'><a name="Page_282" id="Page_282">[Pg
+282]</a></span>democratic as that of any republic. He
+disestablished the Irish church, he introduced reform into the land
+tenure and brought hope into the breasts of those tillers of the
+soil in Ireland who had for so many generations laboured in
+despair. And all this he did, not by force or violence, but simply
+by the power of his eloquence and the strength of his
+personality.</p>
+
+<p>Great, however, as were the acts of the man, after all he was of
+the human flesh, and for him, as for everybody else, there were
+trivial and low duties to be performed. It is no exaggeration to
+say that even in those low and trivial duties he was great. He
+ennobled the common realities of life. His was above all things a
+religious mind&mdash;essentially religious in the highest sense of
+the term. And the religious sentiment which dominated his public
+life and his speeches, that same sentiment, according to the
+testimony of those who knew him best, also permeated all his
+actions from the highest to the humblest. He was a man of strong
+and pure affections, of long and lasting friendship, and to
+describe the beauty of his domestic life, no words of praise can be
+adequate. It was simply ideally beautiful, and in the later years
+of his life, as touching as it was beautiful. May I be permitted,
+without any impropriety, to recall that it was my privilege to
+experience and to appreciate that courtesy, made up of dignity and
+grace, which was famous all the world over, but of which no one
+could have an appropriate opinion, unless he had been the recipient
+of it. In a character so complex and diversified, one may ask what
+was the dominant feature, what was the supreme quality, the one
+characteristic which marked the nature of the man. Was it his
+incomparable genius for finance? Was it his splendid oratorical
+<span class='pagenum'><a name="Page_283" id="Page_283">[Pg
+283]</a></span>powers? Was it his marvellous fecundity of mind? In
+my estimation it was not any one of these qualities. Great as they
+were, there was one still more marked, and if I have to give my own
+impression, I would say that the one trait which was dominant in
+his nature, which marked the man more distinctly than any other,
+was his intense humanity, his paramount sense of right, his
+abhorrence of injustice, wrong, and oppression wherever to be found
+or in whatever shape they might show themselves. Injustice, wrong,
+oppression acted upon him, as it were, mechanically, and aroused
+every fibre of his being, and from that moment to the repairing of
+the injustice, the undoing of the wrong, and the destruction of the
+oppression, he gave his mind, his heart, his soul, his whole life
+with an energy, with an intensity, with a vigour paralleled in no
+man unless it be the first Napoleon. There are many evidences of
+this in his life. When he was travelling in Southern Italy, as a
+tourist, for pleasure and for the benefit of the health of his
+family, he became aware of the abominable system which was there
+prevailing under the name of Constitutional Government. He left
+everything aside, even the object which had brought him to Italy,
+and applied himself to investigate and to collect evidence, and
+then denounced the abominable system in a trumpet blast of such
+power that it shook to its very foundations the throne of King
+Ferdinand and sent it tottering to its fall. Again, when he was
+sent as High Commissioner to the Ionian Islands, the injustice of
+keeping this Hellenic population separated from the rest of Greece,
+separated from the kingdom to which they were adjacent, and toward
+which all their aspirations were raised, struck his generous soul
+with such force that he became practically their advocate, <span
+class='pagenum'><a name="Page_284" id="Page_284">[Pg
+284]</a></span>and secured their independence. Again, when he had
+withdrawn from public life, and when, in the language of Thiers,
+under somewhat similar circumstances, he had returned to "ses
+ch&egrave;res &eacute;tudes," the atrocities perpetrated by the
+Turks on the people of Roumania brought him back to public life
+with a vehemence, an impetuosity, and a torrent of fierce
+indignation that swept everything before it. If this be, as I think
+it is, the one distinctive feature of his character, it seems to
+explain away what are called the inconsistencies of his life.
+Inconsistencies there were none in his life. He had been brought up
+in the most unbending school of Toryism. He became the most active
+reformer of our times. But whilst he became the leader of the
+Liberal party and an active reformer, it is only due to him to say
+that in his complex mind there was a vast space for what is known
+as conservatism. His mind was not only liberal but conservative as
+well, and he clung to the affections of his youth until, in
+questions of practical moment, he found them clashing with that
+sense of right and abhorrence of injustice of which I have spoken.
+But the moment he found his conservative affections clash with what
+he thought right and just, he did not hesitate to abandon his
+former convictions and go the whole length of the reforms demanded.
+Thus he was always devotedly, filially, lovingly attached to the
+Church of England. He loved it, as he often declared. He adhered to
+it as an establishment in England, but the very reasons and
+arguments which, in his mind, justified the establishment of the
+Church in England, compelled him to a different course as far as
+that church was concerned in Ireland. In England the Church was the
+church of the majority, of almost the unanimity of the nation. In
+<span class='pagenum'><a name="Page_285" id="Page_285">[Pg
+285]</a></span>Ireland it was the church of the minority, and,
+therefore, he did not hesitate. His course was clear: he removed
+the one church and maintained the other. So it was with Home Rule.
+But coming to the subject of Home Rule, though there may be much to
+say, perhaps this is neither the occasion nor the place to say it.
+The Irish problem is dormant, not solved; but the policy proposed
+by Mr. Gladstone for the solution of this question has provoked too
+much bitterness, too deep division, even on the floor of this
+House, to make it advisable to say anything about it on this
+occasion.</p>
+
+<p>I notice it, however, simply because it is the last and
+everlasting monument of that high sense of justice which, above all
+things, characterized him. When he became convinced that Home Rule
+was the only method whereby the long-open wound could be healed, he
+did not hesitate one moment, even though he were to sacrifice
+friends, power, popularity. And he sacrificed friends, power,
+popularity, in order to give that supreme measure of justice to a
+long-suffering people. Whatever may be the views which men
+entertain upon the policy of Home Rule, whether they favour that
+policy or whether they oppose it, whether they believe in it or
+whether they do not believe in it, every man, whether friend or foe
+of that measure, must say that it was not only a bold, but it was a
+noble thought, that of attempting to cure discontent in Ireland by
+trusting to Irish honour and Irish generosity.</p>
+
+<p>Now, Sir, he is no more. England is to-day in tears, but
+fortunate is the nation which has produced such a man. His years
+are over; but his work is not closed; his work is still going on.
+The example which he gave to the world shall live for ever, and the
+seed which he has <span class='pagenum'><a name="Page_286" id=
+"Page_286">[Pg 286]</a></span>sown with such a copious hand shall
+still germinate and bear fruit under the full light of heaven.</p>
+
+<p class="quotsig">&mdash;<i>Sir Wilfrid Laurier (By
+permission)</i></p>
+
+<div class="blockquot">
+<p>In reading this speech, apply the principles of Pause,
+Inflection, Grouping, Emphasis, and Perspective illustrated in the
+preceding lessons.</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_286a" id="Page_286a"></a>THE DOWNFALL OF
+WOLSEY</h3>
+
+<p class="center2">From "King Henry VIII" Act III. Scene ii.</p>
+
+<p>Farewell! a long farewell, to all my greatness!<br />
+This is the state of man: to-day he puts forth<br />
+The tender leaves of hope; to-morrow blossoms,<br />
+And bears his blushing honours thick upon him;<br />
+The third day comes a frost, a killing frost,<span class=
+'linenum2'>5</span><br />
+And,&mdash;when he thinks, good easy man, full surely<br />
+His greatness is a-ripening,&mdash;nips his root,<br />
+And then he falls, as I do. I have ventured,<br />
+Like little wanton boys that swim on bladders,<br />
+This many summers in a sea of glory,<span class=
+'linenum2'>10</span><br />
+But far beyond my depth: my high-blown pride<br />
+At length broke under me; and now has left me,<br />
+Weary, and old with service, to the mercy<br />
+Of a rude stream, that must for ever hide me.<br />
+Vain pomp and glory of this world, I hate ye:<span class=
+'linenum2'>15</span><br />
+I feel my heart new open'd. O, how wretched<br />
+Is that poor man that hangs on princes' favours!<br />
+There is, betwixt that smile we would aspire to,<br />
+That sweet aspect of princes, and their ruin,<br />
+More pangs and fears than wars or women have;<span class=
+'linenum2'>20</span><br />
+And when he falls, he falls like Lucifer,<br />
+Never to hope again.&mdash;<br />
+<span class='pagenum'><a name="Page_287" id="Page_287">[Pg
+287]</a></span><br />
+[<i>Enter Cromwell, and stands amazed</i>]<br />
+<br />
+Why, how now, Cromwell!<br />
+<br />
+<i>Crom.</i> I have no power to speak, sir.<br />
+<br />
+<i>Wol.</i> What! amaz'd<br />
+At my misfortunes? can thy spirit wonder<br />
+A great man should decline? Nay, an you weep,<span class=
+'linenum2'>25</span><br />
+I am fall'n indeed.<br />
+<br />
+<i>Crom.</i> How does your grace?<br />
+<br />
+<i>Wol.</i> Why, well;<br />
+Never so truly happy, my good Cromwell.<br />
+I know myself now; and I feel within me<br />
+A peace above all earthly dignities,<br />
+A still and quiet conscience. The king has cur'd me,<span class=
+'linenum2'>30</span><br />
+I humbly thank his grace; and from these shoulders,<br />
+These ruin'd pillars, out of pity, taken<br />
+A load would sink a navy,&mdash;too much honour:<br />
+O, 't is a burden, Cromwell, 't is a burden,<br />
+Too heavy for a man that hopes for heaven!<span class=
+'linenum2'>35</span><br />
+<br />
+<i>Crom.</i> I am glad your grace has made that right use of
+it.<br />
+<br />
+<i>Wol.</i> I hope I have: I am able now, methinks,&mdash;<br />
+Out of a fortitude of soul I feel&mdash;<br />
+To endure more miseries, and greater far,<br />
+Than my weak-hearted enemies dare offer.<span class=
+'linenum2'>40</span><br />
+What news abroad?<br />
+<br />
+<i>Crom.</i> The heaviest, and the worst<br />
+Is your displeasure with the king.<br />
+<br />
+<i>Wol.</i> God bless him!<br />
+<br />
+<i>Crom.</i> The next is, that Sir Thomas More is chosen<br />
+Lord chancellor in your place.<br />
+<br />
+<i>Wol.</i> That's somewhat sudden:<br />
+But he's a learned man. May he continue<span class=
+'linenum2'>45</span><br />
+<span class='pagenum'><a name="Page_288" id="Page_288">[Pg
+288]</a></span>Long in his highness' favour, and do justice<br />
+For truth's sake, and his conscience; that his bones,<br />
+When he has run his course and sleeps in blessings,<br />
+May have a tomb of orphans' tears wept on 'em!&mdash;<br />
+What more?<span class='linenum2'>50</span><br />
+<br />
+<i>Crom.</i> That Cranmer is return'd with welcome,<br />
+Install'd Lord Archbishop of Canterbury.<br />
+<br />
+<i>Wol.</i> That's news indeed.<br />
+<br />
+<i>Crom.</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Last,
+that the Lady Anne,<br />
+Whom the king hath in secrecy long married,<br />
+This day was view'd in open, as his queen,<span class=
+'linenum2'>55</span><br />
+Going to chapel; and the voice is now<br />
+Only about her coronation.<br />
+<br />
+<i>Wol.</i> There was the weight that pull'd me down.<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;O Cromwell,<br />
+The king has gone beyond me: all my glories<br />
+In that one woman I have lost for ever.<span class=
+'linenum2'>60</span><br />
+No sun shall ever usher forth mine honours,<br />
+Or gild again the noble troops that waited<br />
+Upon my smiles. Go, get thee from me, Cromwell;<br />
+I am a poor fall'n man, unworthy now<br />
+To be thy lord and master. Seek the king;<span class=
+'linenum2'>65</span><br />
+That sun, I pray, may never set! I have told him<br />
+What and how true thou art: he will advance thee;<br />
+Some little memory of me will stir him&mdash;<br />
+I know his noble nature&mdash;not to let<br />
+Thy hopeful service perish too. Good Cromwell,<span class=
+'linenum2'>70</span><br />
+Neglect him not; make use now, and provide<br />
+For thine own future safety.<br />
+<br />
+<i>Crom.</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;O my
+lord,<br />
+Must I, then, leave you? must I needs forego<br />
+So good, so noble, and so true a master?<br />
+Bear witness, all that have not hearts of iron,<span class=
+'linenum2'>75</span><br />
+<span class='pagenum'><a name="Page_289" id="Page_289">[Pg
+289]</a></span>With what a sorrow Cromwell leaves his lord.<br />
+The king shall have my service; but my prayers,<br />
+For ever and for ever, shall be yours.<br />
+<br />
+<i>Wol.</i> Cromwell, I did not think to shed a tear<br />
+In all my miseries; but thou hast forced me,<span class=
+'linenum2'>80</span><br />
+Out of thy honest truth, to play the woman.<br />
+Let's dry our eyes; and thus far hear me, Cromwell:<br />
+And&mdash;when I am forgotten, as I shall be,<br />
+And sleep in dull cold marble, where no mention<br />
+Of me more must be heard of&mdash;say, I taught thee,<span class=
+'linenum2'>85</span><br />
+Say, Wolsey, that once trod the ways of glory,<br />
+And sounded all the depths and shoals of honour,<br />
+Found thee a way, out of his wrack, to rise in;<br />
+A sure and safe one, though thy master miss'd it.<br />
+Mark but my fall, and that that ruin'd me.<span class=
+'linenum2'>90</span><br />
+Cromwell, I charge thee, fling away ambition:<br />
+By that sin fell the angels; how can man, then,<br />
+The image of his Maker, hope to win by 't?<br />
+Love thyself last; cherish those hearts that hate thee;<br />
+Corruption wins not more than honesty.<span class=
+'linenum2'>95</span><br />
+Still in thy right hand carry gentle peace,<br />
+To silence envious tongues. Be just, and fear not:<br />
+Let all the ends thou aim'st at be thy country's,<br />
+Thy God's, and truth's: then if thou fall'st, O Cromwell,<br />
+Thou fall'st a blessed martyr. Serve the king;<span class=
+'linenum2'>100</span><br />
+And&mdash;pr'ythee lead me in:<br />
+There take an inventory of all I have,<br />
+To the last penny; 't is the king's: my robe,<br />
+And my integrity to Heaven, is all<br />
+I dare now call my own. O Cromwell, Cromwell!<span class=
+'linenum2'>105</span><br />
+Had I but served my God with half the zeal<br />
+I served my king, He would not in mine age<br />
+Have left me naked to mine enemies.<br />
+<span class='pagenum'><a name="Page_290" id="Page_290">[Pg
+290]</a></span> <i>Crom.</i> Good sir, have patience.<br />
+<br />
+<i>Wol.</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;So I
+have. Farewell<span class='linenum2'>110</span><br />
+The hopes of court! my hopes in heaven do dwell.<br />
+</p>
+
+<p class="quotsig">&mdash;<i>Shakespeare</i></p>
+
+<div class="blockquot">
+<p>Compare the last words of Wolsey with those of Socrates as found
+in Jowett's translation of <i>The Apology</i>, (p. <a href=
+"#Page_145">145</a>.)</p>
+
+<p><span class="smcap">Be just ... martyr.</span><br />
+Show that the life and death of Socrates illustrates this
+ideal.</p>
+
+<p>Compare the Pitch in which Wolsey utters his monologue with that
+in which he addresses Cromwell. (Introduction, p. <a href=
+"#Page_23">23</a>.)</p>
+
+<p>How is the parenthetical clause in ll. 6 and 7 kept in the
+back-ground? (Introduction, p. <a href="#Page_24">24</a>.) Select
+similar examples from Wolsey's speeches.</p>
+
+<p><span class="smcap">AND FROM THESE SHOULDERS ... NAVY</span>.
+Supply the ellipses.</p>
+
+<p><span class="smcap">BY THAT SIN ... WIN BY 'T</span>? Select the
+emphatic words and account for the Emphasis in each case.
+(Introduction, p. <a href="#Page_30">30</a>.)</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_290a" id="Page_290a"></a>THE ITALIAN IN
+ENGLAND</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">That second time they hunted
+me</span> <span class="i0">From hill to plain, from shore to
+sea,</span> <span class="i0">And Austria, hounding far and
+wide</span> <span class="i0">Her blood-hounds thro' the
+country-side,</span> <span class="i0">Breathed hot and instant on
+my trace.&mdash;<span class='linenum2'>5</span></span> <span class=
+"i0">I made, six days, a hiding-place</span> <span class="i0">Of
+that dry green old aqueduct</span> <span class="i0">Where I and
+Charles, when boys, have plucked</span> <span class="i0">The
+fireflies from the roof above,</span> <span class="i0">Bright
+creeping thro' the moss they love:<span class=
+'linenum2'>10</span></span> <span class="i0">&mdash;How long it
+seems since Charles was lost!</span> <span class="i0">Six days the
+soldiers crossed and crossed</span> <span class="i0">The country in
+my very sight;</span> <span class="i0">And when that peril ceased
+at night,</span> <span class="i0">The sky broke out in red
+dismay<span class='linenum2'>15</span></span> <span class="i0">With
+signal-fires. Well, there I lay</span> <span class="i0"><span
+class='pagenum'><a name="Page_291" id="Page_291">[Pg
+291]</a></span>Close covered o'er in my recess,</span> <span class=
+"i0">Up to the neck in ferns and cress,</span> <span class=
+"i0">Thinking on Metternich our friend,</span> <span class="i0">And
+Charles's miserable end,<span class='linenum2'>20</span></span>
+<span class="i0">And much beside, two days; the third,</span> <span
+class="i0">Hunger o'ercame me when I heard</span> <span class=
+"i0">The peasants from the village go</span> <span class="i0">To
+work among the maize: you know,</span> <span class="i0">With us in
+Lombardy, they bring<span class='linenum2'>25</span></span> <span
+class="i0">Provisions packed on mules, a string</span> <span class=
+"i0">With little bells that cheer their task,</span> <span class=
+"i0">And casks, and boughs on every cask</span> <span class="i0">To
+keep the sun's heat from the wine;</span> <span class="i0">These I
+let pass in jingling line,<span class='linenum2'>30</span></span>
+<span class="i0">And, close on them, dear noisy crew,</span> <span
+class="i0">The peasants from the village, too;</span> <span class=
+"i0">For at the very rear would troop</span> <span class="i0">Their
+wives and sisters in a group</span> <span class="i0">To help, I
+knew. When these had passed,<span class='linenum2'>35</span></span>
+<span class="i0">I threw my glove to strike the last,</span> <span
+class="i0">Taking the chance: she did not start,</span> <span
+class="i0">Much less cry out, but stooped apart,</span> <span
+class="i0">One instant rapidly glanced round,</span> <span class=
+"i0">And saw me beckon from the ground;<span class=
+'linenum2'>40</span></span> <span class="i0">A wild bush grows and
+hides my crypt,</span> <span class="i0">She picked my glove up
+while she stripped</span> <span class="i0">A branch off, then
+rejoined the rest</span> <span class="i0">With that; my glove lay
+in her breast:</span> <span class="i0">Then I drew breath; they
+disappeared:<span class='linenum2'>45</span></span> <span class=
+"i0">It was for Italy I feared.</span><br />
+<span class="i0">An hour, and she returned alone</span> <span
+class="i0">Exactly where my glove was thrown.</span> <span class=
+"i0"><span class='pagenum'><a name="Page_292" id="Page_292">[Pg
+292]</a></span>Meanwhile came many thoughts; on me</span> <span
+class="i0">Rested the hopes of Italy;<span class=
+'linenum2'>50</span></span> <span class="i0">I had devised a
+certain tale</span> <span class="i0">Which, when 't was told her,
+could not fail</span> <span class="i0">Persuade a peasant of its
+truth;</span> <span class="i0">I meant to call a freak of
+youth</span> <span class="i0">This hiding, and give hopes of
+pay,<span class='linenum2'>55</span></span> <span class="i0">And no
+temptation to betray.</span> <span class="i0">But when I saw that
+woman's face,</span> <span class="i0">It's calm simplicity of
+grace,</span> <span class="i0">Our Italy's own attitude</span>
+<span class="i0">In which she walked thus far, and stood,<span
+class='linenum2'>60</span></span> <span class="i0">Planting each
+naked foot so firm,</span> <span class="i0">To crush the snake and
+spare the worm&mdash;</span> <span class="i0">At first sight of her
+eyes, I said,</span> <span class="i0">"I am that man upon whose
+head</span> <span class="i0">They fix the price, because I
+hate<span class='linenum2'>65</span></span> <span class="i0">The
+Austrians over us; the State</span> <span class="i0">Will give you
+gold&mdash;oh, gold so much!&mdash;</span> <span class="i0">If you
+betray me to their clutch,</span> <span class="i0">And be your
+death, for aught I know,</span> <span class="i0">If once they find
+you saved their foe.<span class='linenum2'>70</span></span> <span
+class="i0">Now, you must bring me food and drink,</span> <span
+class="i0">And also paper, pen and ink,</span> <span class="i0">And
+carry safe what I shall write</span> <span class="i0">To Padua,
+which you'll reach at night</span> <span class="i0">Before the
+duomo shuts; go in,<span class='linenum2'>75</span></span> <span
+class="i0">And wait till Tenebrae begin;</span> <span class=
+"i0">Walk to the third confessional,</span> <span class=
+"i0">Between the pillar and the wall,</span> <span class="i0">And
+kneeling whisper, <i>Whence comes peace?</i></span> <span class=
+"i0">Say it a second time, then cease;<span class=
+'linenum2'>80</span></span> <span class="i0">And if the voice
+inside returns,</span> <span class="i0"><span class='pagenum'><a
+name="Page_293" id="Page_293">[Pg 293]</a></span><i>From Christ and
+Freedom; what concerns</i></span> <span class="i0"><i>The cause of
+Peace?</i>&mdash;for answer, slip</span> <span class="i0">My letter
+where you placed your lip;</span> <span class="i0">Then come back
+happy we have done<span class='linenum2'>85</span></span> <span
+class="i0">Our mother service&mdash;I, the son,</span> <span class=
+"i0">As you the daughter of our land!"</span><br />
+<span class="i1">Three mornings more, she took her stand</span>
+<span class="i0">In the same place, with the same eyes:</span>
+<span class="i0">I was no surer of sunrise<span class=
+'linenum2'>90</span></span> <span class="i0">Than of her coming: we
+conferred</span> <span class="i0">Of her own prospects, and I
+heard</span> <span class="i0">She had a lover&mdash;stout and
+tall,</span> <span class="i0">She said&mdash;then let her eyelids
+fall,</span> <span class="i0">"He could do much"&mdash;as if some
+doubt<span class='linenum2'>95</span></span> <span class=
+"i0">Entered her heart,&mdash;then, passing out,</span> <span
+class="i0">"She could not speak for others, who</span> <span class=
+"i0">Had other thoughts; herself she knew":</span> <span class=
+"i0">And so she brought me drink and food.</span> <span class=
+"i0">After four days, the scouts pursued<span class=
+'linenum2'>100</span></span> <span class="i0">Another path; at last
+arrived</span> <span class="i0">The help my Paduan friends
+contrived</span> <span class="i0">To furnish me: she brought the
+news.</span> <span class="i0">For the first time I could not
+choose</span> <span class="i0">But kiss her hand, and lay my
+own<span class='linenum2'>105</span></span> <span class="i0">Upon
+her head&mdash;"This faith was shown</span> <span class="i0">To
+Italy, our mother; she</span> <span class="i0">Uses my hand and
+blesses thee."</span> <span class="i0">She followed down to the
+sea-shore;</span> <span class="i0">I left and never saw her
+more.<span class='linenum2'>110</span></span><br />
+<span class="i1">How very long since I have thought</span> <span
+class="i0">Concerning&mdash;much less wished for&mdash;aught</span>
+<span class="i0"><span class='pagenum'><a name="Page_294" id=
+"Page_294">[Pg 294]</a></span>Beside the good of Italy,</span>
+<span class="i0">For which I live and mean to die!</span> <span
+class="i0">I never was in love; and since<span class=
+'linenum2'>115</span></span> <span class="i0">Charles proved false,
+what shall now convince</span> <span class="i0">My inmost heart I
+have a friend?</span> <span class="i0">However, if I pleased to
+spend</span> <span class="i0">Real wishes on myself&mdash;say,
+three&mdash;</span> <span class="i0">I know at least what one
+should be.<span class='linenum2'>120</span></span> <span class=
+"i0">I would grasp Metternich until</span> <span class="i0">I felt
+his red wet throat distil</span> <span class="i0">In blood thro'
+these two hands. And next,</span> <span class="i0">&mdash;Nor much
+for that am I perplexed&mdash;</span> <span class="i0">Charles,
+perjured traitor, for his part,<span class=
+'linenum2'>125</span></span> <span class="i0">Should die slow of a
+broken heart</span> <span class="i0">Under his new employers.
+Last,</span> <span class="i0">&mdash;Ah, there, what should I wish?
+For fast</span> <span class="i0">Do I grow old and out of
+strength.</span> <span class="i0">If I resolved to seek at
+length<span class='linenum2'>130</span></span> <span class="i0">My
+father's house again, how scared</span> <span class="i0">They all
+would look, and unprepared!</span> <span class="i0">My brothers
+live in Austria's pay</span> <span class="i0">&mdash;Disowned me
+long ago, men say;</span> <span class="i0">And all my early mates
+who used<span class='linenum2'>135</span></span> <span class=
+"i0">To praise me so&mdash;perhaps induced</span> <span class=
+"i0">More than one early step of mine&mdash;</span> <span class=
+"i0">Are turning wise: while some opine</span> <span class=
+"i0">"Freedom grows license", some suspect</span> <span class=
+"i0">"Haste breeds delay", and recollect<span class=
+'linenum2'>140</span></span> <span class="i0">They always said,
+such premature</span> <span class="i0">Beginnings never could
+endure!</span> <span class="i0">So, with a sullen "All's for
+best",</span> <span class="i0">The land seems settling to its
+rest.</span> <span class="i0">I think then, I should wish to
+stand<span class='linenum2'>145</span></span> <span class=
+"i0"><span class='pagenum'><a name="Page_295" id="Page_295">[Pg
+295]</a></span>This evening in that dear, lost land,</span> <span
+class="i0">Over the sea the thousand miles,</span> <span class=
+"i0">And know if yet that woman smiles</span> <span class="i0">With
+the calm smile; some little farm</span> <span class="i0">She lives
+in there, no doubt: what harm<span class=
+'linenum2'>150</span></span> <span class="i0">If I sat on the
+door-side bench,</span> <span class="i0">And, while her spindle
+made a trench</span> <span class="i0">Fantastically in the
+dust,</span> <span class="i0">Inquired of all her
+fortunes&mdash;just</span> <span class="i0">Her children's ages and
+their names,<span class='linenum2'>155</span></span> <span class=
+"i0">And what may be the husband's aims</span> <span class="i0">For
+each of them. I'd talk this out,</span> <span class="i0">And sit
+there, for an hour about,</span> <span class="i0">Then kiss her
+hand once more, and lay</span> <span class="i0">Mine on her head,
+and go my way.<span class='linenum2'>160</span></span></div>
+
+<div class="stanza"><span class="i0">So much for idle
+wishing&mdash;how</span> <span class="i0">It steals the time! To
+business now.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Robert Browning (By
+permission)</i></p>
+
+<div class="blockquot">
+<p><span class="smcap">Preparatory</span>.&mdash;What is the
+historical back-ground of this poem? Suggest the possible details
+of the exiled patriot's life in England, his surroundings and frame
+of mind at the moment of speaking.</p>
+
+<p>Reconstruct for yourself the three scenes of which the peasant
+woman is the centre.</p>
+
+<p>What qualities did the Italian at once recognize in the peasant
+woman which led him to intrust his safety to her?</p>
+
+<p>79. <span class="smcap">Whence comes peace</span>? In what
+Quality of voice is this read? Give your reason. (Introduction, p.
+<a href="#Page_34">34</a>.)</p>
+
+<p>95. <span class="smcap">He could do much</span>. How is the
+doubt in this speech and in the one following indicated by the
+Inflection? (Introduction, p. <a href="#Page_18">18</a>.)</p>
+
+<p>111-112. With what is <span class="smcap">THOUGHT
+CONCERNING</span> connected? How?</p>
+
+<p>120-123. <span class="smcap">I know at least ... hands</span>.
+What Quality of voice expresses the feeling here? What succeeding
+lines have the same Quality? (Introduction, p. <a href=
+"#Page_35">35</a>.) With what is <span class="smcap">NEXT</span>
+connected? How?</p>
+
+<p><span class='pagenum'><a name="Page_296" id="Page_296">[Pg
+296]</a></span> 139-142. <span class="smcap">Freedom grows license
+... endure</span>. How is the irony of these lines indicated?
+(Introduction, pp. 21 and 30.)</p>
+
+<p>How does the mood of the last two lines differ from the
+preceding? What is the difference in vocal expression?</p>
+</div>
+
+<hr style="width: 65%;" />
+<h3><a name="Page_296a" id="Page_296a"></a>ADVANTAGES OF IMPERIAL
+FEDERATION</h3>
+
+<p class="center2">From an address delivered in Toronto, January
+30th, 1891, under the auspices of the Imperial Federation
+League</p>
+
+<p>I now go on to mention another and greater advantage of Imperial
+Federation than the one which we have just been considering; an
+advantage too that is so connected with that of improved trade that
+the two must be considered together. In fact, in my opinion, the
+first is not likely to be obtained without the second. We cannot
+expect Britain to concede preferential trade to us, on the ground
+that we are part of the Empire, unless we are willing to share the
+responsibilities of the Empire. I say then, secondly, that only by
+some form of Imperial Federation can the independence of Canada be
+preserved, with due regard to self-respect.</p>
+
+<p>If this is true, if Imperial Federation can do this, and if it
+can be done in no other way, then the necessity for Imperial
+Federation is proved; for national independence is an advantage so
+great that no price can be named that is too great to give in
+payment. It is the same with a country as with a man. Independent
+he must be, or he ceases to be a man. Burns advises his young
+friend to "gather gear" in every honourable way, and what for?</p>
+
+<div class="poem3">
+<div class="stanza"><span class="i0">Not for to hoard it in a
+dyke,</span> <span class="i1">Not for a train attendant;</span>
+<span class="i0">But for the glorious privilege</span> <span class=
+"i1">Of being independent.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_297" id="Page_297">[Pg
+297]</a></span></p>
+
+<p>And that which is the supreme dignity of manhood is even more
+essential in the case of a nation.</p>
+
+<p>What do we mean when we speak of the independence of the
+country? We mean something beyond price, something that is the
+indispensable condition of true manhood in any country, something
+without which a country is poor in the present and a butt for the
+world's scorn in the future. There are men, or things that look
+like men, who say that as long as we put money in our purse,
+nothing else counts. How that class of men must have laughed some
+centuries ago at a fool called William Wallace! How clearly they
+could point out that it was much better to be part of the richer
+country to the south. When they heard of the fate of the patriot,
+did they not serenely say: "We told you so?" Did they not in their
+hearts envy the false Menteath the price he got for betraying the
+man who acted as true sentiment bade? But, give it time, and the
+judgment of the world is just. Even the blind can now see whether
+the patriot or the so-called "practical man" did most for
+Scotland's advantage. Now</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">At Wallace' name, what
+Scottish blood</span> <span class="i0">But boils up in a springtime
+flood!</span> <span class="i0">Oft have our fearless fathers
+strode</span> <span class="i3">By Wallace' side,</span> <span
+class="i0">Still pressing onward, red-wat shod,</span> <span class=
+"i3">Or glorious died.</span></div>
+</div>
+
+<p>What has his memory been worth to Scotland! Would you estimate
+it in millions? Superior persons will tell me that Wallace is an
+anachronism. In form, yes; in spirit, never. It may be said that in
+the end Scotland did unite with England. Yes, but first, what a
+curse the union would have been if unaccompanied, as in the case of
+Ireland, with national self-respect! And, secondly, <span class=
+'pagenum'><a name="Page_298" id="Page_298">[Pg
+298]</a></span>Canada is ready for union with the States any day on
+the same terms as those which Scotland got: (1) That the States
+accept our Queen or King as their head. (2) That we keep our own
+civil and criminal law and parliamentary constitution, as Scotland
+did. (3) That the whole Empire be included in the arrangement, as
+the whole of Scotland was in the union. Surely the men who are
+never tired of citing the case of Scotland and England as parallel
+to ours must admit that this is fair.</p>
+
+<p>But, here comes a question that must be faced. Is it worth while
+preserving the independence, the unity, and dignity of Canada?
+There are men who, for one reason or another, doubt whether it is.
+They have lost faith in the country, or rather they never had any
+faith to lose. It is this absence of faith that is at the bottom of
+all their arguments and all their unrest. Now, I do not wonder that
+there should be men who do not share our faith. Men who were
+brought up in England, and who have seen and tasted the best of it;
+who are proud of that "dear, dear land", as Shakespeare called it,
+proud of its history, its roll of saints, statesmen, heroes; of its
+cathedrals, colleges, castles; of its present might as well as its
+ancient renown; and who have then come to live in
+Canada,&mdash;well, they naturally look with amused contempt at our
+raw, rough ways, our homespun legislators and log colleges,
+combined with lofty ambitions expressed sometimes&mdash;it must be
+admitted&mdash;in bunkum. I do not wonder, either, that men who
+have been citizens of the United States, who exult in its vast
+population, its vast wealth, and its boundless energy, should think
+it madness on our part that we are not knocking untiringly at their
+door for admission, and that the only explanation of our attitude
+that they can give is that <span class='pagenum'><a name="Page_299"
+id="Page_299">[Pg 299]</a></span>we are "swelled heads", or "the
+rank and file of jingoism." But, after all, they must know that
+this question is not to be settled by them. It must be settled by
+genuine Canadians. We, like Cartier, are Canadians <i>avant
+tout</i>. Most of us have been born in the land, have buried our
+fathers and mothers, and some of us our children, too, in the natal
+soil, and above the sacred dust we have pledged ourselves to be
+true to their memories and to the country they loved, and to those
+principles of honour that are eternal! God helping, we will do so,
+whether strangers help or hinder! We do not think so meanly of our
+country that we are willing to sell it for a mess of pottage. I
+know Canada well, from ocean to ocean; from the rich sea pastures
+on the Atlantic all the way across to Vancouver and Victoria. Every
+province and every territory of it, I know well. I know the people,
+too, a people thoroughly democratic and honest to the core. I would
+now plainly warn those who think that there is no such thing as
+Canadian sentiment that they are completely mistaken. They had
+better not reckon without their host. The silent vote is that which
+tells, and though it will not talk, it will vote solid all the time
+for those who represent national sentiment when the national life
+is threatened. I am not a party man. In my day, I have voted about
+evenly on both sides, for when I do vote, it is after consideration
+of the actual issues involved at the time. Both sides therefore
+rightly consider me unreliable, but, perhaps, both will listen when
+I point out that the independent vote is increasing, and that it is
+the only vote worth cultivating. The true Grit or Tory will vote
+with his party, right or wrong. No time, therefore, need be given
+to him. Let the wise candidate win the men who believe that the
+country is <span class='pagenum'><a name="Page_300" id=
+"Page_300">[Pg 300]</a></span>higher than party, and there is, I
+think, only one thing that these men will not forgive&mdash;lack of
+faith in the country. They have no doubt that it is worth while to
+preserve the unity, dignity, and independence of Canada.</p>
+
+<p>We are quite sure of this. Are we as sure that it is our duty to
+pay the price? The United States are paying three or four times our
+whole revenue in pensions to those who fought to keep the country
+united. They do not grudge this enormous price. They have besides a
+respectable army, and a fleet that will soon be formidable. What
+means do we find it necessary to use? In any trouble we simply call
+on the Mother Country. The present system is cheap. No! it is dear
+and nasty, and cannot last.</p>
+
+<p>What should we do? First, let us remember what Britain has dared
+for us within the last two or three years. Britain would fight the
+rest of the world rather than the United States,&mdash;not because
+the Republic could hurt her seriously, not because her trade with
+it is five times as much as with us, but because she is proud of
+her own eldest child and knows that a war between mother and
+daughter would be a blow struck at the world's heart. Yet, for us
+she spoke the decisive word from which there was no drawing back.
+For us, once and again, because we were in the right, she dared a
+risk which she hated with her whole soul.</p>
+
+<p>Let us show that we appreciate her attitude. Let us, at any
+rate, do what Australia has done&mdash;enter into a treaty,
+according to which we shall pay so much a year for a certain number
+of ships, to be on our own coasts in peace, and in war at the
+disposal of the Empire. That would be tantamount to saying: "You
+have shared our risks, we will share yours; we will pay part of the
+<span class='pagenum'><a name="Page_301" id="Page_301">[Pg
+301]</a></span>insurance that is necessary to guarantee peace; we
+are educating officers for the army, and we are willing to give a
+much needed addition to the fleet". That would be a first step
+toward the attainment of full citizenship. What would be the next?
+We could ask that our voice should be heard in some constitutional
+way before any war was decided on. And we would have the right
+standing ground from which to urge a wise system of preferential
+trade in the common interest. These three things are, in my
+opinion, connected, and I have ventured to indicate the order in
+which they should be taken.</p>
+
+<p>Would it pay? The experience of the world proves that nothing
+pays in the long run but duty-doing. How can a country grow great
+men if it is content to be in leading-strings, and to give
+plausible excuses to show that that state of things is quite
+satisfactory?</p>
+
+<p>Only by some form of Imperial Federation can the unity of the
+Empire be preserved.</p>
+
+<p>The previous advantages to which I referred concerned Canada
+directly. This one may appear, to some persons, far away from us,
+but it is not. In another speech I may enlarge on this advantage,
+but suffice it to say now, that we cannot isolate ourselves from
+humanity. Canada ought to be dearer to us than any other part of
+the Empire, but none the less we must admit that the Empire is more
+important to the world than any of its parts, and every true man is
+a citizen of the world.</p>
+
+<p>I will not speak to-night of what the Empire has done for us in
+the past, of the rich inheritance into which we have entered, and
+of the shame that falls on children who value lightly the honour of
+their family and race. Consider only the present position of
+affairs. The <span class='pagenum'><a name="Page_302" id=
+"Page_302">[Pg 302]</a></span>European nations are busy watching
+each other. Britain is detaching herself from them, understanding
+that she is an oceanic, colonizing, and world power, much more than
+a European state. The United States and Britain are the two Powers,
+one in essence, cradled in freedom, that have a great future before
+them. According to the last census, the first has a population of
+some fifty-four millions of whites. The census of next April will
+show that the other has nearly forty millions in the home islands
+and ten millions in the self-governing Colonies. The two Powers
+have thus about the same population of white men, and the two are
+likely to grow at the same rate.</p>
+
+<p>In Britain the rate of increase will be less, but in the
+Colonies it will be greater than in the States during the next half
+century. The States will keep united. They have stamped out
+disunion. We have to prove that we intend to keep the Empire
+united; but that can be done only by giving the ten millions a
+gradually increasing share in common privileges and
+responsibilities. Surely such a work is not beyond the resources of
+statesmanship. For a long time decentralization was needed. Now,
+all the signs of the times indicate the necessity to centralize.
+The days of small powers are over, and modern inventions make
+communication easy between east and west, as well as between north
+and south.</p>
+
+<p>If this is not done, what will certainly happen? Separation,
+first of one part then of another; weakness of each part and
+weakness all round. Think of the impetus that this would give to
+every force that makes for chaos among the three hundred millions
+over whom God in His providence has placed us. The work that the
+British Empire has in hand is far grander than the <span class=
+'pagenum'><a name="Page_303" id="Page_303">[Pg
+303]</a></span>comparatively parochial duties with which the States
+are content to deal. Its problems are wider and more inspiring;
+yet, at the same time, the white race that alone, so far, has
+proved itself fit for self-government, lives by itself, instead of
+being commingled with a coloured race to which only nominal freedom
+is allowed. Any one who has lived either in South Africa or in the
+Southern States will understand what a free hand and what an
+unspeakable leverage this gives us. We need no Force Bill to ensure
+a free ballot in Britain, Canada, Australia, or New Zealand.
+Already our sons are taking their part in introducing civilization
+into Africa, under the aegis of the flag, and in preserving the
+<i>Pax Britannica</i> among the teeming millions of India and
+southeastern Asia, those peoples kindred to ourselves, who for
+centuries before had been the prey of successive spoilers. Think of
+the horizon that this opens up, and remember that in building a
+state we must think not of the present but of the future.</p>
+
+<p>In a generation all the best land on this continent will have
+been taken up. But, thanks to the far-reaching wisdom of our
+fathers, the greater part of the world will be open to the trade,
+to the colonizing, and to the enterprise of our children. We shall
+not be confined to a frozen north or to a single continent. We
+shall take part in work that is of world-wide significance, and
+shall act out our belief that God loves not North America only, but
+the whole world. Only on conditions of the British Empire standing,
+can this be done. This is the ideal that we should set before us,
+and remember that no people has ever been a great or permanent
+factor in the world that was without high ideals. I know that this
+advantage to which I am referring is not one that can be <span
+class='pagenum'><a name="Page_304" id="Page_304">[Pg
+304]</a></span>calculated in dollars, any more than the work of a
+Wallace or the poems of a Shakespeare, the life of Sydney or the
+death of Gordon; but it is an advantage none the less for which
+many of us are content to struggle and, if need be, to suffer. What
+are we in this world for? Surely for something higher than to still
+the daily craving of appetite. Surely for something higher than to
+accumulate money, though it should be to the extent of adding
+million to million. Surely we are in the world for something
+better! Yes, we are here to think great thoughts, to do great
+things, to promote great ideals. This can be done only through
+faithfulness to the best spirit of our fathers. Society is an
+organism, and must preserve its continuity. It must work, too,
+through instruments; and the most potent, keenest, best-tried
+instrument on earth for preserving peace, order, liberty and
+righteousness, is the Empire of which we are citizens. Shall we
+throw away that citizenship, or shall we maintain and strengthen
+that Empire?</p>
+
+<p class="quotsig">&mdash;<i>George Monro Grant (By
+permission)</i></p>
+
+<div class="blockquot">
+<p>Apply the principles of Emphasis, Inflection, Grouping, and
+Perspective in reading this address. Give specific illustrations of
+each.</p>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_305" id="Page_305">[Pg
+305]</a></span></p>
+
+<h3>COLLECT FOR DOMINION DAY</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Father of nations! Help of the
+feeble hand!</span> <span class="i1">Strength of the strong! to
+whom the nations kneel!</span> <span class="i0">Stay and destroyer,
+at whose just command</span> <span class="i1">Earth's kingdoms
+tremble and her empires reel!</span> <span class="i0">Who dost the
+low uplift, the small make great,<span class=
+'linenum2'>5</span></span> <span class="i1">And dost abase the
+ignorantly proud,</span> <span class="i0">Of our scant people mould
+a mighty state,</span> <span class="i1">To the strong,
+stern,&mdash;to Thee in meekness bowed!</span> <span class=
+"i0">Father of unity, make this people one!</span> <span class=
+"i1">Weld, interfuse them in the patriot's flame,<span class=
+'linenum2'>10</span></span> <span class="i0">Whose forging on Thine
+anvil was begun</span> <span class="i1">In blood late shed to purge
+the common shame;</span> <span class="i0">That so our hearts, the
+fever of faction done,</span> <span class="i1">Banish old feud in
+our young nation's name.</span></div>
+</div>
+
+<p class="quotsig">&mdash;<i>Charles G. D. Roberts</i> (<i>By
+arrangement</i>)</p>
+
+<hr style="width: 65%;" />
+<h3>ENGLAND</h3>
+
+<div class="poem">
+<div class="stanza"><span class="i0">This royal throne of kings,
+this scepter'd isle,</span> <span class="i0">This earth of majesty,
+this seat of Mars,</span> <span class="i0">This other Eden,
+demi-paradise,</span> <span class="i0">This fortress, built by
+Nature for herself</span> <span class="i0">Against infection and
+the hand of war,</span> <span class="i0">This happy breed of men,
+this little world,</span> <span class="i0">This precious stone set
+in the silver sea.</span></div>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_306" id="Page_306">[Pg
+306]</a></span></p>
+
+<h2>APPENDIX</h2>
+
+<h4>A</h4>
+
+<h4>EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION</h4>
+
+<p><a name="A_1" id="A_1">1.</a> &#257; as in ate, fate, cave,
+made, glade, pale.</p>
+
+<p>&acirc; as in air, fair, chair, hair, lair, pair, care, dare,
+bare, share, bear, fairy, compare, parent, prayer, garish, there,
+heir.</p>
+
+<p>&#259; as in at, that, and, damp, glad, bade, castle, baron,
+barrel.</p>
+
+<p>&auml; as in far, arm, hark, charm, march, bard, calm, palm,
+psalm, balm, half, alms, father, dark, wrath, path, marsh,
+laugh.</p>
+
+<p>&#551; as in ask, grasp, fast, last, pass, past, branch, chance,
+dance, mast, vast, gasp, quaff, craft, staff, chant, grass,
+mass.</p>
+
+<p>&#7841; as in all, talk, squall, dawn, warp, hawk, laurel,
+haughty, halt.</p>
+
+<p>a obscure, in final medial syllables, unaccented, and closed by
+n, l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan,
+vacancy, mortal, loyal, valiant, guidance, husband, breakfast,
+gallant, ballad, etc.</p>
+
+<p>&#275; as in me, seem, reap, weed, lean, evil, redeem.</p>
+
+<p>&#277; as in met, end, spell, debt, text, jest, when, merry,
+America, ceremony.</p>
+
+<p>&#7869; (coalescent) as in her, fern, earth, mercy, verse,
+stern, earl, pearl, term, verge, prefer, serge, earn, early.</p>
+
+<p>&#299; as in time, tide, mile, wine, high, size.</p>
+
+<p>&#301; as in pin, grim, king, gift, this, grip.</p>
+
+<p>&#297; (coalescent) as in bird, girl, fir, stir, girdle, circle,
+virgin, first.</p>
+
+<p>&#333; as in note, old, spoke, pole, wrote, joke.</p>
+
+<p>&#335; as in not, shot, top, odd, honest, comic, on, gone, off,
+often, dog, (not "dawg"), God, soft, long, song, strong, coral,
+orange, foreign, torrid, coronet, corridor, correlate.</p>
+
+<p><span class='pagenum'><a name="Page_307" id="Page_307">[Pg
+307]</a></span></p>
+
+<p>&ocirc; as in corn, lord, stork, orb, form, forlorn, morn,
+short, adorn.</p>
+
+<p>o as in word, work, worm, worry.</p>
+
+<p>&#559; as in love, done, some, cover, brother, another, month,
+company, Monday, front, covet, wonder, sponge, smother.</p>
+
+<p>&ouml; as in do, move, who, whose, lose, prove, too, bosom.</p>
+
+<p>&#363; as in use, pure, duke, tune, tube, blue, duty, flew, new,
+student, subdue, pursue, absolute, illumine, tumult, suit, during,
+pursuit, presume, lunacy, Tuesday, numeral.</p>
+
+<p>&#365; as in us, up, but, drum, dusk, trust.</p>
+
+<p>&#7795; as in rude, brute, fruit, sure, true, construe,
+recruit.</p>
+
+<p>&#7909; as in full, pull, put, push, cushion, bushel, pulpit,
+bullet.</p>
+
+<p>&ucirc; as in hurt, burr, cur, fur, furl, burst, purr, recur,
+curfew, furlong, surge, urn.</p>
+
+<p>Note that &auml; in far and &#551; in ask are called long
+Italian <i>a</i> and short Italian <i>a</i> respectively. The
+quality of the sound is the same in each, but they differ in
+quantity, the latter being shorter.</p>
+
+<p>The following vowels have the same sound:</p>
+
+<p>&#7869; (coalescent) and &#297; (coalescent);</p>
+
+<p>&ouml; as in do, &#7795; as in rude, and &#333;&#333; as in
+food;</p>
+
+<p>o as in word and &ucirc; as in hurt;</p>
+
+<p>&#559; as in love and &#365; as in us.</p>
+
+<p>After marking the vowels diacritically read the following
+passages, paying special attention to the vowel sounds:</p>
+
+<p>&nbsp;</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">So Lord Howard passed away
+with five ships of war that day.</span></div>
+
+<div class="stanza"><span class="i0">That desperate grasp thy frame
+might feel</span> <span class="i0">Through bars of brass and triple
+steel.</span></div>
+
+<div class="stanza"><span class="i0">The guide, abating of his
+pace,</span> <span class="i0">Led slowly through the pass's
+jaws,</span> <span class="i0">And asked Fitz-James by what strange
+cause</span> <span class="i0">He sought these wilds, traversed by
+few</span> <span class="i0">Without a pass from Roderick
+Dhu.</span></div>
+
+<div class="stanza"><span class="i0">The hand cannot clasp the
+whole of his alms,</span> <span class="i0">The heart outstretches
+its eager palms.</span></div>
+
+<div class="stanza"><span class="i0">O listen, ladies, ladies
+gay!</span> <span class="i0">No haughty feat of arms I tell;</span>
+<span class="i0"><span class='pagenum'><a name="Page_308" id=
+"Page_308">[Pg 308]</a></span>Soft is the note, and sad the
+lay</span> <span class="i0">That mourns the lovely
+Rosabelle.</span></div>
+
+<div class="stanza"><span class="i0">And when the Angel met him on
+his way,</span> <span class="i0">And half in earnest, half in jest,
+would say,</span> <span class="i0">Sternly, though tenderly, that
+he might feel</span> <span class="i0">The velvet scabbard held a
+sword of steel,</span> <span class="i0">"Art thou the King?" the
+passion of his woe</span> <span class="i0">Burst from him in
+resistless overflow,</span> <span class="i0">And, lifting high his
+forehead, he would fling</span> <span class="i0">The haughty answer
+back, "I am, I am the King!"</span></div>
+
+<div class="stanza"><span class="i0">Then rest thee here till dawn
+of day;</span> <span class="i0">Myself will guide thee on the
+way,</span> <span class="i0">O'er stock and stone, through watch
+and ward,</span> <span class="i0">Till past Clan-Alpine's outmost
+guard,</span> <span class="i0">As far as Coilantogle's ford;</span>
+<span class="i0">From thence thy warrant is thy sword.</span></div>
+
+<div class="stanza"><span class="i0">Around the keel that raced the
+dolphin and the shark</span> <span class="i0">Only the sand-wren
+twitters from barren dawn till dark;</span> <span class="i0">And
+all the long blank noon the blank sand chafes and mars</span> <span
+class="i0">The prow once swift to follow the lure of the dancing
+stars.</span></div>
+</div>
+
+<p><a name="A_2" id="A_2">2.</a> Distinguish the sound of
+<i>&#363;</i> in use, pure, duke, etc.,</p>
+
+<div class="poem">
+<div class="stanza"><span class="i1">from the sound of <i>oo</i>
+in</span> <span class="i3">food, hoof, mood, rood, roof, soot,
+aloof,</span> <span class="i1">and from the sound of <i>oo</i>
+in</span> <span class="i3">book, good, nook, hood, rook, look,
+foot, crook.</span></div>
+</div>
+
+<p>Read the following with special reference to these sounds:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Flew flashing under the
+blinding blue.</span></div>
+
+<div class="stanza"><span class="i0">She left the web, she left the
+loom,</span> <span class="i0">She made three paces thro' the
+room,</span> <span class="i0">She saw the water-lily bloom,</span>
+<span class="i0">She saw the helmet and the plume,</span> <span
+class="i0">She look'd down to Camelot.</span></div>
+
+<div class="stanza"><span class="i0">Singing the bridal of sap and
+shoot,</span> <span class="i0">The tree's slow life between root
+and fruit.</span></div>
+
+<div class="stanza"><span class="i0">... helter-skelter through the
+blue</span> <span class="i0">Like a crowd of frightened porpoises a
+shoal of sharks pursue.</span></div>
+
+<div class="stanza"><span class="i0">While on dreary moorlands
+lonely curlew pipe.</span></div>
+</div>
+
+<div class="poem">
+<div class="stanza"><span class="i0">My Lords, you have that true
+image of the primitive Church in its ancient form, in its ancient
+ordinances, purified from the superstitions and vices which a long
+succession of ages will bring upon the best
+institutions.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_309" id="Page_309">[Pg
+309]</a></span></p>
+
+<p class="four"><a name="A_3" id="A_3">3.</a> Double and triple
+consonant endings present difficulties of
+articulation:&mdash;Robbed, bragged, divulged, mends, breathed,
+gossips, casques, barracks, depths, heights, lengths, breadths,
+lists, aspects, seethes, thirsteth, breathest, sheath'st, melt'st,
+search'st, sixths, twelfths, tests.</p>
+
+<p>Read with special reference to the articulation of the final
+consonants:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">You blocks, you stones, you
+worse than senseless things!</span></div>
+
+<div class="stanza"><span class="i0">Scattering down the
+snow-flakes off the curdled sky.</span></div>
+
+<div class="stanza"><span class="i0">With throats unslaked, with
+black lips baked.</span></div>
+
+<div class="stanza"><span class="i0">The guests are met, the feast
+is set</span> <span class="i0">May'st hear the merry
+din.</span></div>
+
+<div class="stanza"><span class="i0">Who forgiveth all thine
+iniquities; who healeth all thy diseases;</span> <span class=
+"i0">Who satisfieth thy mouth with good things; so that thy youth
+is renewed like the eagle's.</span></div>
+
+<div class="stanza"><span class="i0">Spirit that breathest through
+my lattice,</span> <span class="i0">Thou that cool'st the twilight
+of the sultry day.</span></div>
+
+<div class="stanza"><span class="i0">He groped toward the door, but
+it was locked,</span> <span class="i0">He cried aloud, and
+listened, and then knocked,</span> <span class="i0">And uttered
+awful threatenings and complaints,</span> <span class="i0">And
+imprecations upon men and saints.</span></div>
+
+<div class="stanza"><span class="i0">It glared on Roslin's castled
+rock,</span> <span class="i1">It ruddied all the copse-wood
+glen;</span> <span class="i0">'Twas seen from Dryden's groves of
+oak,</span> <span class="i1">And seen from caverned
+Hawthornden.</span></div>
+
+<div class="stanza"><span class="i0">Skilful artists thou
+employest,</span> <span class="i0">And in chastest beauty
+joyest,</span> <span class="i0">Forms most delicate, pure, and
+clear,</span> <span class="i0">Frost-caught star-beams, fallen
+sheer</span> <span class="i0">In the night, and woven here</span>
+<span class="i0">In jewel-fretted tapestries.</span></div>
+</div>
+
+<p class="four"><a name="A_4" id="A_4">4.</a> Sound distinctly the
+ending <i>ing</i> in: Languishing, blackening, threatening,
+rushing, ascending, flashing, throbbing.</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Roughening their crests and
+scattering high their spray,</span> <span class="i0">And swelling
+the white sail.</span></div>
+
+<div class="stanza"><span class="i0">Blazing with light and
+breathing with perfume.</span></div>
+
+<div class="stanza"><span class=
+"i1">&nbsp;.&nbsp;.&nbsp;.&nbsp;.&nbsp; a revolting shape</span>
+<span class="i0">Shivering and chattering sat the wretched
+ape.</span> <span class="i0"><span class='pagenum'><a name=
+"Page_310" id="Page_310">[Pg 310]</a></span>Lakelets' lisping
+wavelets lapping,</span> <span class="i0">Round a flock of wild
+ducks napping,</span> <span class="i0">And the rapturous-noted
+wooings,</span> <span class="i0">And the molten-throated
+cooings</span> <span class="i0">Of the amorous multitudes</span>
+<span class="i0">Flashing through the dusky woods,</span> <span
+class="i0">When a veering wind hath blown</span> <span class="i0">A
+glare of sudden daylight down.</span></div>
+</div>
+
+<p class="four"><a name="A_5" id="A_5">5.</a> Sound final <i>d</i>
+in "and":</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Rest and a guide, and food and
+fire.</span></div>
+
+<div class="stanza"><span class="i0">Away from the world, and its
+toils and its cares.</span></div>
+
+<div class="stanza"><span class="i0">And the sun went down and the
+stars came out.</span></div>
+
+<div class="stanza"><span class="i0">Peace, and order, and beauty
+draw</span> <span class="i0">Round thy symbol of light and
+law.</span></div>
+
+<div class="stanza"><span class="i0">East and west, and south and
+north</span> <span class="i1">The messengers ride fast,</span>
+<span class="i0">And tower, and town, and cottage,</span> <span
+class="i1">Have heard the trumpet's blast.</span></div>
+
+<div class="stanza"><span class="i0">Blood and fire on the
+streaming decks,</span> <span class="i1">And fire and blood
+below;</span> <span class="i0">The heat of hell, and the reek of
+hell,</span> <span class="i1">And the dead men laid
+a-row!</span></div>
+</div>
+
+<p class="four"><a name="A_6" id="A_6">6.</a> Articulate distinctly
+words in which the same or similar sounds immediately succeed each
+other:</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">Spanish ships of war at
+sea.</span></div>
+
+<div class="stanza"><span class="i0">At Flores, in the Azores, Sir
+Richard Grenville lay.</span></div>
+
+<div class="stanza"><span class="i3">Come Roderick Dhu,</span>
+<span class="i0">And of his clan the boldest two.</span></div>
+
+<div class="stanza"><span class="i0">Saint Fanny, my patroness
+sweet I declare.</span></div>
+
+<div class="stanza"><span class="i0">Cast off earth's sorrows and
+know what I know,</span> <span class="i0">When into the glad deep
+woods I go.</span></div>
+
+<div class="stanza"><span class="i0">The silver vessels sparkle
+clean.</span></div>
+
+<div class="stanza"><span class="i0">From the sails the dew did
+drip.</span></div>
+
+<div class="stanza"><span class="i0">The sweetest songs are those
+that tell of saddest thought.</span> <span class="i0">Thousands of
+their seamen looked down from their decks and laughed.</span></div>
+</div>
+
+<p><span class='pagenum'><a name="Page_311" id="Page_311">[Pg
+311]</a></span></p>
+
+<p><a name="A_7" id="A_7">7.</a> Sound the letter <i>h</i> in what,
+while, where, when, which, whether, white, whiten, whine, whist,
+etc.</p>
+
+<p class="four"><a name="A_8" id="A_8">8.</a> Avoid the sound of
+<i>u</i> in:<br />
+for, from, was, because, when, what, etc.</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">for coalescent <i>e</i>
+in:</span> <span class="i0">her, earn, verse, mercy, verge, serge,
+prefer, ermine, etc.</span></div>
+
+<div class="stanza"><span class="i0">for <i>&#277;</i> in:</span>
+<span class="i0">enemy, events, poem, etc.</span></div>
+
+<div class="stanza"><span class="i0">for <i>&#301;</i> in:</span>
+<span class="i0c">spirit, family, credible, visible, charity,
+unity, sanity, humanity, ruin, promise, divide, divisible,
+dissolve, languid, negative, similar, abominable, imitate,
+inimitable, purity, native, etc.</span></div>
+
+<div class="stanza"><span class="i0">for <i>i</i> (coalescent)
+in:</span> <span class="i0">sir, bird, girl, first, virgin,
+etc.</span></div>
+</div>
+
+<p>&nbsp;&nbsp;&nbsp;Vanity of vanities, saith the preacher; all is
+vanity.</p>
+
+<p>&nbsp;&nbsp;&nbsp;Ruin seize thee, ruthless King!</p>
+
+<p>&nbsp;&nbsp;&nbsp;A wind from the lands they had ruin'd.</p>
+
+<table width="85%" border="0" summary="Appendix A">
+<tr>
+<td>Who was her father?</td>
+<td>Alas! for the rarity</td>
+</tr>
+
+<tr>
+<td>Who was her mother?</td>
+<td>Of Christian charity</td>
+</tr>
+
+<tr>
+<td>Had she a sister?</td>
+<td>Under the sun!</td>
+</tr>
+
+<tr>
+<td>Had she a brother?</td>
+<td>Oh! it was pitiful!</td>
+</tr>
+
+<tr>
+<td>Or was there a dearer one</td>
+<td>Near a whole city full</td>
+</tr>
+
+<tr>
+<td>Still, and a nearer one</td>
+<td>Home she had none.</td>
+</tr>
+
+<tr>
+<td>Still, and a nearer one</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p class="two">&nbsp;</p>
+
+<p class="four"><a name="A_9" id="A_9">9.</a> Avoid the sound of
+<i>ch</i> for <i>t</i> in: fortune, fortunate, future, futurity,
+nature, natural, picture, feature, etc.</p>
+
+<div class="poem">
+<div class="stanza"><span class="i0">King Robert's self in
+features, form and height.</span></div>
+
+<div class="stanza"><span class="i0">For this man so vile and bent
+of stature</span> <span class="i0">Rasped harshly against his
+dainty nature.</span></div>
+
+<div class="stanza"><span class="i0">One more unfortunate</span>
+<span class="i0">Weary of breath,</span> <span class="i0">Rashly
+importunate</span> <span class="i0">Gone to her death.</span></div>
+</div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_312" id="Page_312">[Pg
+312]</a></span></p>
+
+<h4>B</h4>
+
+<h4>PHYSICAL EXERCISES</h4>
+
+<p class="four_b">(<i>These exercises form a course by themselves
+and should not be introduced into the regular reading
+lesson.</i>)</p>
+
+<p><span class="smcap">Breathing.</span>&mdash;The proper
+management of the breath is of the greatest importance in speaking
+and reading. Inhalation and exhalation should be gradual and
+natural, not spasmodic. The reader should never allow his supply of
+breath to be wholly exhausted, but should replenish it at regular
+intervals. Inhalation should be through the nostrils, not the
+mouth. This prevents gasping, and promotes and preserves a healthy
+condition of the vocal organs. It is not necessary to keep the
+mouth closed in order that the breath be inhaled through the
+nostrils. Inhalation may be effected when the mouth is open by
+allowing the tip of the tongue to touch the upper palate. All
+breathing exercises should be deep, commencing with the abdomen,
+and should expand the chest to the fullest capacity.</p>
+
+<p><i>Exercise I.</i> Stand erect in a well ventilated room. Inhale
+slowly from the abdomen while counting five, hold the breath while
+counting five, and exhale while counting five.</p>
+
+<p>Repeat this exercise, gradually increasing the count by one
+until the maximum of ten or fifteen is reached.</p>
+
+<p><i>Exercise II.</i> Practise the preceding exercise in the open
+air while walking, taking five steps while inhaling, holding the
+breath, and exhaling respectively. The count may be increased as in
+the preceding.</p>
+
+<p><i>Exercise III.</i> Stand erect, arms akimbo, fingers pressing
+the abdominal muscles in front, thumbs on the dorsal muscles on
+each side of the spine. Rise slowly on the toes while inhaling,
+hold the breath while standing on tiptoe, and exhale while
+gradually resuming the original position. In each case regulate the
+count as in the preceding exercises.</p>
+
+<p><i>Exercise IV.</i> Stand erect, arms hanging loosely at the
+sides. Inhale slowly, rising on the toes, clenching the fists with
+gradually increased intensity, and raising them to the arm-pits.
+Expel the breath suddenly, dropping back to the original
+position.</p>
+
+<p><span class="smcap">Chest and Lungs.</span>&mdash;Gymnastic
+exercises, such as develop the chest and lungs, are of great
+importance, since they regulate the breathing capacity.</p>
+
+<p><span class='pagenum'><a name="Page_313" id="Page_313">[Pg
+313]</a></span> <i>Exercise I.</i> Stand erect, arms hanging
+loosely at the sides. Raise the arms slowly to the vertical
+position over the head, making the hands meet with palms outward,
+the thumb of the left hand over the right, rising on the toes at
+the same time; then let the arms fall apart slowly to their
+original position, while coming down on the heels.</p>
+
+<p><i>Exercise II.</i> Stand erect as in the preceding. Bring the
+arms slowly forward until the hands meet on a level with the mouth,
+bending forward slightly and rising on the toes; then throw back
+the arms in a circular movement, allowing them to fall to their
+original position, coming down on the heels at the same time.</p>
+
+<p><i>Exercise III.</i> Raise the hands above the head; bring down
+the elbows to the sides; shoot out the hands in front; bring in the
+elbows to the sides; shoot down the hands toward the floor; firing
+up the elbows to the sides. Repeat. This exercise may be practised
+with hands clenched.</p>
+
+<p><span class="smcap">Throat and Neck</span>.&mdash;Exercises of
+the throat and neck develop and keep flexible the vocal cords,
+which are of prime importance in producing pure tones.</p>
+
+<p><i>Exercise I.</i> Stand erect. Look at the ceiling; allow the
+head to drop backward as far as possible; then bring the head
+slowly forward until the chin rests on the chest. Repeat.</p>
+
+<p><i>Exercise II.</i> Stand erect. Twist the head slowly to the
+left, without moving the shoulders, until the chin is parallel to
+the left shoulder; then slowly twist the head to the right, without
+moving the shoulders, until the chin is parallel to the right
+shoulder. Repeat.</p>
+
+<p><i>Exercise III.</i> Press the head to the left until the left
+ear rests almost on the left shoulder, raising the right arm above
+the head at the same time. Practise this exercise, pressing the
+head to the right and raising the left arm. Repeat.</p>
+
+<p><span class="smcap">Mouth</span>.&mdash;To produce the finest
+tones of the voice, three conditions of the mouth are
+necessary:</p>
+
+<p>(1) The mouth must be well opened.<br />
+(2) The vocal aperture must be large.<br />
+(3) The jaws must be flexible.<br />
+</p>
+
+<p>If the mouth is well opened the tones are full; if partially
+closed they are muffled. The vocal aperture is the opening in the
+rear of the mouth produced by the elevation of the uvula, and <span
+class='pagenum'><a name="Page_314" id="Page_314">[Pg
+314]</a></span>the depression of the root of the tongue and the
+larynx. The purity and richness of the voice depend, to a great
+extent, upon the capacity of the vocal aperture. If it is of small
+capacity, or contracted, the tones are impure and nasal.</p>
+
+<p>The mode of producing pure tones can be studied best before a
+mirror placed so that the light falls upon the back part of the
+mouth.</p>
+
+<p><i>Exercise I.</i> Open the mouth to the fullest extent and
+close rapidly. Repeat.</p>
+
+<p><i>Exercise II.</i> Open the mouth to the fullest extent, so
+that the uvula rises and almost disappears, and the root of the
+tongue and larynx are depressed. The action is similar to yawning,
+and to accomplish it "think a yawn", if necessary.</p>
+
+<hr style="width: 65%;" />
+<h4><a name="Page_314a" id="Page_314a"></a>C</h4>
+
+<h4>LIST OF REFERENCE BOOKS.</h4>
+
+<p>How to Teach Reading in the Public Schools. S. H. Clark. (Scott,
+Foresman &amp; Co.)</p>
+
+<p>The Voice and Spiritual Education. Hiram Corson. (Macmillan
+&amp; Co.)</p>
+
+<p>The Aims of Literary Study. Hiram Corson. (Macmillan &amp;
+Co.)</p>
+
+<p>Practical Elocution. Fulton and Trueblood. (Ginn &amp; Co.)</p>
+
+<p>Elementary Phonetics. A. W. Burt. (The Copp, Clark Co.,
+Limited.)</p>
+
+<p>Enunciation and Articulation. Ella M. Boyce. (Ginn &amp;
+Co.)</p>
+
+<p>Clear Speaking and Good Reading. Arthur Burrell. (Longmans,
+Green &amp; Co.)</p>
+
+<p>Reading as a Fine Art. Ernest Legouv&eacute;. (Penn Publishing
+Co., Philadelphia.)</p>
+
+<p>Lessons in Vocal Expression. S. S. Curry. (The Expression Co.,
+Boston.)</p>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+***** This file should be named 22795-h.htm or 22795-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/7/9/22795/
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/22795-h/images/ornament.jpg b/22795-h/images/ornament.jpg
new file mode 100644
index 0000000..24cb995
--- /dev/null
+++ b/22795-h/images/ornament.jpg
diff --git a/22795-h/images/p028.jpg b/22795-h/images/p028.jpg
new file mode 100644
index 0000000..a8edda3
--- /dev/null
+++ b/22795-h/images/p028.jpg
diff --git a/22795-h/images/p028b.jpg b/22795-h/images/p028b.jpg
new file mode 100644
index 0000000..97bbc62
--- /dev/null
+++ b/22795-h/images/p028b.jpg
diff --git a/22795-page-images/f001.png b/22795-page-images/f001.png
new file mode 100644
index 0000000..4d228ca
--- /dev/null
+++ b/22795-page-images/f001.png
diff --git a/22795-page-images/f002.png b/22795-page-images/f002.png
new file mode 100644
index 0000000..bc15862
--- /dev/null
+++ b/22795-page-images/f002.png
diff --git a/22795-page-images/f003.png b/22795-page-images/f003.png
new file mode 100644
index 0000000..cd5725d
--- /dev/null
+++ b/22795-page-images/f003.png
diff --git a/22795-page-images/f004.png b/22795-page-images/f004.png
new file mode 100644
index 0000000..8b79969
--- /dev/null
+++ b/22795-page-images/f004.png
diff --git a/22795-page-images/f005.png b/22795-page-images/f005.png
new file mode 100644
index 0000000..379d872
--- /dev/null
+++ b/22795-page-images/f005.png
diff --git a/22795-page-images/f006.png b/22795-page-images/f006.png
new file mode 100644
index 0000000..744941d
--- /dev/null
+++ b/22795-page-images/f006.png
diff --git a/22795-page-images/p001.png b/22795-page-images/p001.png
new file mode 100644
index 0000000..28f6e96
--- /dev/null
+++ b/22795-page-images/p001.png
diff --git a/22795-page-images/p002.png b/22795-page-images/p002.png
new file mode 100644
index 0000000..21f5df8
--- /dev/null
+++ b/22795-page-images/p002.png
diff --git a/22795-page-images/p003.png b/22795-page-images/p003.png
new file mode 100644
index 0000000..fbcfd8f
--- /dev/null
+++ b/22795-page-images/p003.png
diff --git a/22795-page-images/p004.png b/22795-page-images/p004.png
new file mode 100644
index 0000000..a019284
--- /dev/null
+++ b/22795-page-images/p004.png
diff --git a/22795-page-images/p005.png b/22795-page-images/p005.png
new file mode 100644
index 0000000..b5d8c2b
--- /dev/null
+++ b/22795-page-images/p005.png
diff --git a/22795-page-images/p006.png b/22795-page-images/p006.png
new file mode 100644
index 0000000..7be0e4a
--- /dev/null
+++ b/22795-page-images/p006.png
diff --git a/22795-page-images/p007.png b/22795-page-images/p007.png
new file mode 100644
index 0000000..7794f38
--- /dev/null
+++ b/22795-page-images/p007.png
diff --git a/22795-page-images/p008.png b/22795-page-images/p008.png
new file mode 100644
index 0000000..5f24715
--- /dev/null
+++ b/22795-page-images/p008.png
diff --git a/22795-page-images/p009.png b/22795-page-images/p009.png
new file mode 100644
index 0000000..7654eeb
--- /dev/null
+++ b/22795-page-images/p009.png
diff --git a/22795-page-images/p010.png b/22795-page-images/p010.png
new file mode 100644
index 0000000..e0ea766
--- /dev/null
+++ b/22795-page-images/p010.png
diff --git a/22795-page-images/p011.png b/22795-page-images/p011.png
new file mode 100644
index 0000000..d7744c8
--- /dev/null
+++ b/22795-page-images/p011.png
diff --git a/22795-page-images/p012.png b/22795-page-images/p012.png
new file mode 100644
index 0000000..9cd5ee9
--- /dev/null
+++ b/22795-page-images/p012.png
diff --git a/22795-page-images/p013.png b/22795-page-images/p013.png
new file mode 100644
index 0000000..22c525d
--- /dev/null
+++ b/22795-page-images/p013.png
diff --git a/22795-page-images/p014.png b/22795-page-images/p014.png
new file mode 100644
index 0000000..1adde4b
--- /dev/null
+++ b/22795-page-images/p014.png
diff --git a/22795-page-images/p015.png b/22795-page-images/p015.png
new file mode 100644
index 0000000..2541913
--- /dev/null
+++ b/22795-page-images/p015.png
diff --git a/22795-page-images/p016.png b/22795-page-images/p016.png
new file mode 100644
index 0000000..5d47809
--- /dev/null
+++ b/22795-page-images/p016.png
diff --git a/22795-page-images/p017.png b/22795-page-images/p017.png
new file mode 100644
index 0000000..435bc73
--- /dev/null
+++ b/22795-page-images/p017.png
diff --git a/22795-page-images/p018.png b/22795-page-images/p018.png
new file mode 100644
index 0000000..fb25dfd
--- /dev/null
+++ b/22795-page-images/p018.png
diff --git a/22795-page-images/p019.png b/22795-page-images/p019.png
new file mode 100644
index 0000000..dfe6b83
--- /dev/null
+++ b/22795-page-images/p019.png
diff --git a/22795-page-images/p020.png b/22795-page-images/p020.png
new file mode 100644
index 0000000..f1ea349
--- /dev/null
+++ b/22795-page-images/p020.png
diff --git a/22795-page-images/p021.png b/22795-page-images/p021.png
new file mode 100644
index 0000000..39a5c33
--- /dev/null
+++ b/22795-page-images/p021.png
diff --git a/22795-page-images/p022.png b/22795-page-images/p022.png
new file mode 100644
index 0000000..240f3e8
--- /dev/null
+++ b/22795-page-images/p022.png
diff --git a/22795-page-images/p023.png b/22795-page-images/p023.png
new file mode 100644
index 0000000..4731561
--- /dev/null
+++ b/22795-page-images/p023.png
diff --git a/22795-page-images/p024.png b/22795-page-images/p024.png
new file mode 100644
index 0000000..1707d81
--- /dev/null
+++ b/22795-page-images/p024.png
diff --git a/22795-page-images/p025.png b/22795-page-images/p025.png
new file mode 100644
index 0000000..c00d1fc
--- /dev/null
+++ b/22795-page-images/p025.png
diff --git a/22795-page-images/p026.png b/22795-page-images/p026.png
new file mode 100644
index 0000000..7c0fab1
--- /dev/null
+++ b/22795-page-images/p026.png
diff --git a/22795-page-images/p027.png b/22795-page-images/p027.png
new file mode 100644
index 0000000..1ab700f
--- /dev/null
+++ b/22795-page-images/p027.png
diff --git a/22795-page-images/p028.png b/22795-page-images/p028.png
new file mode 100644
index 0000000..c1127d6
--- /dev/null
+++ b/22795-page-images/p028.png
diff --git a/22795-page-images/p029.png b/22795-page-images/p029.png
new file mode 100644
index 0000000..3554bdf
--- /dev/null
+++ b/22795-page-images/p029.png
diff --git a/22795-page-images/p030.png b/22795-page-images/p030.png
new file mode 100644
index 0000000..77d4e5d
--- /dev/null
+++ b/22795-page-images/p030.png
diff --git a/22795-page-images/p031.png b/22795-page-images/p031.png
new file mode 100644
index 0000000..863b390
--- /dev/null
+++ b/22795-page-images/p031.png
diff --git a/22795-page-images/p032.png b/22795-page-images/p032.png
new file mode 100644
index 0000000..d406f0f
--- /dev/null
+++ b/22795-page-images/p032.png
diff --git a/22795-page-images/p033.png b/22795-page-images/p033.png
new file mode 100644
index 0000000..d1fa6f8
--- /dev/null
+++ b/22795-page-images/p033.png
diff --git a/22795-page-images/p034.png b/22795-page-images/p034.png
new file mode 100644
index 0000000..55c9e07
--- /dev/null
+++ b/22795-page-images/p034.png
diff --git a/22795-page-images/p035.png b/22795-page-images/p035.png
new file mode 100644
index 0000000..35aab72
--- /dev/null
+++ b/22795-page-images/p035.png
diff --git a/22795-page-images/p036.png b/22795-page-images/p036.png
new file mode 100644
index 0000000..13b38fa
--- /dev/null
+++ b/22795-page-images/p036.png
diff --git a/22795-page-images/p037.png b/22795-page-images/p037.png
new file mode 100644
index 0000000..b1eb769
--- /dev/null
+++ b/22795-page-images/p037.png
diff --git a/22795-page-images/p038.png b/22795-page-images/p038.png
new file mode 100644
index 0000000..01d282b
--- /dev/null
+++ b/22795-page-images/p038.png
diff --git a/22795-page-images/p039.png b/22795-page-images/p039.png
new file mode 100644
index 0000000..fcb3c39
--- /dev/null
+++ b/22795-page-images/p039.png
diff --git a/22795-page-images/p040.png b/22795-page-images/p040.png
new file mode 100644
index 0000000..5eab05b
--- /dev/null
+++ b/22795-page-images/p040.png
diff --git a/22795-page-images/p041.png b/22795-page-images/p041.png
new file mode 100644
index 0000000..4b4dfc1
--- /dev/null
+++ b/22795-page-images/p041.png
diff --git a/22795-page-images/p042.png b/22795-page-images/p042.png
new file mode 100644
index 0000000..79710ad
--- /dev/null
+++ b/22795-page-images/p042.png
diff --git a/22795-page-images/p043.png b/22795-page-images/p043.png
new file mode 100644
index 0000000..179bb0d
--- /dev/null
+++ b/22795-page-images/p043.png
diff --git a/22795-page-images/p044.png b/22795-page-images/p044.png
new file mode 100644
index 0000000..2e500a9
--- /dev/null
+++ b/22795-page-images/p044.png
diff --git a/22795-page-images/p045.png b/22795-page-images/p045.png
new file mode 100644
index 0000000..ce9d217
--- /dev/null
+++ b/22795-page-images/p045.png
diff --git a/22795-page-images/p046.png b/22795-page-images/p046.png
new file mode 100644
index 0000000..8e1c28d
--- /dev/null
+++ b/22795-page-images/p046.png
diff --git a/22795-page-images/p047.png b/22795-page-images/p047.png
new file mode 100644
index 0000000..43ba198
--- /dev/null
+++ b/22795-page-images/p047.png
diff --git a/22795-page-images/p048.png b/22795-page-images/p048.png
new file mode 100644
index 0000000..153369e
--- /dev/null
+++ b/22795-page-images/p048.png
diff --git a/22795-page-images/p049.png b/22795-page-images/p049.png
new file mode 100644
index 0000000..e5746c8
--- /dev/null
+++ b/22795-page-images/p049.png
diff --git a/22795-page-images/p050.png b/22795-page-images/p050.png
new file mode 100644
index 0000000..0eb2d0d
--- /dev/null
+++ b/22795-page-images/p050.png
diff --git a/22795-page-images/p051.png b/22795-page-images/p051.png
new file mode 100644
index 0000000..6356e15
--- /dev/null
+++ b/22795-page-images/p051.png
diff --git a/22795-page-images/p052.png b/22795-page-images/p052.png
new file mode 100644
index 0000000..dae3ef3
--- /dev/null
+++ b/22795-page-images/p052.png
diff --git a/22795-page-images/p053.png b/22795-page-images/p053.png
new file mode 100644
index 0000000..c8fc087
--- /dev/null
+++ b/22795-page-images/p053.png
diff --git a/22795-page-images/p054.png b/22795-page-images/p054.png
new file mode 100644
index 0000000..3361de3
--- /dev/null
+++ b/22795-page-images/p054.png
diff --git a/22795-page-images/p055.png b/22795-page-images/p055.png
new file mode 100644
index 0000000..e5939fc
--- /dev/null
+++ b/22795-page-images/p055.png
diff --git a/22795-page-images/p056.png b/22795-page-images/p056.png
new file mode 100644
index 0000000..458db3c
--- /dev/null
+++ b/22795-page-images/p056.png
diff --git a/22795-page-images/p057.png b/22795-page-images/p057.png
new file mode 100644
index 0000000..a657238
--- /dev/null
+++ b/22795-page-images/p057.png
diff --git a/22795-page-images/p058.png b/22795-page-images/p058.png
new file mode 100644
index 0000000..41e92f4
--- /dev/null
+++ b/22795-page-images/p058.png
diff --git a/22795-page-images/p059.png b/22795-page-images/p059.png
new file mode 100644
index 0000000..b329581
--- /dev/null
+++ b/22795-page-images/p059.png
diff --git a/22795-page-images/p060.png b/22795-page-images/p060.png
new file mode 100644
index 0000000..dd48a2b
--- /dev/null
+++ b/22795-page-images/p060.png
diff --git a/22795-page-images/p061.png b/22795-page-images/p061.png
new file mode 100644
index 0000000..22711d0
--- /dev/null
+++ b/22795-page-images/p061.png
diff --git a/22795-page-images/p062.png b/22795-page-images/p062.png
new file mode 100644
index 0000000..cd35a1a
--- /dev/null
+++ b/22795-page-images/p062.png
diff --git a/22795-page-images/p063.png b/22795-page-images/p063.png
new file mode 100644
index 0000000..c6cca34
--- /dev/null
+++ b/22795-page-images/p063.png
diff --git a/22795-page-images/p064.png b/22795-page-images/p064.png
new file mode 100644
index 0000000..b644e82
--- /dev/null
+++ b/22795-page-images/p064.png
diff --git a/22795-page-images/p065.png b/22795-page-images/p065.png
new file mode 100644
index 0000000..f389bc7
--- /dev/null
+++ b/22795-page-images/p065.png
diff --git a/22795-page-images/p066.png b/22795-page-images/p066.png
new file mode 100644
index 0000000..4953faa
--- /dev/null
+++ b/22795-page-images/p066.png
diff --git a/22795-page-images/p067.png b/22795-page-images/p067.png
new file mode 100644
index 0000000..0fabec1
--- /dev/null
+++ b/22795-page-images/p067.png
diff --git a/22795-page-images/p068.png b/22795-page-images/p068.png
new file mode 100644
index 0000000..25f48ae
--- /dev/null
+++ b/22795-page-images/p068.png
diff --git a/22795-page-images/p069.png b/22795-page-images/p069.png
new file mode 100644
index 0000000..ef7d8a4
--- /dev/null
+++ b/22795-page-images/p069.png
diff --git a/22795-page-images/p070.png b/22795-page-images/p070.png
new file mode 100644
index 0000000..3cc1a71
--- /dev/null
+++ b/22795-page-images/p070.png
diff --git a/22795-page-images/p071.png b/22795-page-images/p071.png
new file mode 100644
index 0000000..edcaa49
--- /dev/null
+++ b/22795-page-images/p071.png
diff --git a/22795-page-images/p072.png b/22795-page-images/p072.png
new file mode 100644
index 0000000..3dfb689
--- /dev/null
+++ b/22795-page-images/p072.png
diff --git a/22795-page-images/p073.png b/22795-page-images/p073.png
new file mode 100644
index 0000000..40d8d85
--- /dev/null
+++ b/22795-page-images/p073.png
diff --git a/22795-page-images/p074.png b/22795-page-images/p074.png
new file mode 100644
index 0000000..f4c8ee2
--- /dev/null
+++ b/22795-page-images/p074.png
diff --git a/22795-page-images/p075.png b/22795-page-images/p075.png
new file mode 100644
index 0000000..b35d925
--- /dev/null
+++ b/22795-page-images/p075.png
diff --git a/22795-page-images/p076.png b/22795-page-images/p076.png
new file mode 100644
index 0000000..9705678
--- /dev/null
+++ b/22795-page-images/p076.png
diff --git a/22795-page-images/p077.png b/22795-page-images/p077.png
new file mode 100644
index 0000000..fd3db2e
--- /dev/null
+++ b/22795-page-images/p077.png
diff --git a/22795-page-images/p078.png b/22795-page-images/p078.png
new file mode 100644
index 0000000..ab3d1e9
--- /dev/null
+++ b/22795-page-images/p078.png
diff --git a/22795-page-images/p079.png b/22795-page-images/p079.png
new file mode 100644
index 0000000..e157f0b
--- /dev/null
+++ b/22795-page-images/p079.png
diff --git a/22795-page-images/p080.png b/22795-page-images/p080.png
new file mode 100644
index 0000000..b222638
--- /dev/null
+++ b/22795-page-images/p080.png
diff --git a/22795-page-images/p081.png b/22795-page-images/p081.png
new file mode 100644
index 0000000..1d87e55
--- /dev/null
+++ b/22795-page-images/p081.png
diff --git a/22795-page-images/p082.png b/22795-page-images/p082.png
new file mode 100644
index 0000000..cc2fc5c
--- /dev/null
+++ b/22795-page-images/p082.png
diff --git a/22795-page-images/p083.png b/22795-page-images/p083.png
new file mode 100644
index 0000000..5049526
--- /dev/null
+++ b/22795-page-images/p083.png
diff --git a/22795-page-images/p084.png b/22795-page-images/p084.png
new file mode 100644
index 0000000..aca485f
--- /dev/null
+++ b/22795-page-images/p084.png
diff --git a/22795-page-images/p085.png b/22795-page-images/p085.png
new file mode 100644
index 0000000..f1c1f92
--- /dev/null
+++ b/22795-page-images/p085.png
diff --git a/22795-page-images/p086.png b/22795-page-images/p086.png
new file mode 100644
index 0000000..a4b9a0e
--- /dev/null
+++ b/22795-page-images/p086.png
diff --git a/22795-page-images/p087.png b/22795-page-images/p087.png
new file mode 100644
index 0000000..a21c2ed
--- /dev/null
+++ b/22795-page-images/p087.png
diff --git a/22795-page-images/p088.png b/22795-page-images/p088.png
new file mode 100644
index 0000000..23fe2a9
--- /dev/null
+++ b/22795-page-images/p088.png
diff --git a/22795-page-images/p089.png b/22795-page-images/p089.png
new file mode 100644
index 0000000..5633c74
--- /dev/null
+++ b/22795-page-images/p089.png
diff --git a/22795-page-images/p090.png b/22795-page-images/p090.png
new file mode 100644
index 0000000..ee11aed
--- /dev/null
+++ b/22795-page-images/p090.png
diff --git a/22795-page-images/p091.png b/22795-page-images/p091.png
new file mode 100644
index 0000000..d4765d4
--- /dev/null
+++ b/22795-page-images/p091.png
diff --git a/22795-page-images/p092.png b/22795-page-images/p092.png
new file mode 100644
index 0000000..f8a899f
--- /dev/null
+++ b/22795-page-images/p092.png
diff --git a/22795-page-images/p093.png b/22795-page-images/p093.png
new file mode 100644
index 0000000..4dd5a73
--- /dev/null
+++ b/22795-page-images/p093.png
diff --git a/22795-page-images/p094.png b/22795-page-images/p094.png
new file mode 100644
index 0000000..e57b49d
--- /dev/null
+++ b/22795-page-images/p094.png
diff --git a/22795-page-images/p095.png b/22795-page-images/p095.png
new file mode 100644
index 0000000..5168687
--- /dev/null
+++ b/22795-page-images/p095.png
diff --git a/22795-page-images/p096.png b/22795-page-images/p096.png
new file mode 100644
index 0000000..482c0a1
--- /dev/null
+++ b/22795-page-images/p096.png
diff --git a/22795-page-images/p097.png b/22795-page-images/p097.png
new file mode 100644
index 0000000..d62de72
--- /dev/null
+++ b/22795-page-images/p097.png
diff --git a/22795-page-images/p098.png b/22795-page-images/p098.png
new file mode 100644
index 0000000..51350b7
--- /dev/null
+++ b/22795-page-images/p098.png
diff --git a/22795-page-images/p099.png b/22795-page-images/p099.png
new file mode 100644
index 0000000..5708db5
--- /dev/null
+++ b/22795-page-images/p099.png
diff --git a/22795-page-images/p100.png b/22795-page-images/p100.png
new file mode 100644
index 0000000..a866f22
--- /dev/null
+++ b/22795-page-images/p100.png
diff --git a/22795-page-images/p101.png b/22795-page-images/p101.png
new file mode 100644
index 0000000..3bfe63d
--- /dev/null
+++ b/22795-page-images/p101.png
diff --git a/22795-page-images/p102.png b/22795-page-images/p102.png
new file mode 100644
index 0000000..8e27256
--- /dev/null
+++ b/22795-page-images/p102.png
diff --git a/22795-page-images/p103.png b/22795-page-images/p103.png
new file mode 100644
index 0000000..278cb5a
--- /dev/null
+++ b/22795-page-images/p103.png
diff --git a/22795-page-images/p104.png b/22795-page-images/p104.png
new file mode 100644
index 0000000..f776055
--- /dev/null
+++ b/22795-page-images/p104.png
diff --git a/22795-page-images/p105.png b/22795-page-images/p105.png
new file mode 100644
index 0000000..0077da1
--- /dev/null
+++ b/22795-page-images/p105.png
diff --git a/22795-page-images/p106.png b/22795-page-images/p106.png
new file mode 100644
index 0000000..762d369
--- /dev/null
+++ b/22795-page-images/p106.png
diff --git a/22795-page-images/p107.png b/22795-page-images/p107.png
new file mode 100644
index 0000000..0af905f
--- /dev/null
+++ b/22795-page-images/p107.png
diff --git a/22795-page-images/p108.png b/22795-page-images/p108.png
new file mode 100644
index 0000000..1516037
--- /dev/null
+++ b/22795-page-images/p108.png
diff --git a/22795-page-images/p109.png b/22795-page-images/p109.png
new file mode 100644
index 0000000..973a76e
--- /dev/null
+++ b/22795-page-images/p109.png
diff --git a/22795-page-images/p110.png b/22795-page-images/p110.png
new file mode 100644
index 0000000..a8f057b
--- /dev/null
+++ b/22795-page-images/p110.png
diff --git a/22795-page-images/p111.png b/22795-page-images/p111.png
new file mode 100644
index 0000000..f38d197
--- /dev/null
+++ b/22795-page-images/p111.png
diff --git a/22795-page-images/p112.png b/22795-page-images/p112.png
new file mode 100644
index 0000000..1af67a9
--- /dev/null
+++ b/22795-page-images/p112.png
diff --git a/22795-page-images/p113.png b/22795-page-images/p113.png
new file mode 100644
index 0000000..8f42e2d
--- /dev/null
+++ b/22795-page-images/p113.png
diff --git a/22795-page-images/p114.png b/22795-page-images/p114.png
new file mode 100644
index 0000000..54c095f
--- /dev/null
+++ b/22795-page-images/p114.png
diff --git a/22795-page-images/p115.png b/22795-page-images/p115.png
new file mode 100644
index 0000000..6c698a0
--- /dev/null
+++ b/22795-page-images/p115.png
diff --git a/22795-page-images/p116.png b/22795-page-images/p116.png
new file mode 100644
index 0000000..36b0174
--- /dev/null
+++ b/22795-page-images/p116.png
diff --git a/22795-page-images/p117.png b/22795-page-images/p117.png
new file mode 100644
index 0000000..65e7444
--- /dev/null
+++ b/22795-page-images/p117.png
diff --git a/22795-page-images/p118.png b/22795-page-images/p118.png
new file mode 100644
index 0000000..882b51f
--- /dev/null
+++ b/22795-page-images/p118.png
diff --git a/22795-page-images/p119.png b/22795-page-images/p119.png
new file mode 100644
index 0000000..ddd33a7
--- /dev/null
+++ b/22795-page-images/p119.png
diff --git a/22795-page-images/p120.png b/22795-page-images/p120.png
new file mode 100644
index 0000000..3e79c38
--- /dev/null
+++ b/22795-page-images/p120.png
diff --git a/22795-page-images/p121.png b/22795-page-images/p121.png
new file mode 100644
index 0000000..01c82db
--- /dev/null
+++ b/22795-page-images/p121.png
diff --git a/22795-page-images/p122.png b/22795-page-images/p122.png
new file mode 100644
index 0000000..d71e254
--- /dev/null
+++ b/22795-page-images/p122.png
diff --git a/22795-page-images/p123.png b/22795-page-images/p123.png
new file mode 100644
index 0000000..00b54b3
--- /dev/null
+++ b/22795-page-images/p123.png
diff --git a/22795-page-images/p124.png b/22795-page-images/p124.png
new file mode 100644
index 0000000..72a2298
--- /dev/null
+++ b/22795-page-images/p124.png
diff --git a/22795-page-images/p125.png b/22795-page-images/p125.png
new file mode 100644
index 0000000..74b0605
--- /dev/null
+++ b/22795-page-images/p125.png
diff --git a/22795-page-images/p126.png b/22795-page-images/p126.png
new file mode 100644
index 0000000..995d5c8
--- /dev/null
+++ b/22795-page-images/p126.png
diff --git a/22795-page-images/p127.png b/22795-page-images/p127.png
new file mode 100644
index 0000000..4011b11
--- /dev/null
+++ b/22795-page-images/p127.png
diff --git a/22795-page-images/p128.png b/22795-page-images/p128.png
new file mode 100644
index 0000000..d9467fe
--- /dev/null
+++ b/22795-page-images/p128.png
diff --git a/22795-page-images/p129.png b/22795-page-images/p129.png
new file mode 100644
index 0000000..5aff51e
--- /dev/null
+++ b/22795-page-images/p129.png
diff --git a/22795-page-images/p130.png b/22795-page-images/p130.png
new file mode 100644
index 0000000..89513bb
--- /dev/null
+++ b/22795-page-images/p130.png
diff --git a/22795-page-images/p131.png b/22795-page-images/p131.png
new file mode 100644
index 0000000..97d208b
--- /dev/null
+++ b/22795-page-images/p131.png
diff --git a/22795-page-images/p132.png b/22795-page-images/p132.png
new file mode 100644
index 0000000..2667f35
--- /dev/null
+++ b/22795-page-images/p132.png
diff --git a/22795-page-images/p133.png b/22795-page-images/p133.png
new file mode 100644
index 0000000..31fd08e
--- /dev/null
+++ b/22795-page-images/p133.png
diff --git a/22795-page-images/p134.png b/22795-page-images/p134.png
new file mode 100644
index 0000000..bc38169
--- /dev/null
+++ b/22795-page-images/p134.png
diff --git a/22795-page-images/p135.png b/22795-page-images/p135.png
new file mode 100644
index 0000000..474a8cd
--- /dev/null
+++ b/22795-page-images/p135.png
diff --git a/22795-page-images/p136.png b/22795-page-images/p136.png
new file mode 100644
index 0000000..b1322da
--- /dev/null
+++ b/22795-page-images/p136.png
diff --git a/22795-page-images/p137.png b/22795-page-images/p137.png
new file mode 100644
index 0000000..a4cea40
--- /dev/null
+++ b/22795-page-images/p137.png
diff --git a/22795-page-images/p138.png b/22795-page-images/p138.png
new file mode 100644
index 0000000..302f68c
--- /dev/null
+++ b/22795-page-images/p138.png
diff --git a/22795-page-images/p139.png b/22795-page-images/p139.png
new file mode 100644
index 0000000..cbbf4ec
--- /dev/null
+++ b/22795-page-images/p139.png
diff --git a/22795-page-images/p140.png b/22795-page-images/p140.png
new file mode 100644
index 0000000..dd008dd
--- /dev/null
+++ b/22795-page-images/p140.png
diff --git a/22795-page-images/p141.png b/22795-page-images/p141.png
new file mode 100644
index 0000000..dbade90
--- /dev/null
+++ b/22795-page-images/p141.png
diff --git a/22795-page-images/p142.png b/22795-page-images/p142.png
new file mode 100644
index 0000000..2de8909
--- /dev/null
+++ b/22795-page-images/p142.png
diff --git a/22795-page-images/p143.png b/22795-page-images/p143.png
new file mode 100644
index 0000000..21a1cd8
--- /dev/null
+++ b/22795-page-images/p143.png
diff --git a/22795-page-images/p144.png b/22795-page-images/p144.png
new file mode 100644
index 0000000..4f09848
--- /dev/null
+++ b/22795-page-images/p144.png
diff --git a/22795-page-images/p145.png b/22795-page-images/p145.png
new file mode 100644
index 0000000..a9b65fb
--- /dev/null
+++ b/22795-page-images/p145.png
diff --git a/22795-page-images/p146.png b/22795-page-images/p146.png
new file mode 100644
index 0000000..e376ab7
--- /dev/null
+++ b/22795-page-images/p146.png
diff --git a/22795-page-images/p147.png b/22795-page-images/p147.png
new file mode 100644
index 0000000..42b1d40
--- /dev/null
+++ b/22795-page-images/p147.png
diff --git a/22795-page-images/p148.png b/22795-page-images/p148.png
new file mode 100644
index 0000000..7229d79
--- /dev/null
+++ b/22795-page-images/p148.png
diff --git a/22795-page-images/p149.png b/22795-page-images/p149.png
new file mode 100644
index 0000000..e7593f2
--- /dev/null
+++ b/22795-page-images/p149.png
diff --git a/22795-page-images/p150.png b/22795-page-images/p150.png
new file mode 100644
index 0000000..b49865e
--- /dev/null
+++ b/22795-page-images/p150.png
diff --git a/22795-page-images/p151.png b/22795-page-images/p151.png
new file mode 100644
index 0000000..249c59e
--- /dev/null
+++ b/22795-page-images/p151.png
diff --git a/22795-page-images/p152.png b/22795-page-images/p152.png
new file mode 100644
index 0000000..c7bb0ef
--- /dev/null
+++ b/22795-page-images/p152.png
diff --git a/22795-page-images/p153.png b/22795-page-images/p153.png
new file mode 100644
index 0000000..22670b7
--- /dev/null
+++ b/22795-page-images/p153.png
diff --git a/22795-page-images/p154.png b/22795-page-images/p154.png
new file mode 100644
index 0000000..c99a66c
--- /dev/null
+++ b/22795-page-images/p154.png
diff --git a/22795-page-images/p155.png b/22795-page-images/p155.png
new file mode 100644
index 0000000..31270d5
--- /dev/null
+++ b/22795-page-images/p155.png
diff --git a/22795-page-images/p156.png b/22795-page-images/p156.png
new file mode 100644
index 0000000..1f87d55
--- /dev/null
+++ b/22795-page-images/p156.png
diff --git a/22795-page-images/p157.png b/22795-page-images/p157.png
new file mode 100644
index 0000000..b4cb4d6
--- /dev/null
+++ b/22795-page-images/p157.png
diff --git a/22795-page-images/p158.png b/22795-page-images/p158.png
new file mode 100644
index 0000000..9ace318
--- /dev/null
+++ b/22795-page-images/p158.png
diff --git a/22795-page-images/p159.png b/22795-page-images/p159.png
new file mode 100644
index 0000000..191a879
--- /dev/null
+++ b/22795-page-images/p159.png
diff --git a/22795-page-images/p160.png b/22795-page-images/p160.png
new file mode 100644
index 0000000..721d801
--- /dev/null
+++ b/22795-page-images/p160.png
diff --git a/22795-page-images/p161.png b/22795-page-images/p161.png
new file mode 100644
index 0000000..7f7a98d
--- /dev/null
+++ b/22795-page-images/p161.png
diff --git a/22795-page-images/p162.png b/22795-page-images/p162.png
new file mode 100644
index 0000000..a24c04a
--- /dev/null
+++ b/22795-page-images/p162.png
diff --git a/22795-page-images/p163.png b/22795-page-images/p163.png
new file mode 100644
index 0000000..7d76157
--- /dev/null
+++ b/22795-page-images/p163.png
diff --git a/22795-page-images/p164.png b/22795-page-images/p164.png
new file mode 100644
index 0000000..8845330
--- /dev/null
+++ b/22795-page-images/p164.png
diff --git a/22795-page-images/p165.png b/22795-page-images/p165.png
new file mode 100644
index 0000000..52fca5a
--- /dev/null
+++ b/22795-page-images/p165.png
diff --git a/22795-page-images/p166.png b/22795-page-images/p166.png
new file mode 100644
index 0000000..2503326
--- /dev/null
+++ b/22795-page-images/p166.png
diff --git a/22795-page-images/p167.png b/22795-page-images/p167.png
new file mode 100644
index 0000000..fde4f78
--- /dev/null
+++ b/22795-page-images/p167.png
diff --git a/22795-page-images/p168.png b/22795-page-images/p168.png
new file mode 100644
index 0000000..c103cbb
--- /dev/null
+++ b/22795-page-images/p168.png
diff --git a/22795-page-images/p169.png b/22795-page-images/p169.png
new file mode 100644
index 0000000..2a2176b
--- /dev/null
+++ b/22795-page-images/p169.png
diff --git a/22795-page-images/p170.png b/22795-page-images/p170.png
new file mode 100644
index 0000000..1d98db4
--- /dev/null
+++ b/22795-page-images/p170.png
diff --git a/22795-page-images/p171.png b/22795-page-images/p171.png
new file mode 100644
index 0000000..9936476
--- /dev/null
+++ b/22795-page-images/p171.png
diff --git a/22795-page-images/p172.png b/22795-page-images/p172.png
new file mode 100644
index 0000000..668f01c
--- /dev/null
+++ b/22795-page-images/p172.png
diff --git a/22795-page-images/p173.png b/22795-page-images/p173.png
new file mode 100644
index 0000000..b41253a
--- /dev/null
+++ b/22795-page-images/p173.png
diff --git a/22795-page-images/p174.png b/22795-page-images/p174.png
new file mode 100644
index 0000000..7d5e534
--- /dev/null
+++ b/22795-page-images/p174.png
diff --git a/22795-page-images/p175.png b/22795-page-images/p175.png
new file mode 100644
index 0000000..0dd1ae0
--- /dev/null
+++ b/22795-page-images/p175.png
diff --git a/22795-page-images/p176.png b/22795-page-images/p176.png
new file mode 100644
index 0000000..0ad10c5
--- /dev/null
+++ b/22795-page-images/p176.png
diff --git a/22795-page-images/p177.png b/22795-page-images/p177.png
new file mode 100644
index 0000000..89d80d9
--- /dev/null
+++ b/22795-page-images/p177.png
diff --git a/22795-page-images/p178.png b/22795-page-images/p178.png
new file mode 100644
index 0000000..c16d550
--- /dev/null
+++ b/22795-page-images/p178.png
diff --git a/22795-page-images/p179.png b/22795-page-images/p179.png
new file mode 100644
index 0000000..24e6b9e
--- /dev/null
+++ b/22795-page-images/p179.png
diff --git a/22795-page-images/p180.png b/22795-page-images/p180.png
new file mode 100644
index 0000000..2e7cb36
--- /dev/null
+++ b/22795-page-images/p180.png
diff --git a/22795-page-images/p181.png b/22795-page-images/p181.png
new file mode 100644
index 0000000..77dc2c3
--- /dev/null
+++ b/22795-page-images/p181.png
diff --git a/22795-page-images/p182.png b/22795-page-images/p182.png
new file mode 100644
index 0000000..43deefb
--- /dev/null
+++ b/22795-page-images/p182.png
diff --git a/22795-page-images/p183.png b/22795-page-images/p183.png
new file mode 100644
index 0000000..42ec5f6
--- /dev/null
+++ b/22795-page-images/p183.png
diff --git a/22795-page-images/p184.png b/22795-page-images/p184.png
new file mode 100644
index 0000000..26b8a17
--- /dev/null
+++ b/22795-page-images/p184.png
diff --git a/22795-page-images/p185.png b/22795-page-images/p185.png
new file mode 100644
index 0000000..684de27
--- /dev/null
+++ b/22795-page-images/p185.png
diff --git a/22795-page-images/p186.png b/22795-page-images/p186.png
new file mode 100644
index 0000000..9e758fd
--- /dev/null
+++ b/22795-page-images/p186.png
diff --git a/22795-page-images/p187.png b/22795-page-images/p187.png
new file mode 100644
index 0000000..bd12506
--- /dev/null
+++ b/22795-page-images/p187.png
diff --git a/22795-page-images/p188.png b/22795-page-images/p188.png
new file mode 100644
index 0000000..502ea96
--- /dev/null
+++ b/22795-page-images/p188.png
diff --git a/22795-page-images/p189.png b/22795-page-images/p189.png
new file mode 100644
index 0000000..0b519ab
--- /dev/null
+++ b/22795-page-images/p189.png
diff --git a/22795-page-images/p190.png b/22795-page-images/p190.png
new file mode 100644
index 0000000..b3111be
--- /dev/null
+++ b/22795-page-images/p190.png
diff --git a/22795-page-images/p191.png b/22795-page-images/p191.png
new file mode 100644
index 0000000..8daca04
--- /dev/null
+++ b/22795-page-images/p191.png
diff --git a/22795-page-images/p192.png b/22795-page-images/p192.png
new file mode 100644
index 0000000..4cf0924
--- /dev/null
+++ b/22795-page-images/p192.png
diff --git a/22795-page-images/p193.png b/22795-page-images/p193.png
new file mode 100644
index 0000000..bec0b18
--- /dev/null
+++ b/22795-page-images/p193.png
diff --git a/22795-page-images/p194.png b/22795-page-images/p194.png
new file mode 100644
index 0000000..57d776b
--- /dev/null
+++ b/22795-page-images/p194.png
diff --git a/22795-page-images/p195.png b/22795-page-images/p195.png
new file mode 100644
index 0000000..3b73106
--- /dev/null
+++ b/22795-page-images/p195.png
diff --git a/22795-page-images/p196.png b/22795-page-images/p196.png
new file mode 100644
index 0000000..880a1c6
--- /dev/null
+++ b/22795-page-images/p196.png
diff --git a/22795-page-images/p197.png b/22795-page-images/p197.png
new file mode 100644
index 0000000..cce4755
--- /dev/null
+++ b/22795-page-images/p197.png
diff --git a/22795-page-images/p198.png b/22795-page-images/p198.png
new file mode 100644
index 0000000..575bd65
--- /dev/null
+++ b/22795-page-images/p198.png
diff --git a/22795-page-images/p199.png b/22795-page-images/p199.png
new file mode 100644
index 0000000..bf92590
--- /dev/null
+++ b/22795-page-images/p199.png
diff --git a/22795-page-images/p200.png b/22795-page-images/p200.png
new file mode 100644
index 0000000..fcfbd91
--- /dev/null
+++ b/22795-page-images/p200.png
diff --git a/22795-page-images/p201.png b/22795-page-images/p201.png
new file mode 100644
index 0000000..342cf8c
--- /dev/null
+++ b/22795-page-images/p201.png
diff --git a/22795-page-images/p202.png b/22795-page-images/p202.png
new file mode 100644
index 0000000..04ff620
--- /dev/null
+++ b/22795-page-images/p202.png
diff --git a/22795-page-images/p203.png b/22795-page-images/p203.png
new file mode 100644
index 0000000..7c933fc
--- /dev/null
+++ b/22795-page-images/p203.png
diff --git a/22795-page-images/p204.png b/22795-page-images/p204.png
new file mode 100644
index 0000000..8e8a778
--- /dev/null
+++ b/22795-page-images/p204.png
diff --git a/22795-page-images/p205.png b/22795-page-images/p205.png
new file mode 100644
index 0000000..c3fe48c
--- /dev/null
+++ b/22795-page-images/p205.png
diff --git a/22795-page-images/p206.png b/22795-page-images/p206.png
new file mode 100644
index 0000000..2d1bda7
--- /dev/null
+++ b/22795-page-images/p206.png
diff --git a/22795-page-images/p207.png b/22795-page-images/p207.png
new file mode 100644
index 0000000..ef810b9
--- /dev/null
+++ b/22795-page-images/p207.png
diff --git a/22795-page-images/p208.png b/22795-page-images/p208.png
new file mode 100644
index 0000000..957aa76
--- /dev/null
+++ b/22795-page-images/p208.png
diff --git a/22795-page-images/p209.png b/22795-page-images/p209.png
new file mode 100644
index 0000000..4ba0f88
--- /dev/null
+++ b/22795-page-images/p209.png
diff --git a/22795-page-images/p210.png b/22795-page-images/p210.png
new file mode 100644
index 0000000..4642f9b
--- /dev/null
+++ b/22795-page-images/p210.png
diff --git a/22795-page-images/p211.png b/22795-page-images/p211.png
new file mode 100644
index 0000000..a873cdc
--- /dev/null
+++ b/22795-page-images/p211.png
diff --git a/22795-page-images/p212.png b/22795-page-images/p212.png
new file mode 100644
index 0000000..530ae65
--- /dev/null
+++ b/22795-page-images/p212.png
diff --git a/22795-page-images/p213.png b/22795-page-images/p213.png
new file mode 100644
index 0000000..6f9903d
--- /dev/null
+++ b/22795-page-images/p213.png
diff --git a/22795-page-images/p214.png b/22795-page-images/p214.png
new file mode 100644
index 0000000..af3b2fd
--- /dev/null
+++ b/22795-page-images/p214.png
diff --git a/22795-page-images/p215.png b/22795-page-images/p215.png
new file mode 100644
index 0000000..4beba2c
--- /dev/null
+++ b/22795-page-images/p215.png
diff --git a/22795-page-images/p216.png b/22795-page-images/p216.png
new file mode 100644
index 0000000..0460508
--- /dev/null
+++ b/22795-page-images/p216.png
diff --git a/22795-page-images/p217.png b/22795-page-images/p217.png
new file mode 100644
index 0000000..ededac1
--- /dev/null
+++ b/22795-page-images/p217.png
diff --git a/22795-page-images/p218.png b/22795-page-images/p218.png
new file mode 100644
index 0000000..359b337
--- /dev/null
+++ b/22795-page-images/p218.png
diff --git a/22795-page-images/p219.png b/22795-page-images/p219.png
new file mode 100644
index 0000000..aa983c7
--- /dev/null
+++ b/22795-page-images/p219.png
diff --git a/22795-page-images/p220.png b/22795-page-images/p220.png
new file mode 100644
index 0000000..8e8e374
--- /dev/null
+++ b/22795-page-images/p220.png
diff --git a/22795-page-images/p221.png b/22795-page-images/p221.png
new file mode 100644
index 0000000..5616209
--- /dev/null
+++ b/22795-page-images/p221.png
diff --git a/22795-page-images/p222.png b/22795-page-images/p222.png
new file mode 100644
index 0000000..dc37ae4
--- /dev/null
+++ b/22795-page-images/p222.png
diff --git a/22795-page-images/p223.png b/22795-page-images/p223.png
new file mode 100644
index 0000000..1dfb946
--- /dev/null
+++ b/22795-page-images/p223.png
diff --git a/22795-page-images/p224.png b/22795-page-images/p224.png
new file mode 100644
index 0000000..81298a1
--- /dev/null
+++ b/22795-page-images/p224.png
diff --git a/22795-page-images/p225.png b/22795-page-images/p225.png
new file mode 100644
index 0000000..9bedfd9
--- /dev/null
+++ b/22795-page-images/p225.png
diff --git a/22795-page-images/p226.png b/22795-page-images/p226.png
new file mode 100644
index 0000000..641d459
--- /dev/null
+++ b/22795-page-images/p226.png
diff --git a/22795-page-images/p227.png b/22795-page-images/p227.png
new file mode 100644
index 0000000..05136b2
--- /dev/null
+++ b/22795-page-images/p227.png
diff --git a/22795-page-images/p228.png b/22795-page-images/p228.png
new file mode 100644
index 0000000..f6235cb
--- /dev/null
+++ b/22795-page-images/p228.png
diff --git a/22795-page-images/p229.png b/22795-page-images/p229.png
new file mode 100644
index 0000000..0513300
--- /dev/null
+++ b/22795-page-images/p229.png
diff --git a/22795-page-images/p230.png b/22795-page-images/p230.png
new file mode 100644
index 0000000..8bfcb8a
--- /dev/null
+++ b/22795-page-images/p230.png
diff --git a/22795-page-images/p231.png b/22795-page-images/p231.png
new file mode 100644
index 0000000..6dd01c9
--- /dev/null
+++ b/22795-page-images/p231.png
diff --git a/22795-page-images/p232.png b/22795-page-images/p232.png
new file mode 100644
index 0000000..1b24b0f
--- /dev/null
+++ b/22795-page-images/p232.png
diff --git a/22795-page-images/p233.png b/22795-page-images/p233.png
new file mode 100644
index 0000000..4c649a5
--- /dev/null
+++ b/22795-page-images/p233.png
diff --git a/22795-page-images/p234.png b/22795-page-images/p234.png
new file mode 100644
index 0000000..d2b9359
--- /dev/null
+++ b/22795-page-images/p234.png
diff --git a/22795-page-images/p235.png b/22795-page-images/p235.png
new file mode 100644
index 0000000..12809fa
--- /dev/null
+++ b/22795-page-images/p235.png
diff --git a/22795-page-images/p236.png b/22795-page-images/p236.png
new file mode 100644
index 0000000..0de396c
--- /dev/null
+++ b/22795-page-images/p236.png
diff --git a/22795-page-images/p237.png b/22795-page-images/p237.png
new file mode 100644
index 0000000..4cc48ff
--- /dev/null
+++ b/22795-page-images/p237.png
diff --git a/22795-page-images/p238.png b/22795-page-images/p238.png
new file mode 100644
index 0000000..07b5183
--- /dev/null
+++ b/22795-page-images/p238.png
diff --git a/22795-page-images/p239.png b/22795-page-images/p239.png
new file mode 100644
index 0000000..426e2e8
--- /dev/null
+++ b/22795-page-images/p239.png
diff --git a/22795-page-images/p240.png b/22795-page-images/p240.png
new file mode 100644
index 0000000..2fb5087
--- /dev/null
+++ b/22795-page-images/p240.png
diff --git a/22795-page-images/p241.png b/22795-page-images/p241.png
new file mode 100644
index 0000000..1116d0f
--- /dev/null
+++ b/22795-page-images/p241.png
diff --git a/22795-page-images/p242.png b/22795-page-images/p242.png
new file mode 100644
index 0000000..b10bad8
--- /dev/null
+++ b/22795-page-images/p242.png
diff --git a/22795-page-images/p243.png b/22795-page-images/p243.png
new file mode 100644
index 0000000..2d741b1
--- /dev/null
+++ b/22795-page-images/p243.png
diff --git a/22795-page-images/p244.png b/22795-page-images/p244.png
new file mode 100644
index 0000000..24c7531
--- /dev/null
+++ b/22795-page-images/p244.png
diff --git a/22795-page-images/p245.png b/22795-page-images/p245.png
new file mode 100644
index 0000000..d65ba70
--- /dev/null
+++ b/22795-page-images/p245.png
diff --git a/22795-page-images/p246.png b/22795-page-images/p246.png
new file mode 100644
index 0000000..6d1c8e8
--- /dev/null
+++ b/22795-page-images/p246.png
diff --git a/22795-page-images/p247.png b/22795-page-images/p247.png
new file mode 100644
index 0000000..923d59a
--- /dev/null
+++ b/22795-page-images/p247.png
diff --git a/22795-page-images/p248.png b/22795-page-images/p248.png
new file mode 100644
index 0000000..ad9d0b1
--- /dev/null
+++ b/22795-page-images/p248.png
diff --git a/22795-page-images/p249.png b/22795-page-images/p249.png
new file mode 100644
index 0000000..46832b1
--- /dev/null
+++ b/22795-page-images/p249.png
diff --git a/22795-page-images/p250.png b/22795-page-images/p250.png
new file mode 100644
index 0000000..f2c2c79
--- /dev/null
+++ b/22795-page-images/p250.png
diff --git a/22795-page-images/p251.png b/22795-page-images/p251.png
new file mode 100644
index 0000000..ba8ef0c
--- /dev/null
+++ b/22795-page-images/p251.png
diff --git a/22795-page-images/p252.png b/22795-page-images/p252.png
new file mode 100644
index 0000000..fd5faca
--- /dev/null
+++ b/22795-page-images/p252.png
diff --git a/22795-page-images/p253.png b/22795-page-images/p253.png
new file mode 100644
index 0000000..cce4833
--- /dev/null
+++ b/22795-page-images/p253.png
diff --git a/22795-page-images/p254.png b/22795-page-images/p254.png
new file mode 100644
index 0000000..a507db1
--- /dev/null
+++ b/22795-page-images/p254.png
diff --git a/22795-page-images/p255.png b/22795-page-images/p255.png
new file mode 100644
index 0000000..d4e1e7e
--- /dev/null
+++ b/22795-page-images/p255.png
diff --git a/22795-page-images/p256.png b/22795-page-images/p256.png
new file mode 100644
index 0000000..ca61eca
--- /dev/null
+++ b/22795-page-images/p256.png
diff --git a/22795-page-images/p257.png b/22795-page-images/p257.png
new file mode 100644
index 0000000..a9bd22f
--- /dev/null
+++ b/22795-page-images/p257.png
diff --git a/22795-page-images/p258.png b/22795-page-images/p258.png
new file mode 100644
index 0000000..0b9d977
--- /dev/null
+++ b/22795-page-images/p258.png
diff --git a/22795-page-images/p259.png b/22795-page-images/p259.png
new file mode 100644
index 0000000..f4eb87a
--- /dev/null
+++ b/22795-page-images/p259.png
diff --git a/22795-page-images/p260.png b/22795-page-images/p260.png
new file mode 100644
index 0000000..e8a2bdb
--- /dev/null
+++ b/22795-page-images/p260.png
diff --git a/22795-page-images/p261.png b/22795-page-images/p261.png
new file mode 100644
index 0000000..e57124e
--- /dev/null
+++ b/22795-page-images/p261.png
diff --git a/22795-page-images/p262.png b/22795-page-images/p262.png
new file mode 100644
index 0000000..3db7e39
--- /dev/null
+++ b/22795-page-images/p262.png
diff --git a/22795-page-images/p263.png b/22795-page-images/p263.png
new file mode 100644
index 0000000..b4bffca
--- /dev/null
+++ b/22795-page-images/p263.png
diff --git a/22795-page-images/p264.png b/22795-page-images/p264.png
new file mode 100644
index 0000000..5b5cc59
--- /dev/null
+++ b/22795-page-images/p264.png
diff --git a/22795-page-images/p265.png b/22795-page-images/p265.png
new file mode 100644
index 0000000..7034bdc
--- /dev/null
+++ b/22795-page-images/p265.png
diff --git a/22795-page-images/p266.png b/22795-page-images/p266.png
new file mode 100644
index 0000000..d391d8a
--- /dev/null
+++ b/22795-page-images/p266.png
diff --git a/22795-page-images/p267.png b/22795-page-images/p267.png
new file mode 100644
index 0000000..b4116d8
--- /dev/null
+++ b/22795-page-images/p267.png
diff --git a/22795-page-images/p268.png b/22795-page-images/p268.png
new file mode 100644
index 0000000..b69a77f
--- /dev/null
+++ b/22795-page-images/p268.png
diff --git a/22795-page-images/p269.png b/22795-page-images/p269.png
new file mode 100644
index 0000000..9449222
--- /dev/null
+++ b/22795-page-images/p269.png
diff --git a/22795-page-images/p270.png b/22795-page-images/p270.png
new file mode 100644
index 0000000..0d25de5
--- /dev/null
+++ b/22795-page-images/p270.png
diff --git a/22795-page-images/p271.png b/22795-page-images/p271.png
new file mode 100644
index 0000000..5094032
--- /dev/null
+++ b/22795-page-images/p271.png
diff --git a/22795-page-images/p272.png b/22795-page-images/p272.png
new file mode 100644
index 0000000..24eb788
--- /dev/null
+++ b/22795-page-images/p272.png
diff --git a/22795-page-images/p273.png b/22795-page-images/p273.png
new file mode 100644
index 0000000..14ec08a
--- /dev/null
+++ b/22795-page-images/p273.png
diff --git a/22795-page-images/p274.png b/22795-page-images/p274.png
new file mode 100644
index 0000000..56273f0
--- /dev/null
+++ b/22795-page-images/p274.png
diff --git a/22795-page-images/p275.png b/22795-page-images/p275.png
new file mode 100644
index 0000000..519ede7
--- /dev/null
+++ b/22795-page-images/p275.png
diff --git a/22795-page-images/p276.png b/22795-page-images/p276.png
new file mode 100644
index 0000000..1da7cf8
--- /dev/null
+++ b/22795-page-images/p276.png
diff --git a/22795-page-images/p277.png b/22795-page-images/p277.png
new file mode 100644
index 0000000..2c5ce45
--- /dev/null
+++ b/22795-page-images/p277.png
diff --git a/22795-page-images/p278.png b/22795-page-images/p278.png
new file mode 100644
index 0000000..db450b7
--- /dev/null
+++ b/22795-page-images/p278.png
diff --git a/22795-page-images/p279.png b/22795-page-images/p279.png
new file mode 100644
index 0000000..021ac16
--- /dev/null
+++ b/22795-page-images/p279.png
diff --git a/22795-page-images/p280.png b/22795-page-images/p280.png
new file mode 100644
index 0000000..5d3cb9a
--- /dev/null
+++ b/22795-page-images/p280.png
diff --git a/22795-page-images/p281.png b/22795-page-images/p281.png
new file mode 100644
index 0000000..a1c7600
--- /dev/null
+++ b/22795-page-images/p281.png
diff --git a/22795-page-images/p282.png b/22795-page-images/p282.png
new file mode 100644
index 0000000..7d950c7
--- /dev/null
+++ b/22795-page-images/p282.png
diff --git a/22795-page-images/p283.png b/22795-page-images/p283.png
new file mode 100644
index 0000000..e24a781
--- /dev/null
+++ b/22795-page-images/p283.png
diff --git a/22795-page-images/p284.png b/22795-page-images/p284.png
new file mode 100644
index 0000000..5d8f24a
--- /dev/null
+++ b/22795-page-images/p284.png
diff --git a/22795-page-images/p285.png b/22795-page-images/p285.png
new file mode 100644
index 0000000..6f212a2
--- /dev/null
+++ b/22795-page-images/p285.png
diff --git a/22795-page-images/p286.png b/22795-page-images/p286.png
new file mode 100644
index 0000000..e50c4e0
--- /dev/null
+++ b/22795-page-images/p286.png
diff --git a/22795-page-images/p287.png b/22795-page-images/p287.png
new file mode 100644
index 0000000..f7d479d
--- /dev/null
+++ b/22795-page-images/p287.png
diff --git a/22795-page-images/p288.png b/22795-page-images/p288.png
new file mode 100644
index 0000000..d5bcd46
--- /dev/null
+++ b/22795-page-images/p288.png
diff --git a/22795-page-images/p289.png b/22795-page-images/p289.png
new file mode 100644
index 0000000..faac54b
--- /dev/null
+++ b/22795-page-images/p289.png
diff --git a/22795-page-images/p290.png b/22795-page-images/p290.png
new file mode 100644
index 0000000..f2338c9
--- /dev/null
+++ b/22795-page-images/p290.png
diff --git a/22795-page-images/p291.png b/22795-page-images/p291.png
new file mode 100644
index 0000000..af8c921
--- /dev/null
+++ b/22795-page-images/p291.png
diff --git a/22795-page-images/p292.png b/22795-page-images/p292.png
new file mode 100644
index 0000000..a4637b2
--- /dev/null
+++ b/22795-page-images/p292.png
diff --git a/22795-page-images/p293.png b/22795-page-images/p293.png
new file mode 100644
index 0000000..5a75d3c
--- /dev/null
+++ b/22795-page-images/p293.png
diff --git a/22795-page-images/p294.png b/22795-page-images/p294.png
new file mode 100644
index 0000000..fc5e8a8
--- /dev/null
+++ b/22795-page-images/p294.png
diff --git a/22795-page-images/p295.png b/22795-page-images/p295.png
new file mode 100644
index 0000000..b7a04c0
--- /dev/null
+++ b/22795-page-images/p295.png
diff --git a/22795-page-images/p296.png b/22795-page-images/p296.png
new file mode 100644
index 0000000..5a38acc
--- /dev/null
+++ b/22795-page-images/p296.png
diff --git a/22795-page-images/p297.png b/22795-page-images/p297.png
new file mode 100644
index 0000000..df7dac6
--- /dev/null
+++ b/22795-page-images/p297.png
diff --git a/22795-page-images/p298.png b/22795-page-images/p298.png
new file mode 100644
index 0000000..e830229
--- /dev/null
+++ b/22795-page-images/p298.png
diff --git a/22795-page-images/p299.png b/22795-page-images/p299.png
new file mode 100644
index 0000000..9746667
--- /dev/null
+++ b/22795-page-images/p299.png
diff --git a/22795-page-images/p300.png b/22795-page-images/p300.png
new file mode 100644
index 0000000..e744b21
--- /dev/null
+++ b/22795-page-images/p300.png
diff --git a/22795-page-images/p301.png b/22795-page-images/p301.png
new file mode 100644
index 0000000..d20f5ba
--- /dev/null
+++ b/22795-page-images/p301.png
diff --git a/22795-page-images/p302.png b/22795-page-images/p302.png
new file mode 100644
index 0000000..b324535
--- /dev/null
+++ b/22795-page-images/p302.png
diff --git a/22795-page-images/p303.png b/22795-page-images/p303.png
new file mode 100644
index 0000000..6a3cad1
--- /dev/null
+++ b/22795-page-images/p303.png
diff --git a/22795-page-images/p304.png b/22795-page-images/p304.png
new file mode 100644
index 0000000..f1060fe
--- /dev/null
+++ b/22795-page-images/p304.png
diff --git a/22795-page-images/p305.png b/22795-page-images/p305.png
new file mode 100644
index 0000000..77b99ca
--- /dev/null
+++ b/22795-page-images/p305.png
diff --git a/22795-page-images/p306.png b/22795-page-images/p306.png
new file mode 100644
index 0000000..8b880b9
--- /dev/null
+++ b/22795-page-images/p306.png
diff --git a/22795-page-images/p307.png b/22795-page-images/p307.png
new file mode 100644
index 0000000..17bb1cf
--- /dev/null
+++ b/22795-page-images/p307.png
diff --git a/22795-page-images/p308.png b/22795-page-images/p308.png
new file mode 100644
index 0000000..26edcde
--- /dev/null
+++ b/22795-page-images/p308.png
diff --git a/22795-page-images/p309.png b/22795-page-images/p309.png
new file mode 100644
index 0000000..3ed60ac
--- /dev/null
+++ b/22795-page-images/p309.png
diff --git a/22795-page-images/p310.png b/22795-page-images/p310.png
new file mode 100644
index 0000000..52079f2
--- /dev/null
+++ b/22795-page-images/p310.png
diff --git a/22795-page-images/p311.png b/22795-page-images/p311.png
new file mode 100644
index 0000000..c47fa83
--- /dev/null
+++ b/22795-page-images/p311.png
diff --git a/22795-page-images/p312.png b/22795-page-images/p312.png
new file mode 100644
index 0000000..fbaafda
--- /dev/null
+++ b/22795-page-images/p312.png
diff --git a/22795-page-images/p313.png b/22795-page-images/p313.png
new file mode 100644
index 0000000..6a2f098
--- /dev/null
+++ b/22795-page-images/p313.png
diff --git a/22795-page-images/p314.png b/22795-page-images/p314.png
new file mode 100644
index 0000000..3c0d46d
--- /dev/null
+++ b/22795-page-images/p314.png
diff --git a/22795.txt b/22795.txt
new file mode 100644
index 0000000..4164180
--- /dev/null
+++ b/22795.txt
@@ -0,0 +1,12153 @@
+The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Ontario High School Reader
+
+Author: A.E. Marty
+
+Release Date: September 28, 2007 [EBook #22795]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+
+
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+THE ONTARIO
+
+HIGH SCHOOL READER
+
+BY
+
+A. E. MARTY, M.A.
+
+COLLEGIATE INSTITUTE, OTTAWA
+
+[Illustration]
+
+Authorized by the Minister of Education for Ontario
+For Use In
+Continuation and High Schools and Collegiate Institutes
+
+THE CANADA PUBLISHING COMPANY, LIMITED
+TORONTO
+
+Copyright, Canada, 1911, by
+
+The Canada Publishing Company, Limited.
+
+  +-------------------------------------------------+
+  | Transcriber's note: Words with bold font style  |
+  | are enclosed in equal to (=) signs.             |
+  | UTF-8 characters:                               |
+  | [~x] = x with a tilde                           |
+  | [x:] = x with two dots below (diaresis, umlaut) |
+  | [)x] = x with x with breve (u-shaped symbol)    |
+  | [=x] = x with macron (straight line)            |
+  | [.x] = x with a dot above                       |
+  | [x.] = x with a dot below                       |
+  +-------------------------------------------------+
+
+
+
+
+PREFACE
+
+
+After communication with many of the teachers who have
+been using the Principles and Practice of Oral Reading in their
+classes, the author has made a number of important additions and
+changes. In its amended form the book is published under the
+title of the "Ontario High School Reader."
+
+As the book is intended for the teaching of oral reading it
+contains an introductory chapter on the Principles of Reading, and
+selections for practice, with appended notes. An effort has also
+been made to grade the selections in the order of their difficulty.
+Accordingly, a number of selections, each illustrating in a marked
+degree only one, or at most two, of the various elements of Vocal
+Expression, have been placed at the beginning; these should, of
+course, be taught before the more complex selections are attempted.
+
+It is not intended that the pupil shall master the chapter on
+the principles before beginning to read the selections; he should
+become familiar with each topic as it is illustrated in the lesson.
+In dealing with each lesson the teacher should first ascertain the
+elements of vocal expression that it best exemplifies. He should
+then discuss these elements with the pupils, using the necessary
+paragraphs of the Introduction, and such black-board exercises as
+he may deem necessary, until he is satisfied that the pupils are
+ready to undertake the study of the selection. At the oral reading
+the pupils should be able to show their mastery of the principles
+thus taught. Toward the close of the course, they will naturally
+read connectedly the various sections of the Introduction, in order
+to obtain a comprehensive and systematic view of the principles.
+
+To secure good reading, systematic drill on the exercises in
+Vowel Sounds and in Articulation is also necessary.
+
+
+
+
+TABLE OF CONTENTS
+
+PRINCIPLES OF READING                                               1-35
+
+Importance of Oral Reading                                             1
+
+Mechanical Side of Oral Reading                                        2
+    Correct Pronunciation, Distinct Articulation.
+
+Expression                                                             3
+    Concrete Thinking, Abstract Thinking, Emotion.
+
+Elements of Vocal Expression                                           7
+    Pause, Grouping, Time, Inflection, Pitch, Force,
+    Stress, Emphasis, Shading, Perspective, Quality.
+
+
+SELECTIONS 36-305
+
+_The Banner of St. George_        Shapcott Wensley                    36
+
+Jean Valjean and the Bishop       Victor Hugo                         38
+
+_The Well of St. Keyne_           Robert Southey                      43
+
+Faith, Hope and Charity           Bible                               46
+
+_The Legend Beautiful_            Henry W. Longfellow                 47
+
+The Vicar's Family Use Art        Oliver Goldsmith                    52
+
+_The Soldier's Dream_             Thomas Campbell                     58
+
+_Van Elsen_ Frederick             George Scott                        60
+
+_Pibroch of Donuil Dhu_           Sir Walter Scott                    61
+
+_The Day is Done_                 Henry W. Longfellow                 63
+
+The Schoolmaster and the Boys     Charles Dickens                     65
+
+_The Knights' Chorus_             Alfred, Lord Tennyson               70
+
+_The Northern Star_               Unknown                             71
+
+_The Indigo Bird_                 Ethelwyn Wetherald                  72
+
+_The Pasture Field_               Ethelwyn Wetherald                  73
+
+Shipwrecked                       Robert Louis Stevenson              75
+
+_On His Blindness_                John Milton                         80
+
+Briggs in Luck                    William M. Thackeray                81
+
+_The Laughing Sally_              Charles G. D. Roberts               84
+
+The Prodigal Son                  Bible                               88
+
+_Christmas at Sea_                Robert Louis Stevenson              90
+
+_The Evening Wind_                William Cullen Bryant               93
+
+_Paradise and the Peri_           Thomas Moore                        95
+
+_The Lady of Shalott_             Alfred, Lord Tennyson              100
+
+_Home they brought her
+   Warrior dead_                  Alfred, Lord Tennyson              107
+
+The Sky                           John Ruskin                        108
+
+_The Return of the Swallows_      Edmund W. Gosse                    111
+
+_Barbara Frietchie_               John Greenleaf Whittier            113
+
+Bless the Lord, O My Soul         Bible                              116
+
+_The Eternal Goodness_            John Greenleaf Whittier            118
+
+The King of Glory                 Bible                              119
+
+The Four-Horse Race               "Ralph Connor"                     121
+
+_Mrs. Malaprop's Views_           Richard B. Sheridan                126
+
+_The Glove and the Lions_         Leigh Hunt                         131
+
+_The Fickleness of a Roman Mob_   William Shakespeare                133
+
+_Sir Peter and Lady Teazle_       Richard B. Sheridan                136
+
+_The Parting of Marmion
+   and Douglas_                   Sir Walter Scott                   140
+
+_Columbus_                        Joaquin Miller                     143
+
+From the "Apology" of Socrates    Benjamin Jowett                    145
+
+_Highland Hospitality_            Sir Walter Scott                   151
+
+_The Outlaw_                      Sir Walter Scott                   154
+
+Of Studies Francis,               Lord Bacon                         157
+
+The Influence of Athens           Thomas Babington,
+                                    Lord Macaulay                    159
+
+National Morality                 John Bright                        161
+
+_Hamlet's Advice to the Players_  William Shakespeare                164
+
+_Rosabelle_                       Sir Walter Scott                   166
+
+_The Island of the Scots_         William E. Aytoun                  168
+
+Cranford Society                  Mrs. Gaskell                       178
+
+_Sir Galahad_                     Alfred, Lord Tennyson              182
+
+_Song for Saint Cecilia's Day_    John Dryden                        186
+
+_The Day was Lingering_           Charles Heavysege                  189
+
+_On First Looking into
+   Chapman's  Homer_              John Keats                         189
+
+_Great Things Were Ne'er
+   Begotten in an Hour_           Sir Daniel Wilson                  190
+
+_A Wood Lyric_                    William Wilfred Campbell           191
+
+_To Night_                        Percy Bysshe Shelley               193
+
+The Opening Scene at the Trial    Thomas Babington, Lord
+  of Warren Hastings                Macaulay                         194
+
+Peroration of Opening Speech
+  against Edmund Burke            Warren Hastings                    201
+
+_The Song My Paddle Sings_        E. Pauline Johnson                 203
+
+_The Defence of the Bridge_       Thomas Babington, Lord
+                                    Macaulay                         206
+
+On the Death of King Edward VII   Sir Herbert Henry
+                                    Asquith                          217
+
+The Heroes of Magersfontein      _The London Daily News_             221
+
+_Funeral of Julius Caesar_         William Shakespeare                225
+
+_The Revenge_                     Alfred, Lord Tennyson              234
+
+_Herve Riel_                      Robert Browning                    241
+
+The Handwriting on the Wall       Bible                              248
+
+Paul's Defence before King
+   Agrippa                        Bible                              251
+
+_The Stranded Ship_               Charles G. D. Roberts              254
+
+_Sir Patrick Spens_               Old Ballad                         258
+
+_King John and the Abbot of
+  Canterbury_                     Old Ballad                         262
+
+The Key to Human Happiness        George Eliot                       266
+
+_The Vision of Sir Launfal_       James Russell Lowell               271
+
+On the Death of Gladstone         Sir Wilfrid Laurier                278
+
+_The Downfall of Wolsey_          William Shakespeare                286
+
+_The Italian in England_          Robert Browning                    290
+
+Advantages of Imperial
+   Federation                     George Monro Grant                 296
+
+_Collect for Dominion Day_        Charles G. D. Roberts              305
+
+       *       *       *       *       *
+
+APPENDIX A. Exercises in Vocalization and Articulation 306
+
+         B. Physical Exercises                                       312
+
+         C. List of Reference Books                                  314
+
+       *       *       *       *       *
+
+
+
+PRINCIPLES OF READING
+
+=Importance of Oral Reading=
+
+
+There are several reasons why every boy or girl should strive to
+become a good reader. In the first place, good oral reading is an
+accomplishment in itself. It affords a great deal of pleasure to
+others as well as to ourselves. In the second place, it improves our
+everyday speech and is also a preparation for public speaking; for the
+one who reads with distinctness and an accent of refinement is likely
+to speak in the same way, whether in private conversation or on the
+public platform. Moreover, it is only one step from reading aloud
+before the class to recitation, and another step from recitation to
+public speaking. Lastly, oral reading is the best method of bringing
+out and conveying to others and to oneself all that a piece of
+literature expresses. For example, the voice is needed to bring out
+the musical effects of poetry. The following lines will illustrate
+this point:
+
+  But the sea-caves rung, and the wild winds sung
+  The dirge of lovely Rosabelle.
+
+Here the music of the rhythm and the harmony between sound and sense
+would be almost entirely lost in silent reading.
+
+The voice, too, is often the surest and most effective means of
+conveying differences of meaning and feeling in both prose and poetry.
+The following words from _Herve Riel_ (pp. 241-247) may be made to
+convey different meanings according to the intonation of the voice:
+
+  Burn the fleet and ruin France?
+
+This may be read to express hesitation and deliberation, or, as is
+the evident intention, shewn by the context as well as by the
+punctuation, to express Herve Riel's surprise and indignation that
+such a thought should be entertained.
+
+
+=Mechanical Side of Oral Reading=
+
+Now in what does oral reading consist? It consists, first of all, in
+recognizing the words, pronouncing them correctly, and articulating
+them distinctly. The pupil in the First Book, who is learning to read,
+is trying to master this side of reading, which is the mechanical
+side. He cannot be too careful as to the habits of speech he forms;
+for correct position of the organs of speech and proper control of the
+breath make for correct pronunciation and distinct articulation, which
+are two of the foundation stones of good reading.
+
+By =Correct Pronunciation=, we mean the pronunciation approved by a
+standard dictionary. Elegance and refinement of speech depend largely
+on the correct pronunciation of the vowel sounds. The vowel _a_, which
+is sounded in seven different ways in the English language, presents
+the greatest difficulty. Many people recognize at most, only the sound
+of a in _at_, _ate_, _all_, _far_, and _mortal_ respectively. They
+ignore the sound as in _air_, and the shorter quantity of the Italian
+_a_ in _ask_, giving the sound of a in _ate_ to the former and of _a_
+in _at_ or _a_ in _all_ or _a_ in _far_ to the latter. Another
+difficulty is that of distinguishing the sound of _oo_ in _roof,
+food_, etc., from the sound of _oo_ in _book_ and _good_, and from the
+sound of _u_ in such words as _pure_ and _duke_.
+
+Pronunciation, when perfectly pure, should be free from what we call
+provincialisms; that is, from any peculiarity of tone, accent, or
+vowel sound, which would mark the speaker as coming from any
+particular locality. If our pronunciation is perfectly pure, it does
+not indicate, in the slightest degree, the part of the country in
+which we have lived.
+
+=Distinct articulation= requires that each syllable should receive its
+full value, and that the end of a word should be enunciated as
+distinctly as the beginning. It depends largely on the way in which we
+utter the consonants, just as correct pronunciation depends on the
+enunciation of the vowels. Final consonants are easily slurred,
+especially in the case of words ending in two or more consonants,
+which present special difficulties of articulation. Such words are
+_mends_, _seethes_, _thirsteth_, _breathed_, etc. Sometimes, too, the
+careless reader fails to articulate two consonants separately when the
+first word ends with the consonant or consonant sound with which the
+second begins; for example, _Sir Richard Grenville lay_, _Spanish
+ships_; or when the first word ends with a consonant and the second
+begins with a vowel, as in _eats apples_, _not at all_, _an ox_, etc.
+On the other hand, too evident an effort to secure the proper
+enunciation of the sound elements should be avoided, since a stilted
+mode of utterance is thus produced.
+
+Exercises for drill in the vowel sounds and in articulation are
+provided in Appendix A.
+
+
+=Expression=
+
+Oral reading, however, even in its earliest stages, consists in more
+than recognizing words, pronouncing them correctly, and articulating
+them distinctly. It includes thinking thoughts, seeing mental
+pictures, (which is only another form of thinking) and feeling varied
+emotions--all while the mechanical act of reading is going on. To
+illustrate, let us take a line from _The Island of the Scots_:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+If we wish to read this line well, what must we do besides pronouncing
+the words correctly and articulating them distinctly? We must think
+about the meaning of what we read. This includes two kinds of
+thinking. In the example we first think the picture presented by the
+words; that is, we make a mental image of the little band of Scots,
+hand in hand, trying to ford the swiftly flowing waters of the swollen
+river. This is called concrete thinking. At the same time we form some
+judgment based on the picture. We think of the great determination and
+courage these men showed in struggling forward in spite of the danger.
+This is called =abstract thinking=. But, as we have said, a reader
+does more than think in these two ways--he feels; and feeling, or
+=emotion=, comes of itself, if the reader thinks in the two ways
+described, for emotion is the result of thinking. Especially is it the
+result of concrete thinking; for what we see, even if only with the
+mind's eye, stirs our emotions more than that of which we think in the
+abstract.
+
+While reading the line just quoted, there are three emotions which
+spring from the thinking. As we see these men struggling against the
+strong current we have an emotion of fear for them; then as we think
+of their determination and courage in the face of such great danger,
+an emotion of determination comes to us, for we identify ourselves
+with their fortunes; and lastly we are filled with admiration for
+their heroism. Thus we experience the three emotions of fear,
+determination, and admiration, while performing the mechanical act of
+reading the words. These emotions, together with the two kinds of
+thinking mentioned, affect the voice and the manner of reading, and
+determine what we call =expression=. If the words were simply repeated
+mechanically there would be no expression. Since expression involves
+the employment of so many different powers at one time, a mastery of
+the art of expression is much harder to acquire, than a mastery of
+merely the mechanical side of reading.
+
+Accordingly, good vocal expression springs primarily from something
+within ourselves--that is, from our mental and emotional state. It
+cannot be acquired by mechanical imitation, whether of the reading of
+another, or of the movements, sounds, and gestures indicated in the
+subject matter of what we read. Nevertheless it is very stimulating
+to hear a selection well read, not because a model is thus supplied
+for our imitation, but because we get a grasp of the selection as a
+whole, and because the voice, which possesses great power in stirring
+the imagination and the feelings, thus prepares within us the mental
+and emotional state necessary for the correct expression.
+
+In the same way, imitation of the movements, sounds, and gestures,
+suggested by the subject matter may be a stimulus to thought and
+feeling when preparing a selection, since what we have actually
+reproduced is more real to us than what we have only imagined. After
+such preparation, imitation, if it enters into the reading at all,
+will be spontaneous, and not intentional and forced. In reading _The
+Charge of the Light Brigade_ or _The Ride from Ghent to Aix_, we do
+not designedly hurry along to imitate rapidity of movement; but,
+rather, the imagination having been kindled by the picture, our pulse
+is quickened, and the voice moves rapidly in sympathy with the
+feelings aroused.
+
+In the following extract (p. 216) the atmosphere is one of joy. The
+reader is moved through sympathy with Horatius, and his voice
+indicates the joy of the Romans, but he does not attempt to imitate
+vocally, or by gesture, the "shouts," "clapping," and "weeping":
+
+  Now round him throng the Fathers
+  To press his gory hands;
+  And now, with shouts and clapping,
+  And noise of weeping loud,
+  He enters through the River-Gate,
+  Borne by the joyous crowd.
+
+Sometimes, as already stated, we imitate spontaneously:
+
+  Back darted Spurius Lartius;
+  Herminius darted back:
+  And, as they passed, beneath their feet
+  They felt the timbers crack.
+
+Here we imitate spontaneously the movement expressive of sudden fear.
+Our action is prompted by our own fears for their safety.
+
+Sometimes the feeling is still more complex. In reading the following
+we spontaneously reproduce Sextus' alternate hate and fear which,
+moreover, we tinge with our own contempt:
+
+  Thrice looked he at the city;
+  Thrice looked he at the dead;
+  And thrice came on in fury,
+  And thrice turned back in dread:
+  And, white with fear and hatred,
+  Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+  The bravest Tuscans lay.
+
+In reading the little poem from _The Princess_, (page 107) note how we
+are influenced by the tense emotion of the attendants who speak. We do
+not try to imitate them; but having made the scene stand out before
+us, we speak as we in imagination hear them, in an aspirated tone of
+voice:
+
+  She must weep or she will die.
+
+In the last line it would savour of melodrama to try to impersonate
+the lady as she says:
+
+  Sweet my child, I live for thee.
+
+The important point is to show intelligent sympathy with her speech,
+not to imitate her manner of uttering it.
+
+On the other hand we must not make the mistake of supposing that if we
+get the thought and the emotion, the true vocal expression will
+follow. One who has a fine appreciation of a piece of literature may,
+notwithstanding, read it very indifferently. Even in conversation
+where we are interpreting vocally our own thoughts and feelings, we
+sometimes misplace emphasis or employ the wrong inflection. How much
+more likely we are to fall into such errors when we attempt to
+interpret vocally from a book the thoughts of another.
+
+
+=Elements Of Vocal Expression=
+
+In order to criticise ourselves or understand intelligent criticism,
+we must have a knowledge of the laws that govern speech--that is, we
+must know what properties of tone or what acts of the voice correspond
+to certain mental and emotional states. For example, the amount and
+character of thinking done while we read determines the rate of
+utterance; the purpose or motive of the thought and its completeness
+or incompleteness are indicated by an upward or downward slide of the
+voice; the nervous tension expresses itself in a certain key; the
+physical and mental energy, in a certain power or volume of the voice;
+and the character of the emotion is reflected in the quality. These
+principles of vocal expression are known technically as the =elements=
+of =time=, =inflection=, =pitch=, =force=, and =quality=. Closely
+connected with these elements are =pause=, =grouping=, =stress=,
+=emphasis=, =shading=, and =perspective=.
+
+=Pause.= It must be quite clear that when we are reading silently, for
+the purpose of getting the thought for ourselves, our minds are at
+work as has been described. We shall now examine how this work done by
+the mind affects the voice and produces what we call good expression
+when we are reading aloud for the purpose of conveying thought to
+others. As an illustration we shall take an example from _The Glove
+and the Lions_:
+
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make his bride.
+
+In these lines there are certain words or phrases which stand out
+prominently, since they call up mental pictures, namely: "nobles,"
+"benches round," "Count de Lorge," and "one." In order to give time
+to make these mental pictures, we naturally pause after each one. At
+the end of the first line we combine the details, making a larger
+mental image, with the result that we make a long pause after "side."
+In reading the second line, the eye and the mind run ahead of the
+voice, and the reader, wishing to impress the listener with the new
+and important idea "Count de Lorge," pauses before it as well as after
+it. In the same way he pauses before the phrase, "he hoped to make his
+bride," to prepare the mind of the listener to receive the impression.
+Thus we see that, if the mind is working, a pause occurs after a word
+while we are making a mental image or trying to realize the idea more
+fully, and also often before we express an important idea, in order to
+prepare the mind of the listener for what is to come.
+
+A very useful exercise in the study of pause is to image the pictures
+in selections such as the following:
+
+  Come from deep glen (picture) and
+    From mountain so rocky; (picture)
+  The war pipe and pennon (picture)
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one; (picture)
+  Come every steel blade, (picture) and
+    Strong hand that bears one. (picture)
+
+  Leave untended the herd, (picture)
+    The flock without shelter; (picture)
+  Leave the corpse uninterred, (picture)
+    The bride at the altar; (picture)
+  Leave the deer, (picture) leave the steer, (picture)
+    Leave nets and barges: (picture)
+  Come with your fighting gear,
+    Broadswords and targes, (picture)
+
+Then, too, in passing from one idea or thought to another, the mind
+requires time to make the transition:
+
+  Stout Lartius hurled down Aunus
+    Into the stream beneath:
+  Herminius struck at Seius,
+    And clove him to the teeth:
+  At Picus brave Horatius
+    Darted one fiery thrust;
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+Here the mind passes in succession from the action of Lartius to that
+of Herminius and that of Horatius. A long pause is required after
+"beneath," "teeth," and "dust," with a shorter pause after "Seius" and
+after "thrust." Further, if the thoughts concern actions far apart,
+more time is required to make the transition, and hence a longer
+pause:
+
+  All day long that free flag toss'd
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And through the hill-gaps, sunset light
+  Shone over it with a warm good-night.
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+Note the transition in thought from the day on which these stirring
+events are supposed to have taken place to the present time. This is
+indicated by a long pause after "warm good-night."
+
+Sometimes the mind requires time to fill in ideas suggested but not
+expressed:
+
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon look'd down and saw not one.
+
+Here, the tearing down of the flags between the morning and noon, is
+suggested to the mind; hence a long pause after "wind."
+
+Where an ellipsis occurs and the meaning is not obvious, there is a
+pause to give time to realize the logical connection:
+
+  I'd rather rove with Edmund there
+  Than reign our English queen.
+
+  Here's the English can and will!
+
+Note the pauses after "reign," and "English" (second example).
+
+In such examples as the following where the meaning is obvious, the
+pauses after "them," "one," "weary," and "wounded," make prominent the
+important idea following:
+
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride.
+
+  The weary to sleep and the wounded to die.
+
+When preparing to read a selection, it is of great importance to make
+the leading thoughts stand out clearly in the mind so that we may be
+able to present them one by one. The poem _Barbara Frietchie_ (p. 113)
+could be divided into paragraphs with some such titles as the
+following: (1) the town of Frederick and its surroundings, (2) the
+approach of the army, (3) the tearing down of the flags, (4) the
+raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his
+men, and so on. Each of the paragraphs is a complete section of the
+poem, and requires a well-marked pause before passing on to the next
+one.
+
+=Grouping.= In the extract from _The Glove and the Lions_, used above
+to illustrate pause, the mental pictures and important ideas are
+suggested in nearly every ease by a single word. Ideas are, however,
+suggested as often by groups of words as by single words. These groups
+are treated as single words, and may take pauses before or after them
+as the case may be. The reader, who is thinking as he reads, will
+group together words that express one idea, or symbolize one picture,
+presenting these ideas and pictures to himself and to the listener one
+by one, and separating by a pause, of greater or less length, those
+not closely connected.
+
+  A slouched leather cap|| half hid his face| bronzed
+  by the sun and wind| and dripping with sweat.|| He
+  wore a cravat twisted like a rope|| coarse blue
+  trousers| worn and shabby| white on one knee| and
+  with holes in the other;|| an old ragged gray blouse|
+  patched on one side with a piece of green cloth|
+  sewed with twine;|| upon his back| was a well-filled
+  knapsack,|| in his hand| he carried an enormous
+  knotted stick;|| his stockingless feet| were in hobnailed
+  shoes;|| his hair was cropped|| and his beard
+  long.
+
+Here the double vertical lines mark off groups of words which express
+one idea or symbolize one picture, and which are therefore each
+separated from the other by a well-marked pause. The single vertical
+lines indicate a shorter pause between the subdivisions of each group.
+The phrase "an old ragged gray blouse patched on one side with a piece
+of green cloth sewed with twine" presents one picture by itself, and
+is separated from the context by a long pause, but each detail in this
+picture is presented in turn to the mind's eye, hence the shorter
+pauses after "blouse," "cloth," and "twine."
+
+The reader should be careful not to allow pause and grouping to
+produce a jerky effect, thus interfering with the rhythm. This applies
+especially to poetry, which demands, in order to preserve the rhythm,
+that the caesural pause should not be slighted, and that there should
+be a more or less marked pause at the end of each line:
+
+  And they had trod the Pass once more, and stoop'd on either side
+  To pluck the heather from the spot where he had dropped and died.
+
+In the second line, the caesural pause occurs after "spot," but the
+phrase "from the spot where he had dropped and died" expresses one
+idea and must be given as a whole. The rhythm and the grouping appear
+to be at variance; but the difficulty is easily overcome by making the
+caesural pause shorter than the pause after "heather" which introduces
+the group, and at the same time, by not allowing the voice to fall on
+the word "spot."
+
+The following affords another instance where the grouping appears to
+interfere with the rhythm:
+
+  If the husband of this gifted well
+  Shall drink before his wife,
+  A happy man thenceforth is he,
+  For he shall be master for life.
+
+"Of this gifted well" is evidently not connected in thought with
+"husband." It must be separated from "husband" by a pause and attached
+to "shall drink" at the beginning of the next line. To do this, it is
+not, however, necessary to omit the pause at the end of the line; for
+this would mar the effect of the rhythm. The difficulty is again
+overcome by making the pause at the end of the line shorter than the
+pauses which mark the grouping, and by not allowing the voice to fall
+on "well."
+
+=Time= is the rate at which we read. It is fast or slow according to
+the number and the length of the pauses between words and phrases, and
+also according to the length of time the reader dwells on the words
+themselves. There is perhaps no more frequent criticism made on
+reading than that it is too fast. What does this mean? It means that
+the reader is not doing enough thinking as he repeats the words.
+Consequently, he does not dwell on words that are full of meaning, nor
+pause before and after words and phrases to make the mental picture
+and to grasp the thought more fully. Moreover, for the benefit of the
+listener, the reading should be slower than is required by the reader
+for himself. The reader, with his eye on the page, can allow his eye
+and mind to run ahead of his voice, and can thus realize the thought
+in less time than the listener. The following line calls for a
+comparatively small amount of thinking:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+Here, there is little except what is on the surface, and the thoughts
+suggested by the words are of the kind to make the mind think rapidly.
+Hence the line is read in faster time than the average rate. Reading
+may, accordingly, be fast from one or both of two causes. First, when
+there is no background of thought for the mind to dwell upon, and
+second when the nature of the thoughts themselves, such as the
+narration of the rapid succession of events, impels to quick mental
+action. The following lines from _Pibroch of Donuil Dhu_ (p. 61) will
+serve as an illustration:
+
+  Faster come, faster come,
+    Faster and faster,
+  Chief, vassal, page and groom,
+    Tenant and master.
+  Fast they come, fast they come;
+    See how they gather! etc.
+
+So, too, reading may be slow from the exact opposite of these two
+reasons. First, when there is a great back-ground of thought suggested
+by the words, and second, when the reflective and meditative nature of
+the thought leads to slow action on the part of the mind. In some
+selections both of these conditions are present; in others only one of
+them. In _The Day is Done_ (p. 63) there is little thought below the
+surface; but the reading is slow because the quiet, meditative nature
+of the thought tends to slow mental action:
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+Both conditions, however, exist in the lines from _Barbara Frietchie_
+which describe the effect produced on Stonewall Jackson by Barbara
+Frietchie's heroic action and daring speech:
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came.
+
+A great many thoughts are suggested by these two lines. The heart of
+the gallant Southerner is touched at the sight of this weak, decrepit
+old woman with the courage and boldness of youth, ready to die for her
+principles. His stern features relax and a look of sadness passes over
+his face. The taunting words "spare your country's flag" have struck
+home. The tragic side of civil war is forced upon him--father fighting
+against son, and brother against brother, the sons of freedom firing
+at their own star-spangled banner. The sorrow and the shame of it all
+rise before him, and the crimson flush mounts to his brow. With this
+undercurrent of thought in the mind, it is impossible to read rapidly.
+Besides, the reflective nature of the thoughts themselves tends to
+make one repeat the words slowly.
+
+Sometimes, again, reading is faster than the moderate rate because of
+the unimportance of the events or facts:
+
+  He spoke of the grass, the flowers and the trees,
+  Of the singing birds and the humming bees;
+  Then talked of the haying, and wondered whether
+  The cloud in the west would bring foul weather.
+
+Note the lightness with which the unimportant details of conversation
+are skimmed over.
+
+
+=Inflection.= If we listen to the speech of the people around us, we
+can easily detect an upward slide of the voice on some words, a
+downward slide on others, and on others again a combination of the
+two. This slide of the voice on words--generally on the accented
+syllable of an emphatic word--is called =inflection=, and the various
+inflections are known as _rising_ (/), _falling_ (\), _rising
+circumflex_ (\/), and _falling_ circumflex (/\).
+
+Each inflection has a definite and fixed meaning recognized by every
+one, and it is because of the laws of inflection that we can tell what
+meaning a speaker intends to convey when he uses certain words; for
+often the same words may carry two or three different meanings
+according to the inflection. The simple word "Yes," with an abrupt
+downward slide, expresses decided affirmation. When spoken with an
+upward slide, it expresses interrogation and is equivalent to "Is that
+really so?" When it has a combination of the downward and upward slide
+or a rising circumflex inflection, the meaning is no longer simple but
+complex. There is an assertion combined with doubt. It is equivalent
+to saying: "I think so but I am not really sure." In such a sentence
+as: "Do not say 'yes,'" where the idea "but say 'no,'" is merely
+implied, but not formally expressed, the word "yes" has a combination
+of the upward and downward slide or a falling circumflex inflection.
+
+If we take an idea for its own sake, if it is independent and complete
+in itself, the voice has the downward slide or falling inflection on
+the words which stand for the central idea:
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel.
+
+Each statement is complete in itself and has the falling inflection.
+
+Sometimes there is a slight downward slide before the statement is
+completed, because the mind feels that the ideas already expressed
+are of sufficient force to give them the value of completeness:
+
+  My strength is as the strength of ten,
+    Because my heart is pure.
+
+  And the sick men down in the hold were most of them stark and cold,
+  And the pikes were all broken or bent, and the powder was all of it
+    spent;
+  And the masts and the rigging were lying over the side.
+
+Note the momentary completeness on "ten," "cold," "bent," and "spent,"
+requiring the falling inflection.
+
+If on the other hand an idea is incomplete, either pointing forward to
+some other idea or being subordinate, the voice has the upward slide
+or rising inflection. The rising inflection, like the falling, may be
+long or short, more or less abrupt, according to the importance of the
+thought:
+
+  She, with all a monarch's pride,
+  Felt them in her bosom glow.
+
+"She" points forward to the predicate "felt" and because of the
+importance of the idea it takes a long rising inflection; "with all a
+monarch's pride" being subordinate and incomplete also requires the
+voice to be kept up, but takes a shorter rising inflection.
+
+It is of the greatest importance to know the exact purpose of the
+thought, so that the voice may, of itself, give the corresponding
+inflection:
+
+  And you may gather garlands there
+  Would grace a summer queen.
+
+The sense is evidently not complete in the first line, the intention
+being to emphasize the beauty of the garlands to be gathered, and not
+merely to state that they may be gathered there. When the reader
+understands the exact meaning he will convey it by keeping the rising
+inflection on "garlands."
+
+Similar to the foregoing is the following:
+
+  There is not a wife in the west country
+  But has heard of the Well of St. Keyne.
+
+The sense is not complete until we read the second line. The rising
+inflection on "country" indicates this and connects the first line
+with the second, bringing out the meaning, that every wife in the west
+country has heard of the Well of St. Keyne.
+
+Sometimes we have a series of rising inflections, all pointing forward
+to the leading statement which is to follow and which is necessary to
+complete the sense, for example:
+
+  Of man's first disobedience and the fruit
+  Of that forbidden tree, whose mortal taste
+  Brought death into the world, and all our woe,
+  With loss of Eden, till one greater man
+  Restore us, and regain the blissful seat,
+  Sing, heavenly Muse.
+
+Incompleteness may be suggested by a negative statement or its
+equivalent:
+
+  Not from the grand old masters,
+    Not from the bards sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.
+
+  I do not know what I was playing,
+    Or what I was dreaming then,
+  But I struck one chord of music
+    Like the sound of a great Amen.
+
+Note the rising inflection on these negative clauses.
+
+On the same principle the rising inflection is used on the negative
+statements of persuasive argument as in the _Apology of Socrates_ (p.
+145).
+
+  But I thought that I ought not to do anything
+  common or mean, in the hour of danger: nor do I
+  now repent of the manner of my defence.
+
+  For neither in war nor yet at law ought any man
+  to use every way of escaping death.
+
+  Not so; the deficiency which led to my conviction
+  was not of words--certainly not.
+
+Doubt and hesitation also imply incompleteness:
+
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wondrous fine;
+  I'll drop my glove to prove his love; great glory will be mine!
+
+Note the rising inflection on the first two lines where the lady is
+still in doubt as to what shall be the test of De Lorge's love, and
+the falling inflection on the last one when she has reached a
+decision.
+
+Pleading and entreaty also convey a sense of incompleteness and take
+the rising inflection:
+
+  Good friends, sweet friends, let me not stir you up
+  To such a sudden flood of mutiny.
+
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+
+A direct interrogation, that is, one that can be answered by "Yes" or
+"No", implies incompleteness in the mind of the questioner and
+requires a decided rising inflection:
+
+  Is your name Shylock?
+
+  May you stead me? Will you pleasure me? Shall I know your answer?
+
+Questions that require an explanatory answer and cannot be answered by
+"Yes" or "No," do not convey an idea of incompleteness, being merely
+equivalent to the statement of a desire for certain information.
+Consequently they take the falling inflection:
+
+  _Flav._ Speak, what trade art thou?
+  _1st Cit._ Why, sir, a carpenter.
+  _Mar._ Where is thy leather apron, and thy rule?
+  What dost thou with thy best apparel on?--
+  You, sir, what trade are you?
+
+The purpose or motive of a question must be considered. We must know
+whether the question is asked for information, or whether its purpose
+is to give information; that is, whether it is only another way of
+making an assertion--what is sometimes called a question of appeal.
+When Shylock asks Portia: "Shall I not have barely my principal?" he
+does so with the direct purpose of learning his sentence. His question
+can be answered by "Yes" or "No" and the rising inflection is used.
+But when he asks: "On what compulsion must I?" he means simply to give
+the information that there is no power on earth to compel him. This is
+a complete thought, hence the falling inflection. Other examples are:
+
+  Have you e'er heard of gallant like young Lochinvar?
+
+  God of battles, was ever a battle like this in the world before?
+
+  What conquest brings he home?
+  What tributaries follow him to Rome,
+  To grace in captive bonds his chariot wheels?
+
+The opposite inflections on antithetical words or phrases are also due
+to this law of completeness and incompleteness. The first part of the
+antithesis usually has the rising inflection marking incompleteness,
+and the second, the falling, marking completeness.
+
+  His blast is heard at merry morn,
+  And mine at dead of night.
+
+  For this thy brother was dead, and is alive again;
+  and was lost, and is found.
+
+Similarly, in a series of words or phrases parallel in construction,
+all have the rising inflection but the last:
+
+  As Caesar loved me, I weep for him; as he was
+  fortunate, I rejoice at it; as he was valiant, I honour
+  him; but as he was ambitious, I slew him! There is
+  tears for his love; joy for his fortune; honour for
+  his valour; and death for his ambition.
+
+  Crafty men contemn studies; simple men admire
+  them; and wise men use them.
+
+If one part of the antithesis is a negation, it takes the rising
+inflection, whether it comes first or second. This is owing
+to the fact that, as illustrated above, a negation implies
+incompleteness. The other part then takes the falling inflection:
+
+  Fall into the hands of God, not into the hands of Spain.
+
+  I come to bury Caesar, not to praise him.
+
+  I said an elder soldier, not a better.
+
+Often only one part of the antithesis is expressed, the contrast being
+implied. In such a case, the voice brings out the contrast by placing
+a combination of the two inflections of the regularly expressed
+antithesis on the one word which does duty for both parts: Cassius
+says: "I said an elder soldier, not a better" in reply to Brutus'
+speech--"You say you are a better soldier." The antithesis is fully
+expressed, and the voice places the falling inflection on "elder" and
+the rising inflection on "better." If Cassius had omitted the words
+"not a better," the very same meaning could have been conveyed by
+placing a combination of the rising and the falling inflection or a
+falling circumflex on the word "elder," thus--"I said an elder
+soldier." In the next line he goes on to say "Did I say b[)e]tter?"
+Here, there is an implied contrast with "elder," which is expressed by
+a combination of the falling and the rising inflection or a rising
+circumflex. From these two examples, we can see that the law of
+completeness and incompleteness holds good with the compound or
+circumflex inflection, just as it does with the simple inflection, and
+determines whether the circumflex shall be rising or falling.
+
+A very common mistake in reading is to use the circumflex inflection
+in emphasizing a word, thus making a contrast where none is intended.
+"Ramped and roared the lions" with a falling circumflex inflection on
+"lions," instead of a simple falling inflection, suggests that the
+tigers or some other animals did not ramp and roar. For similar
+reasons, avoid the circumflex when emphasizing "hand" and "feet" in
+"put a ring on his hand and shoes on his feet."
+
+As has already been stated, it is necessary to know the motive behind
+the words. When Shylock says: "O wise and upright judge," his
+intention is evidently to bestow sincere praise. The reader, knowing
+this, instinctively gives a straight slide. Later, when Gratiano says:
+"O upright judge, O learned judge!" his intention is to taunt and hold
+up to ridicule; there is a double meaning conveyed, which finds its
+natural expression in a curved inflection.
+
+Compare the curved inflections in the cobbler's speeches in Act I.
+Scene I, of _Julius Caesar_ (p. 133) when he is fencing with Marullus,
+with the straight inflections of his final speech when he has thrown
+aside his raillery and speaks with sincerity:
+
+    ~     ~       ~               ~
+  Truly, sir, to wear out their shoes, to get myself
+      ~    ~
+  in more work. But, indeed, sir, we make holiday to
+
+  see C`aesar, and to rejoice in his triumph.
+
+One writer has said: "Where there is simple and genuine thought, deep
+and sincere feeling, wherever the eye is single, the inflections of
+the voice are straight; a crook in the mind however is indicated by a
+crook in the voice."
+
+=Pitch= is the key of the voice. A change of pitch is a leap from one
+key to another during silence. Inflection, as we have seen, is a
+gradual change in the key while the voice is speaking. The pitch or
+key depends upon the muscular tension of the vocal chords, which act
+like the strings of a musical instrument: the greater the tension, the
+higher the key. Muscular tension implies nervous tension and this is
+dependent upon the mental state. If the mind is calm, the nervous and
+muscular tension is normal, and the speaker uses the key habitual to
+him in his ordinary speech. If the mental state is one of excitement,
+the key is higher because of greater nervous and muscular tension. If,
+on the other hand, the mental state is one of depression, the key is
+lower because of relaxed muscular tension.
+
+In _The Defence of the Bridge_ (p. 206) the Romans, seeing the danger
+of the heroes, are wrought up to a high state of nervous tension which
+finds its natural expression in the high-pitched voice:
+
+  "Come back, come back Horatius!"
+    Loud cried the Fathers all.
+  "Back, Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+Contrast with this the lower key of Horatius, who is calm and
+self-controlled:
+
+  "O Tiber! Father Tiber!
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+
+Observe the gradual rise in pitch with the increase of tension or
+excitement in the following:
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+In the following lines, where the Douglas holds communion with
+himself, the tension is low chiefly because of his great mental
+depression, and, consequently, he speaks in a low key:
+
+  Yes! all is true my fears could frame;
+  A prisoner lies the noble Graeme,
+  And fiery Roderick soon will feel
+  The vengeance of the royal steel.
+  I, only I, can ward their fate,--
+  God grant the ransom come not late.
+  The abbess hath her promise given.
+  My child shall be the bride of Heaven:--
+  Be pardoned one repining tear!
+  For he, who gave her, knows how dear,
+  How excellent! but that is by,
+  And now my business is--to die.
+
+The low pitch is also partly due to the fact that the Douglas is
+speaking to himself, and has no desire to communicate his thoughts to
+another; for the effort to communicate thought causes increased
+tension.
+
+Again, it requires greater effort to address a person who is at a
+distance than one close at hand, or to address a large audience than
+a small one. Observe the comparatively high pitch in which Antony (p.
+225) begins his oration:
+
+  Friends, Romans, countrymen, lend me your ears;
+  I come to bury Caesar, not to praise him.
+
+If the reader wishes to give prominence to a thought, the effort put
+forth causes muscular tension, resulting in a higher pitch. On the
+other hand, a thought, which the reader regards as not of special
+importance to the listener, finds expression in lower pitch, more as
+if he were addressing himself:
+
+  Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+
+Observe the lower pitch of the subordinate clauses in the first four
+lines, and the higher pitch in the last two lines which project the
+leading thought.
+
+  "I think, boys," said the schoolmaster, when the
+  clock struck twelve, "that I shall give an extra half-holiday
+  this afternoon."
+
+Similarly, the narrative clause "said the schoolmaster" which
+interrupts the direct speech is read in lower pitch and is separated
+by a marked pause before and after.
+
+Parenthetical expressions, also for the same reason, are read in lower
+pitch.
+
+  She had not perceived--how could she until she
+  had lived longer?--the inmost truth of the old
+  monk's outpourings, that renunciation remains sorrow,
+  though a sorrow borne willingly.
+
+  He (Mr. Pickwick) would not deny that he was
+  influenced by human passions, and human feelings,
+  (cheers)--possibly by human weaknesses--(loud
+  cries of "No"); but this he would say, that if ever
+  the fire of self-importance broke out in his bosom,
+  the desire to benefit the human race in preference,
+  effectually quenched it.
+
+Passages which are collateral or co-ordinate in construction, and
+equally balanced, will find their natural vocal expression in the same
+pitch and, of course, the pitch varies as the attitude of the mind
+changes:
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon looked down and saw not one.
+
+The first two lines have the same pitch, because there is no
+difference in intensity of feeling or in the mental conception. There
+is, however, an entire change of thought beginning with "the sun."
+This is accompanied by a change of pitch.
+
+=Force.= Force is vocal energy; in other words, it is the power or
+volume of the voice, and is determined by the amount of physical and
+mental energy exerted by the speaker.
+
+The language of everyday conversation, when not marked by intensity of
+feeling or purpose, requires only a moderate amount of physical and
+mental energy and is expressed by _moderate force_. Intensity of
+feeling or purpose, on the other hand, is accompanied by a great
+expenditure of energy, and finds its natural outlet in _strong force_.
+In the following lines, (p. 132) the king's emphatic approval of De
+Lorge's action and his vehement condemnation of the lady's vanity find
+expression in strong force:
+
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+Compare the moderate amount of energy expended in uttering the
+narrative clauses "cried Francis," "and he rose from where he sat,"
+and "quoth he," which should be read with moderate force.
+
+More physical energy is expended in making one's self understood at a
+distance than near at hand, and in addressing a large audience than a
+small one; hence strong force is used in the following where it is
+accompanied by a loud tone of voice:
+
+  "Come back, come back Horatius!"
+  Loud cried the Fathers all.
+
+But strong force does not necessarily imply a loud tone of voice:
+
+  "Curse on him!" quoth false Sextus;
+    "Will not the villain drown?
+  But for this stay, ere close of day
+    We should have sacked the town!"
+
+Here Sextus gives vent to his concentrated hate for Horatius and
+speaks with strong force, but not in a loud tone of voice.
+
+The effort to influence the mind and action of others draws on a great
+fund of mental energy; hence commands, persuasion, and argument, all
+find their vocal expression in strong force. Herve Riel, urging the
+captains to allow him to pilot the ships, speaks with strong force:
+
+  Sirs, they know I speak the truth! Sirs, believe me there's a way!
+  Only let me lead the line,
+
+  When the mental or physical energy is at a low ebb we
+  speak with _weak force_:
+
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+  Take me out, sink me deep in the green profound,
+  To sway with the long-weed, swing with the drowned,
+  Where the change of the soft tide makes no sound,
+  Far below the keels of the outward bound.
+
+For the same reason such poems as _The Day is Done_, (p. 63) and Part
+IV, of _The Lady of Shalott_, (p. 200) are read with gentle force.
+
+A change in force often accompanies a change in pitch. The lower pitch
+of parenthetical expressions, and narrative clauses which interrupt
+direct discourse, is accompanied by weaker force, and the higher pitch
+resulting from the efforts to make one's self heard at a distance is
+accompanied by stronger force.
+
+=Stress= is force applied to the vowel sound. When we are taken by
+surprise and give expression to it by means of the one word "Oh," we
+apply the force or volume of the voice to the beginning of the vowel
+sound. This is called _initial or radical stress_ (>). When we wish to
+give a very emphatic denial to a statement, or to insist on a refusal
+to some persistent request we say "No," gradually increasing the force
+of the voice to the last part of the vowel sound. This is called
+_final_ or _vanishing stress_ (<). Again, if our minds are uplifted
+with wonder and delight at something we have heard or seen, we exclaim
+"Oh" applying the force to the middle of the vowel sound. This swell
+of the vowel sound is called _median stress_ (<>).
+
+It has already been pointed out that force depends upon the _amount_
+of energy. The above examples show that stress or the location of
+force depends upon the _kind_ of mental energy, or the attitude of
+mind, whether it be that of abruptness, of insistence, or of uplift.
+
+All speech has a slight tendency toward initial stress, because the
+effort made by the vocal chords to articulate sound is characterized
+by abruptness. If, in addition, the mental energy of the speaker
+possesses abruptness through sudden impulse or emotion, or through
+unconscious imitation of sound or movement, the initial stress is
+very prominent:
+
+  _Where_ is thy leather apron, and thy rule?
+  _What_ dost thou with thy best apparel on?--
+  _You_, sir, _what trade_ are _you_?
+
+  _Quick_, as it fell, from the broken staff
+  Dame Barbara _snatched_ the silken scarf.
+
+  She leaned far out on the window-sill,
+  And _shook_ it forth with a royal will.
+
+  While I nodded, nearly napping, suddenly there came a tapping,
+  As of some one gently rapping, rapping at my chamber door.
+
+If the speaker desires to impress on others his own feelings or
+convictions, the final stress is the result. Such insistence is found
+in the expression of anger, scorn, indignation, and determination:
+
+  _Burn_ the fleet and _ruin_ France?
+  That were _worse_ than _fifty_ Hogues!
+  Sirs, they _know_ I speak the truth!
+  Sirs, _believe_ me, _there's a way_!
+
+In the first two lines Herve Riel wishes to make others feel his own
+indignation at the thought of burning the fleet. In the last two, he
+tries to impress them with his conviction that there is a way out of
+the difficulty. Hence the final stress in each case.
+
+Sometimes the speaker tries to enforce his own opinion by peevishness,
+whining, or complaining, with the result that he uses the final
+stress:
+
+_Lady Teazle._ Then _why_ will you _endeavour_ to
+make yourself so _disagreeable_ to me, and _thwart_ me
+in _every little elegant expense_?
+
+_Sir Peter._ Madam, I say, had you any of these
+little elegant expenses when you married me?
+
+_Lady Teazle._ _Sir Peter!_ would you have me be
+_out of the fashion_?
+
+If the mental energy or mental attitude is one of uplift or
+exaltation, expressing itself in adoration of the Deity, or in
+admiration and love of the beautiful, or in sympathy and tenderness
+toward mankind, the median stress is used:
+
+  Bless the Lord, O my soul: and all that is within me, bless his
+    holy name.
+
+  _Roll on_, thou _deep_ and _dark_ blue ocean--_roll_!
+
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries.
+
+Determination and settled conviction in the speaker's
+mind, especially when accompanied by a marked degree of
+dignity, calmness, and self-control, cause equal stress on
+every part of the vowel sound. This is called _thorough stress_:
+
+  If every ducat in six thousand ducats
+  Were in six parts, and every part a ducat,
+  I would not draw them; I would have my bond.
+
+It is the stress of quiet strength and great reserve force:
+
+Though the water flashed around them,
+  _Not an eye was seen to quiver_;
+Though the shot flew sharp and deadly,
+  _Not a man relax'd his hold_.
+
+In a more marked degree, it is also the stress used in calling:
+
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them in
+    the Rhine!"
+
+If the speaker's attitude of mind is not straightforward and sincere,
+if he speaks with a double meaning, in irony or sarcasm, the stress is
+a combination of the radical and final, known as _compound stress_
+(><). This is analogous to the compound inflection. See page 21.
+
+  Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?
+    Here lies the road to Rome.
+
+Accordingly, the compound stress is used when the intention is to
+taunt or to ridicule:
+
+_Sir Peter._ Ay--there again--taste! Zounds!
+Madam, you had no taste when you married me!
+
+_Lady Teazle._ _That's very true_, indeed, Sir Peter!
+and after having married _you_, I should _never pretend
+to taste again_, I allow.
+
+=Emphasis=--The importance of an idea, whether this idea is expressed
+by a single word, or by a phrase or clause, is indicated by a
+variation of pitch, force, or time. This change in pitch, force, or
+time, by attracting attention to that idea, is a means of emphasis. It
+is the new idea, or the idea which is important through contrast
+either expressed or implied, which will attract the reader's attention
+and which he will make prominent in this way:
+
+  _Brutus._ You say you are a _better soldier_:
+  Let it _appear_ so; make your vaunting _true_,
+  And it shall _please me well_: for mine own part,
+  I shall be _glad_ to learn of noble men.
+
+  _Cassius._ You _wrong_ me every way; you _wrong_ me, Brutus;
+  I said, an _elder_ soldier, not a _better_:
+
+"better soldier," "appear," and "true" are central ideas; they express
+important ideas not mentioned before. When Cassius replies he at once
+throws the idea of "soldier" in the back-ground and emphasizes
+"better" by contrasting it with "elder." He also introduces the new
+idea "wrong" which he makes still more emphatic by repetition. Brutus
+also introduces the new idea "please me well" which he makes emphatic
+by repeating it in the word "glad." Other examples of words and
+phrases becoming more emphatic through repetition are:
+
+  Faster come, faster come;
+    Faster and faster,
+       *       *       *       *       *
+  Fast they come, fast they come;
+
+  "_Jump_--far--out boy into the wave,
+    JUMP, or I fire," he said,
+  "This chance alone your life can save:
+    JUMP, JUMP."
+
+In the case of a climax, the emphasis grows stronger on each member of
+the series:
+
+  "Take the helm, lead the line, save the squadron!" cried its chief.
+
+  It is enthroned in the hearts of Kings,
+  It is an attribute to God himself.
+
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,
+  Till it smote on their hulls and their sails and their masts and
+    their flags.
+
+However, if a word is repeated, it is not necessarily emphatic each
+time:
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armed foemen throng.
+
+In the phrase "The German heart" the chief emphasis is on "heart,"
+with a slighter emphasis on German. The emphasis is then transferred
+to "arm" and "foot" through contrast with "heart." To emphasize
+"German" again would weaken the effect.
+
+Compare the repetition, in the following, of the syllable "un," also
+of the phrase "this year":
+
+  Unwatched along Clitumnus
+    Grazes the milk-white steer;
+  Unharmed the water-fowl may dip
+    In the Volsinian mere.
+
+  The harvests of Arretium,
+    This year, old men shall reap,
+  This year young boys in Umbro
+    Shall plunge the struggling sheep;
+  And in the vats of Luna,
+    This year, the must shall foam
+  Round the white feet of laughing girls
+    Whose sires have marched to Rome.
+
+Words and phrases are emphatic quite as often through contrast implied
+as through contrast expressed. It is evident that such a sentence as:
+"Will you ride to town to-day?" may have a number of different meanings
+according to the words emphasized. This difference of meaning is due
+to an implied contrast. If "you" is emphatic, it is because there is a
+mental contrast between "you" and some other person. If "ride" is
+emphatic, it is because riding is being contrasted with walking or
+driving and so on. The following contain examples of emphasis through
+implied contrast:
+
+  _Great_ things were ne'er begotten in an hour.
+
+  But _now_ no sound of laughter was heard among the foes.
+
+As already shown on page 21, the emphasis, in the case of implied
+contrast, is brought out by the circumflex inflection.
+
+=Shading= and =Perspective=. These deal with the relative importance
+of words, phrases, or clauses. According as an idea suggested by a
+word or group of words is regarded as principal or subordinate, the
+voice either projects it or holds it in the back-ground as an artist
+shades his picture:
+
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep and
+    dangerous ford
+  The Passage of the Scot.
+
+The principal statement, "The peasant still calls that deep and
+dangerous ford the Passage of the Scot," is projected or emphasized by
+higher pitch and stronger force, the thought being sustained, and the
+connection made between "The peasant" and "still calls" by means of
+the rising inflection. The subordinate statements, "though the legend
+does not live" and "as he sees the stream in winter rolling by ...
+sword," are kept in the back-ground by slightly lower pitch and
+moderate force. The parenthetical clause, "for legends lightly die,"
+is subordinate to the subordinate statement and is thrown still more
+into the back-ground in the same way as the preceding.
+
+Strictly speaking, the term "shading" is used to indicate the value of
+individual phrases or clauses; "perspective," to indicate the values
+of several phrases or clauses viewed relatively.
+
+The =quality=, or timbre, of the voice reveals the speaker's emotions,
+their character, number, and intensity. The voice is affected by the
+muscular texture of the throat, just as the tone of an instrument is
+affected by the texture of the material of which it is made. This
+muscular texture is affected by nerve and muscular vibrations which
+are caused by emotion, the result of mental impressions. Whatever be
+the quality of voice peculiar to the individual, it is greatly
+modified by his emotions. The man of few emotions has few vocal
+vibrations; hence his monotonous voice. The man whose emotions are
+habitually cruel, has a harsh, hard muscular texture through
+contraction of the muscles; hence the hard voice. It is plain that the
+natural voice is an index to the character. If the imagination and
+soul are cultivated, the voice will gain in richness and fulness. If,
+in reading that which expresses the sublime, noble, and grand, the
+imagination is kindled, the voice will express by its vibrations the
+largeness of our conception. This full, rich voice is called the
+_orotund_:
+
+  These are the gardens of the Desert, these
+  The unshorn fields, boundless and beautiful,
+  For which the speech of England has no name--
+  The prairies.
+
+  For as the heaven is high above the earth, so great is his mercy
+    toward them that fear him.
+  As far as the east is from the west, so far hath he removed our
+    transgressions from us.
+
+In thinking of what is stern, severe, harsh, cruel, or base, the
+muscles of the throat contract and produce the rigid, throaty tone
+known as the _guttural_:
+
+  On what compulsion must I? Tell me that.
+
+  "Curse on him!" quoth false Sextus
+    "Will not the villain drown?
+  But for this stay, ere close of day,
+    We should have sacked the town!"
+
+Certain states of mind, such as awe, caution, secrecy, fear, etc.,
+produce in greater or less degree an aspirated or "breathy" quality,
+called the _whisper_ or _aspirate_:
+
+  When Jubal struck the chorded shell,
+    His listening brethren stood around,
+  And, wondering, on their faces fell
+    To worship that celestial sound.
+
+  The red rose cries, "She is near, she is near;"
+    And the white rose weeps, "She is late;"
+  The larkspur listens, "I hear, I hear;"
+    And the lily whispers, "I wait."
+
+The atmosphere of hush and repose expresses itself by a partial
+whisper:
+
+  Ne'er saw I, never felt, a calm so deep!
+    The river glideth at his own sweet will:
+  Dear God! the very houses seem asleep;
+    And all that mighty heart is lying still!
+
+It must not be supposed that the whisper is always associated with
+moderate or with weak force as in the preceding examples. Strong force
+is used with the whisper to express intensity of feeling or vehemence:
+
+  Whispering with white lips: the foe! they come! they come!
+
+  Hush, I say, hush!
+
+Other emotional states have their corresponding qualities of voice,
+such, for example, as the quality of oppressed feeling and the quality
+expressing agitation.
+
+To conclude: it must be carefully borne in mind that the reader should
+never strive to produce a certain quality apart from the emotion which
+should precede. By force alone, for example, he will succeed in
+producing mere sound without the quality. Nor are any of the examples
+given above, in dealing with the various elements of vocal expression,
+intended for practice in voice gymnastics apart from the preliminary
+state of which they are the vocal expression. They are intended merely
+as illustrations of the laws which govern correct speech.
+
+       *       *       *       *       *
+
+THE HIGH SCHOOL READER
+
+THE BANNER OF ST. GEORGE
+
+Words by Shapcott Wensley: music by Sir Edward Elgar
+
+
+  It comes from the misty ages,
+  The banner of England's might,
+  The blood-red cross of the brave St. George,
+  That burns on a field of white!
+  It speaks of the deathless heroes                                    5
+  On fame's bright page inscrolled,
+  And bids great England ne'er forget
+  The glorious deeds of old!
+
+  O'er many a cloud of battle
+  The banner has floated wide;                                        10
+  It shone like a star o'er the valiant hearts
+  That dashed the Armada's pride!
+  For ever amid the thunders
+  The sailor could do or die,
+  While tongues of flame leaped forth below,                          15
+  And the flag of St. George was high!
+
+  O ne'er may the flag beloved
+  Unfurl in a strife unblest,
+  But ever give strength to the righteous arm,
+  And hope to the hearts oppressed!                                   20
+  It says to the passing ages:
+  "Be brave if your cause be right,
+  Like the soldier saint whose cross of red
+  Still burns on your banner white!"
+
+  Great race, whose empire of splendour                               25
+  Has dazzled the wondering world!
+  May the flag that floats o'er thy wide domains
+  Be long to all winds unfurled!
+  Three crosses in concord blended,
+  The banner of Britain's might!                                      30
+  But the central gem of the ensign fair
+  Is the cross of the dauntless Knight!
+
+      --_By permission of the publishers, Novello & Co._
+
+
+  PREPARATORY--Divide the poem into two parts, giving to
+  each part a descriptive title.
+
+  What feelings are aroused by this poem?
+
+  What lines in stanzas i and iv call up a mental picture
+  of the flag?
+
+  What three phrases in stanza i suggest the important
+  ideas to be associated with the flag? How does the voice
+  indicate the importance of these ideas? (Introduction,
+  p. 8.)
+
+  Of what phrases in stanza i is stanza ii only an
+  elaboration?
+
+  What wish is contained in stanza iii? What sentences
+  express it?
+
+  What additional idea does stanza iv add to this wish?
+
+  STAR, VALIANT, ARMADA, CENTRAL. Make a distinction in
+  the sound of the letter _a_ in these words, and
+  elsewhere in the poem. (Appendix A, 1.)
+
+  GEORGE, CROSS, FORGET, FORTH, CONCORD. What sound has
+  the letter _o_ in each word? (Appendix A, 1.)
+
+  Articulate with energy the final consonantal
+  combinations of all such words as: ENGLAND'S, BURNS,
+  SPEAKS, INSCROLLED, FLOATED, HEARTS, DASHED, LEAPED,
+  UNBLEST, STRENGTH, DAZZLED, UNFURLED, BLENDED. (Appendix
+  A, 3.)
+
+       *       *       *       *       *
+
+
+JEAN VALJEAN AND THE BISHOP
+
+From "Les Miserables"
+
+
+At the bishop's house, his housekeeper, Mme. Magloire was saying:
+
+"We say that this house is not safe at all; and, if Monseigneur will
+permit me, I will go on and tell the locksmith to come and put the old
+bolts in the door again. I say, than a door which opens by a latch on
+the outside to the first comer, nothing could be more horrible; and
+then Monseigneur has the habit of always saying: 'Come in,' even at
+midnight. But, my goodness, there is no need to even ask leave----"
+
+At this moment there was a violent knock on the door.
+
+"Come in!" said the bishop.
+
+The door opened.
+
+It opened quickly, quite wide, as if pushed by some one boldly and
+with energy.
+
+A man entered.
+
+That man we know already; it was the traveller we have seen wandering
+about in search of a lodging.
+
+He came in, took one step, and paused, leaving the door open behind
+him. He had his knapsack on his back, his stick in his hand, and a
+rough, hard, and fierce look in his eyes. He was hideous.
+
+The bishop looked upon the man with a tranquil eye. As he was opening
+his mouth to speak, doubtless to ask the stranger what he wanted, the
+man, leaning with both hands on his club, glanced from one to another
+in turn, and, without waiting for the bishop to speak, said, in a
+loud voice:
+
+"See here! my name is Jean Valjean. I am a convict; I have been
+nineteen years in the galleys. Four days ago I was set free, and
+started for Pontarlier; during these four days I have walked from
+Toulon. To-day I have walked twelve leagues. When I reached this place
+this evening I went to an inn, and they sent me away on account of my
+yellow passport, which I had shown at the Mayor's office, as was
+necessary. I went to another inn; they said, 'Get out!' It was the
+same with one as with another; nobody would have me. I went to the
+prison and the turnkey would not let me in. I crept into a dog kennel,
+the dog bit me, and drove me away as if he had been a man; you would
+have said that he knew who I was. I went into the fields to sleep
+beneath the stars, there were no stars. I thought it would rain, and
+there was no good God to stop the drops, so I came back to the town to
+get the shelter of some doorway. There in the square I laid down upon
+a stone; a good woman showed me your house, and said: 'Knock there!' I
+have knocked. What is this place? Are you an inn? I have money; my
+savings, one hundred and nine francs and fifteen sous, which I have
+earned in the galleys by my work for nineteen years. I will pay. What
+do I care? I have money, I am very tired--twelve leagues on foot--and
+I am so hungry. Can I stay?"
+
+"Mme. Magloire," said the bishop, "put on another plate."
+
+The man took three steps and came near the lamp which stood on the
+table. "Stop," he exclaimed; as if he had not been understood; "not
+that, did you understand me? I am a galley slave--a convict--I am just
+from the galleys." He drew from his pocket a large sheet of yellow
+paper, which he unfolded. "There is my passport, yellow, as you see.
+That is enough to have me kicked out wherever I go. Will you read it?
+See, here is what they have put on my passport: Jean Valjean, a
+liberated convict; has been nineteen years in the galleys; five years
+for burglary; fourteen years for having attempted four times to
+escape. This man is very dangerous. There you have it! Everybody has
+thrust me out; will you receive me? Is this an inn? Can you give me
+something to eat and a place to sleep? Have you a stable?"
+
+"Mme. Magloire," said the bishop, "put some sheets on the bed in the
+alcove."
+
+The bishop turned to the man:
+
+"Monsieur, sit down and warm yourself; we are going to take supper
+presently, and your bed will be made ready while you sup."
+
+At last the man quite understood; his face, the expression of which
+till then had been gloomy, and hard, now expressed stupefaction, doubt
+and joy, and became absolutely wonderful. He began to stutter like a
+madman.
+
+"True? What? You will keep me? you won't drive me away--a convict? You
+call me monsieur and don't say, 'Get out, dog!' as everybody else
+does. I shall have a supper! a bed like other people, with mattress
+and sheets--a bed! It is nineteen years that I have not slept on a
+bed. You are good people! Besides, I have money; I will pay well. I
+beg your pardon, M. Innkeeper, what is your name? I will pay all you
+say. You are a fine man. You are an innkeeper, is it not so?"
+
+"I am a priest who lives here," said the bishop.
+
+"A priest," said the man. "Oh, noble priest! Then you do not ask any
+money?"
+
+"No," said the bishop, "keep your money. How much have you?"
+
+"One hundred and nine francs and fifteen sous," said the man.
+
+"One hundred and nine francs and fifteen sous. And how long did it
+take you to earn that?"
+
+"Nineteen years."
+
+"Nineteen years!"
+
+The bishop sighed deeply, and shut the door, which had been left wide
+open.
+
+Mme. Magloire brought in a plate and set it on the table.
+
+"Mme Magloire," said the bishop, "put this plate as near the fire as
+you can." Then turning toward his guest he added: "The night wind is
+raw in the Alps; you must be cold, monsieur."
+
+Every time he said the word _monsieur_ with his gentle, solemn and
+heartily hospitable voice, the man's countenance lighted up.
+_Monsieur_ to a convict is a glass of water to a man dying of thirst
+at sea.
+
+"The lamp," said the bishop, "gives a very poor light."
+
+Mme. Magloire understood him, and, going to his bedchamber, took from
+the mantel the two silver candlesticks, lighted the candles and placed
+them on the table.
+
+"M. le Cure," said the man, you are good; "you don't despise me. You
+take me into your house; you light your candles for me, and I haven't
+hid from you where I come from, and how miserable I am."
+
+The bishop touched his hand gently and said: "You need not tell me who
+you are. This is not my house; it is the house of Christ. It does not
+ask any comer whether he has a name, but whether he has an affliction.
+You are suffering; you are hungry and thirsty; be welcome. And do not
+thank me; do not tell me that I take you into my house. This is the
+home of no man except him who needs an asylum. I tell you, who are a
+traveller, that you are more at home here than I; whatever is here is
+yours. What need have I to know your name? Besides, before you told
+me, I knew it."
+
+The man opened his eyes in astonishment.
+
+"Really? You knew my name?"
+
+"Yes," answered the bishop, "your name is my brother."
+
+"Stop, stop, M. le Cure," exclaimed the man, "I was famished when I
+came in, but you are so kind that now I don't know what I am; that is
+all gone."
+
+The bishop looked at him again and said:
+
+"You have seen much suffering?"
+
+"Oh, the red blouse, the ball and chain, the plank you sleep on, the
+heat, the cold, the galley's screw, the lash, the double chain for
+nothing, the dungeon for a word--even when sick in bed, the chain. The
+dogs, the dogs are happier! nineteen years! and I am forty-six, and
+now a yellow passport. That is all."
+
+"Yes," answered the bishop, "you have left a place of suffering. But
+listen, there will be more joy in heaven over the tears of a repentant
+sinner than over the white robes of a hundred good men. If you are
+leaving that sorrowful place with hate and anger against men, you are
+worthy of compassion; if you leave it with good-will, gentleness, and
+peace, you are better than any of us."
+
+      --_Victor Hugo_
+
+
+  This lesson can be used as an exercise on Pause
+  springing from (1) Visualization and Grouping,
+  (Introduction, pp. 7 and 8); (2) Narrative which breaks
+  in upon the direct discourse. (Introduction, p. 24.)
+
+  THAT MAN WE KNOW ALREADY. (Introduction, p. 11.)
+
+  "SEE HERE ... CAN I STAY?" This paragraph is an exercise
+  on Emphasis. Make a list of the words which are emphatic
+  (1) because they express new and important ideas, (2)
+  because of contrast. Why is GALLEYS not emphatic? Where
+  is the emphasis placed in that sentence?
+
+       *       *       *       *       *
+
+
+THE WELL OF ST. KEYNE
+
+
+  A well there is in the west country,
+    And a clearer one never was seen;
+  There is not a wife in the west country
+    But has heard of the well of St. Keyne.
+
+  An oak and an elm-tree stand beside,                                 5
+    And behind doth an ash-tree grow,
+  And a willow from the bank above
+    Droops to the water below.
+
+  A traveller came to the well of St. Keyne;
+    Joyfully he drew nigh,                                            10
+  For from cock-crow he had been travelling,
+    And there was not a cloud in the sky.
+
+  He drank of the water so cool and clear,
+    For thirsty and hot was he;
+  And he sat down upon the bank,                                      15
+    Under the willow-tree.
+
+  There came a man from the house hard by,
+    At the well to fill his pail;
+  On the well-side he rested it,
+    And he bade the stranger hail.                                    20
+
+  "Now, art thou a bachelor, stranger?" quoth he;
+    "For, an if thou hast a wife,
+  The happiest draught thou hast drank this day
+    That ever thou didst in thy life.
+
+  "Or has thy good woman, if one thou hast,                           25
+    Ever here in Cornwall been?
+  For, an if she have, I'll venture my life
+    She has drank of the well of St. Keyne."
+
+  "I have left a good woman who never was here,"
+    The stranger he made reply;                                       30
+  "But that my draught should be the better for that,
+    I pray you answer me why."
+
+  "St. Keyne," quoth the Cornish-man, many a time
+    Drank of this crystal well;
+  And before the angel summoned her,                                  35
+    She laid on the water a spell,--
+
+  "If the husband of this gifted well
+    Shall drink before his wife,
+  A happy man thenceforth is he,
+    For he shall be master for life;                                  40
+
+  "But, if the wife should drink of it first,
+    God help the husband then!"--
+  The stranger stooped to the well of St. Keyne,
+    And drank of the water again.
+
+  "You drank of the well, I warrant, betimes?"                        45
+    He to the Cornish-man said;
+  But the Cornish-man smiled as the stranger spake,
+    And sheepishly shook his head:--
+
+  "I hastened, as soon as the wedding was done,
+    And left my wife in the porch;                                    50
+  But i' faith she had been wiser than me,
+    For she took a bottle to church."
+
+      --_Robert Southey_
+
+
+  PREPARATORY.--Select the lines that (_a_) describe the
+  scene, (_b_) indicate the action, (_c_) give the
+  dialogue.
+
+  Show by recasting this ballad into dramatic form that it
+  is a miniature drama.
+
+  Give examples of Pause springing from (_a_)
+  Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (_b_)
+  narrative which interrupts direct discourse, in ll. 21,
+  29, 33, 45.
+
+  Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14,
+  21, 29, 31, 38, 45, 46? Give your reasons and show how
+  they are made emphatic. (Introduction, p. 30.)
+
+  l. 3. What is the Inflection on 'country,' l. 3?
+  (Introduction, p. 17.)
+
+  ll. 37-38. Note the Grouping and Pause. (Introduction,
+  p. 12.)
+
+       *       *       *       *       *
+
+
+FAITH, HOPE AND CHARITY
+
+1 Corinthians xiii
+
+
+Though I speak with the tongues of men and of angels, and have not
+charity, I am become as sounding brass, or a tinkling cymbal. And
+though I have the gift of prophecy, and understand all mysteries, and
+all knowledge; and though I have all faith, so that I could remove
+mountains, and have not charity, I am nothing. And though I bestow all
+my goods to feed the poor, and though I give my body to be burned, and
+have not charity, it profiteth me nothing.
+
+Charity suffereth long, and is kind; charity envieth not; charity
+vaunteth not itself, is not puffed up, doth not behave itself
+unseemly, seeketh not her own, is not easily provoked, thinketh no
+evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth
+all things, believeth all things, hopeth all things, endureth all
+things.
+
+Charity never faileth: but whether there be prophecies, they shall
+fail; whether there be tongues, they shall cease; whether there be
+knowledge, it shall vanish away. For we know in part, and we prophesy
+in part. But when that which is perfect is come, then that which is in
+part shall be done away. When I was a child, I spake as a child, I
+understood as a child, I thought as a child: but when I became a man I
+put away childish things. For now we see through a glass, darkly; but
+then face to face: now I know in part; but then shall I know even as
+also I am known.
+
+And now abideth faith, hope and charity, these three;
+but the greatest of these is charity.
+
+
+  CHARITY, SUFFERETH, PROFITETH. (Appendix A, 8 and 3.)
+
+  Show by examples from this selection how completeness
+  and incompleteness of thought affect the Inflection.
+  (Introduction, pp. 15 and 16.)
+
+  What Inflection does a negative statement usually
+  require? Give examples from the second paragraph.
+  (Introduction, p. 17.)
+
+  Give examples, from the second paragraph, of momentary
+  completeness. (Introduction, pp. 15 and 16.)
+
+  Select the words which are emphatic because they express
+  (_a_) new and important ideas. (_b_) contrast.
+
+  BEARETH ALL THINGS, ETC. How may the repetition of a
+  word or phrase affect the Emphasis? (Introduction, pp.
+  31 and 32.)
+
+  How are the principal clauses in the first three
+  sentences made prominent? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+THE LEGEND BEAUTIFUL
+
+From "Tales of a Wayside Inn"
+
+
+  "Hadst thou stayed, I must have fled!"
+  That is what the Vision said.
+
+  In his chamber all alone,
+  Kneeling on the floor of stone,
+  Prayed the Monk in deep contrition                                   5
+  For his sins of indecision,
+  Prayed for greater self-denial
+  In temptation and in trial;
+  It was noonday by the dial,
+  And the Monk was all alone.                                         10
+
+  Suddenly, as if it lightened,
+  An unwonted splendour brightened
+  All within him and without him
+  In that narrow cell of stone;
+  And he saw the Blessed Vision                                       15
+  Of our Lord, with light Elysian
+  Like a vesture wrapped about Him,
+  Like a garment round Him thrown.
+  Not as crucified and slain,
+  Not in agonies of pain,                                             20
+  Not with bleeding hands and feet,
+  Did the Monk his Master see;
+  But as in the village street,
+  In the house or harvest-field,
+  Halt and lame and blind He healed,                                  25
+  When He walked in Galilee.
+
+  In an attitude imploring,
+  Hands upon his bosom crossed,
+  Wondering, worshipping, adoring,
+  Knelt the Monk in rapture lost.                                     30
+  Lord, he thought, in heaven that reignest,
+  Who am I, that thus Thou deignest
+  To reveal Thyself to me?
+  Who am I, that from the centre
+  Of Thy glory Thou shouldst enter                                    35
+  This poor cell, my guest to be?
+
+  Then amid his exaltation,
+  Loud the convent bell appalling,
+  From its belfry calling, calling,
+  Rang through court and corridor                                     40
+  With persistent iteration
+  He had never heard before.
+  It was now the appointed hour
+  When alike in shine or shower,
+  Winter's cold or summer's heat,                                     45
+  To the convent portals came
+  All the blind and halt and lame,
+  All the beggars of the street,
+  For their daily dole of food
+  Dealt them by the brotherhood;                                      50
+  And their almoner was he
+  Who upon his bended knee,
+  Rapt in silent ecstasy
+  Of divinest self-surrender,
+  Saw the Vision and the Splendour.                                   55
+
+  Deep distress and hesitation
+  Mingled with his adoration;
+  Should he go or should he stay?
+  Should he leave the poor to wait
+  Hungry at the convent gate,                                         60
+  Till the Vision passed away?
+  Should he slight his radiant guest,
+  Slight this visitant celestial,
+  For a crowd of ragged, bestial
+  Beggars at the convent gate?                                        65
+  Would the Vision there remain?
+  Would the Vision come again?
+  Then a voice within his breast
+  Whispered, audible and clear
+  As if to the outward ear:                                           70
+  "Do thy duty; that is best;
+  Leave unto thy Lord the rest!"
+
+  Straightway to his feet he started,
+  And with longing look intent
+  On the Blessed Vision bent,                                         75
+  Slowly from his cell departed,
+  Slowly on his errand went.
+
+  At the gate the poor were waiting,
+  Looking through the iron grating,
+  With that terror in the eye                                         80
+  That is only seen in those
+  Who amid their wants and woes
+  Hear the sound of doors that close,
+  And of feet that pass them by;
+  Grown familiar with disfavour,                                      85
+  Grown familiar with the savour
+  Of the bread by which men die!
+  But to-day, they knew not why,
+  Like the gate of Paradise
+  Seemed the convent gate to rise,                                    90
+  Like a sacrament divine
+  Seemed to them the bread and wine.
+  In his heart the Monk was praying,
+  Thinking of the homeless poor,
+  What they suffer and endure;                                        95
+  What we see not, what we see;
+  And the inward voice was saying:
+  "Whatsoever thing thou doest
+  To the least of Mine and lowest,
+  That thou doest unto Me!"                                          100
+
+  Unto Me! but had the Vision
+  Come to him in beggar's clothing,
+  Come a mendicant imploring,
+  Would he then have knelt adoring,
+  Or have listened with derision,                                    105
+  And have turned away with loathing?
+  Thus his conscience put the question,
+  Full of troublesome suggestion,
+  As at length, with hurried pace,
+  Toward his cell he turned his face,                                110
+  And beheld the convent bright
+  With a supernatural light,
+  Like a luminous cloud expanding
+  Over floor and wall and ceiling.
+  But he paused with awestruck feeling                               115
+  At the threshold of his door,
+  For the Vision still was standing
+  As he left it there before,
+  When the convent bell appalling,
+  From its belfry calling, calling,                                  120
+  Summoned him to feed the poor.
+  Through the long hour intervening
+  It had waited his return,
+  And he felt his bosom burn,
+  Comprehending all the meaning,                                     125
+  When the Blessed Vision said,
+  "Hadst thou stayed, I must have fled!"
+
+      --_Henry Wadsworth Longfellow_
+
+
+  HADST, LIGHTENED, BRIGHTENED, REIGNEST, DEIGNEST,
+  DIVINEST (Appendix, A, 3.)
+
+  ll. 29, 38-39, 78-79. (Appendix, A, 4.)
+
+  How can the reader show that the first two lines are
+  merely introductory?
+
+  Divide the poem proper into five parts, giving to each
+  part a suggestive title. How can the reader make each
+  part stand out by itself? (Introduction, p. 10.)
+
+  Select the principal statement in each stanza and show
+  how the voice may make it prominent. (Introduction, p.
+  33.)
+
+  What Inflection is placed on the principal statement?
+  What Inflection on the subordinate phrases and clauses?
+  (Introduction, p. 15.)
+
+  Select examples of momentary completeness from the poem.
+
+  ll. 19-22. What is the Inflection on these negative
+  phrases? (Introduction, pp. 17 and 18.)
+
+  What is the Inflection on the various questions
+  throughout the poem? (Introduction, p. 18.)
+
+       *       *       *       *       *
+
+
+THE VICAR'S FAMILY USE ART
+
+From "The Vicar of Wakefield"
+
+
+1. Whatever might have been Sophia's sensations, the rest of the
+family was easily consoled for Mr. Burchell's absence by the company
+of our landlord, whose visits now became more frequent, and longer.
+Though he had been disappointed in procuring my daughters the
+amusements of the town, as he designed, he took every opportunity of
+supplying them with those little recreations which our retirement
+would admit of. He usually came in the morning; and while my son and I
+followed our occupations abroad, he sat with the family at home, and
+amused them by describing the town, with every part of which he was
+particularly acquainted. He could repeat all the observations that
+were retailed in the atmosphere of the play-houses, and had all the
+good things of the high wits by rote, long before they made their way
+into the jest-books. The intervals between conversation were employed
+in teaching my daughters piquet, or sometimes in setting my two little
+ones to box, to make them _sharp_, as he called it; but the hopes of
+having him for a son-in-law, in some measure blinded us to all his
+imperfections. It must be owned, that my wife laid a thousand schemes
+to entrap him; or, to speak it more tenderly, used every art to
+magnify the merit of her daughter. If the cakes at tea ate short and
+crisp, they were made by Olivia; if the gooseberry wine was well knit,
+the gooseberries were of her gathering; it was her fingers that gave
+the pickles their peculiar green; and in the composition of a pudding,
+it was her judgment that mixed the ingredients. Then the poor woman
+would sometimes tell the Squire that she thought him and Olivia
+extremely of a size, and would bid both stand up to see which was
+tallest. These instances of cunning, which she thought impenetrable,
+yet which everybody saw through, were very pleasing to our benefactor,
+who gave every day some new proofs of his passion, which, though they
+had not risen to proposals of marriage, yet we thought fell but little
+short of it; and his slowness was attributed sometimes to native
+bashfulness, and sometimes to his fear of offending his uncle. An
+occurrence, however, which happened soon after, put it beyond a doubt
+that he designed to become one of our family; my wife even regarded it
+as an absolute promise.
+
+2. My wife and daughters happening to return a visit at neighbour
+Flamborough's, found that family had lately got their pictures drawn
+by a limner, who travelled the country, and took likenesses for
+fifteen shillings a head. As this family and ours had long a sort of
+rivalry in point of taste, our spirit took the alarm at this stolen
+march upon us; and notwithstanding all I could say, and I said much,
+it was resolved that we should have our pictures done too. Having,
+therefore, engaged the limner--for what could I do?--our next
+deliberation was to shew the superiority of our taste in the
+attitudes. As for our neighbour's family, there were seven of them,
+and they were drawn with seven oranges--a thing quite out of taste, no
+variety in life, no composition in the world. We desired to have
+something in a brighter style; and after many debates, at length came
+to an unanimous resolution of being drawn together, in one large
+historical family piece. This would be cheaper, since one frame would
+serve for all, and it would be infinitely more genteel; for all
+families of any taste were now drawn in the same manner. As we did not
+immediately recollect an historical subject to hit us, we were
+contented each with being drawn as independent historical figures. My
+wife desired to be represented as Venus, and the painter was desired
+not to be too frugal of his diamonds in her stomacher and hair. Her
+two little ones were to be as Cupids by her side; while I, in my gown
+and band, was to present her with my books on the Whistonian
+controversy. Olivia would be drawn as an Amazon, sitting upon a bank
+of flowers, dressed in a green joseph richly laced with gold, and a
+whip in her hand. Sophia was to be a shepherdess, with as many sheep
+as the painter could put in for nothing; and Moses was to be dressed
+out with an hat and white feather. Our taste so much pleased the
+Squire that he insisted on being put in as one of the family, in the
+character of Alexander the Great, at Olivia's feet. This was
+considered by us all as an indication of his desire to be introduced
+into the family, nor could we refuse his request. The painter was
+therefore set to work, and as he wrought with assiduity and
+expedition, in less than four days the whole was completed. The piece
+was large, and it must be owned he did not spare his colours; for
+which my wife gave him great encomiums. We were all perfectly
+satisfied with his performance; but an unfortunate circumstance which
+had not occurred till the picture was finished, now struck us with
+dismay. It was so very large that we had no place in the house to fix
+it. How we all came to disregard so material a point is inconceivable;
+but certain it is, we had been all greatly remiss. The picture,
+therefore, instead of gratifying our vanity, as we hoped, leaned, in a
+most mortifying manner, against the kitchen wall, where the canvas was
+stretched and painted, much too large to be got through any of the
+doors, and the jest of all our neighbours. One compared it to Robinson
+Crusoe's long-boat, too large to be removed; another thought it more
+resembled a reel in a bottle; some wondered how it could be got out.
+but still more were amazed how it ever got in.
+
+3. But though it excited the ridicule of some, it effectually raised
+more malicious suggestions in many. The Squire's portrait being found
+united with ours, was an honour too great to escape envy. Scandalous
+whispers began to circulate at our expense, and our tranquillity was
+continually disturbed by persons, who came as friends, to tell us what
+was said of us by enemies. These reports we always resented with
+becoming spirit; but scandal ever improves by opposition.
+
+4. We once again, therefore, entered into a consultation upon
+obviating the malice of our enemies, and at last came to a resolution
+which had too much cunning to give me entire satisfaction. It was
+this: as our principal object was to discover the honour of Mr.
+Thornhill's addresses, my wife undertook to sound him, by pretending
+to ask his advice in the choice of an husband for her eldest daughter.
+If this was not found sufficient to induce him to a declaration, it
+was then resolved to terrify him with a rival. To this last step,
+however, I would by no means give my consent, till Olivia gave me the
+most solemn assurances that she would marry the person provided to
+rival him upon this occasion, if he did not prevent it by taking her
+himself. Such was the scheme laid, which, though I did not strenuously
+oppose, I did not entirely approve.
+
+5. The next time, therefore, that Mr. Thornhill came to see us, my
+girls took care to be out of the way, in order to give their mamma an
+opportunity of putting her scheme in execution; but they only retired
+to the next room, whence they could overhear the whole conversation.
+My wife artfully introduced it, by observing, that one of the Miss
+Flamboroughs was like to have a very good match of it in Mr. Spanker.
+To this the Squire assenting, she proceeded to remark, that they who
+had warm fortunes were always sure of getting good husbands: "But
+heaven help," continued she, "the girls that have none! What signifies
+beauty, Mr. Thornhill? or what signifies all the virtue, and all the
+qualifications in the world, in this age of self-interest? It is not,
+What is she? but, What has she? is all the cry."
+
+6. "Madam," returned he, "I highly approve the justice, as well as the
+novelty, of your remarks, and if I were a king, it should be
+otherwise. It should then, indeed, be fine times for the girls without
+fortunes: our two young ladies should be the first for whom I would
+provide."
+
+7. "Ah, sir," returned my wife, "you are pleased to be facetious: but
+I wish I were a queen, and then I know where my eldest daughter
+should look for an husband. But now that you have put it into my head,
+seriously, Mr. Thornhill, can't you recommend me a proper husband for
+her? She is now nineteen years old, well grown and well educated, and,
+in my humble opinion, does not want for parts."
+
+8. "Madam," replied he, "if I were to choose, I would find out a
+person possessed of every accomplishment that can make an angel happy.
+One with prudence, fortune, taste, and sincerity; such, madam, would
+be, in my opinion, the proper husband."--"Ay, sir," said she, "but do
+you know of any such person?"--"No, Madam," returned he, "it is
+impossible to know any person that deserves to be her husband: she's
+too great a treasure for one man's possession: she's a goddess! Upon
+my soul, I speak what I think, she's an angel!"--"Ah, Mr. Thornhill,
+you only flatter my poor girl: but we have been thinking of marrying
+her to one of your tenants, whose mother is lately dead, and who wants
+a manager; you know whom I mean, Farmer Williams; a warm man, Mr.
+Thornhill, able to give her good bread; and who has several times made
+her proposals" (which was actually the case); "but, sir," concluded
+she, "I should be glad to have your approbation of our choice."--"How,
+Madam," replied he, "my approbation!--my approbation of such a choice!
+Never. What! Sacrifice so much beauty, and sense, and goodness, to a
+creature insensible of the blessing! Excuse me, I can never approve of
+such a piece of injustice. And I have my reasons."--"Indeed, sir,"
+cried Deborah, "If you have your reasons, that's another affair; but I
+should be glad to know those reasons."--"Excuse me, Madam," returned
+he, "they lie too deep for discovery" (laying his hand upon his
+bosom); "they remain buried, rivetted here."
+
+9. After he was gone, upon a general consultation, we could not tell
+what to make of these fine sentiments. Olivia considered them as
+instances of the most exalted passion; but I was not quite so
+sanguine; yet, whatever they might portend, it was resolved to
+prosecute the scheme of Farmer Williams, who, from my daughter's first
+appearance in the country, had paid her his addresses.
+
+      --_Oliver Goldsmith_
+
+
+  ABSOLUTE, RESOLUTION, INTRODUCED, (Appendix, A, 2.)
+  VISITS, NATIVE, INFINITELY, CUPIDS, VANITY, GRATIFYING,
+  MORTIFYING, SANGUINE. (Appendix, A, 8.) UNFORTUNATE,
+  FORTUNE, VIRTUE. (Appendix, A, 9.)
+
+  Show by numerous examples from this selection that the
+  dependent clause of a sentence takes the rising
+  Inflection--whilst the principal clause takes the
+  falling. Which of the two has the heavier shading?
+  (Introduction, p. 33.)
+
+  How are such parenthetical clauses as AS HE DESIGNED, in
+  the second sentence, kept in the background?
+  (Introduction, pp. 24 and 27.) Give similar examples
+  from this selection.
+
+  What Inflection is placed on the rhetorical questions in
+  par. v? (Introduction, p. 19.)
+
+  How is the effect of the climax in par. viii brought
+  out? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SOLDIER'S DREAM
+
+
+  Our bugles sang truce--for the night-cloud had lowered
+    And the sentinel stars set their watch in the sky;
+  And thousands had sunk on the ground overpowered,
+    The weary to sleep, and the wounded to die.
+
+  When reposing that night on my pallet of straw,                      5
+    By the wolf-scaring faggot that guarded the slain,
+  At the dead of the night a sweet vision I saw,
+    And thrice ere the morning I dreamt it again.
+
+  Methought from the battlefield's dreadful array,
+    Far, far I had roamed on a desolate track;                        10
+  'Twas autumn--and sunshine arose on the way
+    To the home of my fathers, that welcomed me back.
+
+  I flew to the pleasant fields traversed so oft
+    In life's morning march, when my bosom was young;
+  I heard my own mountain-goats bleating aloft,                       15
+    And knew the sweet strain that the corn-reapers sung.
+
+  Then pledged we the wine-cup, and fondly I swore
+    From my home and my weeping friends never to part;
+  My little ones kissed me a thousand times o'er,
+    And my wife sobbed aloud in her fulness of heart.                 20
+
+  "Stay, stay with us--rest, thou art weary and worn;"
+    And fain was their war-broken soldier to stay;
+  But sorrow returned with the dawning of morn,
+    And the voice in my dreaming ear melted away.
+
+      --_Thomas Campbell_
+
+
+  PREPARATORY.--Describe the picture suggested by this
+  poem.
+
+  Compare the soldier's dream with the vision of _The
+  Private of the Buffs_ in the hour of danger, or with
+  _The Slave's Dream_ in Longfellow's poem.
+
+  Divide the poem into three distinct parts, giving to
+  each a descriptive title.
+
+  Expand the thoughts contained in the last two lines of
+  the poem, using, if possible, illustrations from
+  literature or real life. What feelings do these lines
+  arouse?
+
+  Observe the difficulties of Articulation in ll. 1, 2, 13
+  and 16. (Appendix A, 6 and 3.)
+
+  How can each part of the poem be made to stand out by
+  itself? (Introduction, p. 10.)
+
+  2. SENTINEL STARS. Select other phrases which call up
+  mental images.
+
+  How does the process of mental imagery affect the Time?
+  (Introduction, p. 12.)
+
+  3. How can it be shown that OVERPOWERED and GROUND are
+  disconnected? (Introduction, p. 7.)
+
+  4. Why do we pause after WEARY AND WOUNDED?
+  (Introduction, p. 10.)
+
+  6. Why is there no pause after FAGGOT? (Introduction, p.
+  11.)
+
+  What lines of stanza ii contain the leading thought? How
+  does the voice indicate this? (Introduction, p. 33.)
+
+  9. How is the mind prepared for the description of the
+  dream?
+
+  21. What feeling does the voice express? Does Imitation
+  play any part here? (Introduction, pp. 5 and 6.)
+
+  22. Expand the thought of this line, and show how your
+  thinking affects the Time. (Introduction, p. 14.)
+  Compare with the Time of l. 21, and explain the
+  difference.
+
+       *       *       *       *       *
+
+
+VAN ELSEN
+
+
+  God spake three times and saved Van Elsen's soul;
+  He spake by sickness first, and made him whole;
+          Van Elsen heard him not,
+          Or soon forgot.
+
+  God spake to him by wealth; the world outpoured                      5
+  Its treasures at his feet, and called him lord;
+          Van Elsen's heart grew fat
+          And proud thereat.
+
+  God spake the third time when the great world smiled,
+  And in the sunshine slew his little child;                          10
+          Van Elsen like a tree
+          Fell hopelessly.
+
+  Then in the darkness came a voice which said,
+  "As thy heart bleedeth, so My heart hath bled;
+          As I have need of thee                                      15
+          Thou needest Me."
+
+  That night Van Elsen kissed the baby feet,
+  And kneeling by the narrow winding-sheet
+          Praised him with fervent breath
+          Who conquered death.                                        20
+
+      _-Frederick George Scott_ (_By permission_)
+
+
+  By what means is the introductory line kept distinct
+  from the rest of the poem? (Introduction, p. 10.)
+
+  How does the reader indicate the comparatively long
+  space of time which elapses between the events of the
+  first, second, and third stanzas respectively?
+  (Introduction, p. 9.)
+
+  Show that each of the first three stanzas falls
+  according to meaning, into two parts. How does the
+  reader indicate this division?
+
+  Why should the last two stanzas, in this respect, be
+  together treated as one of the preceding? Illustrate by
+  means of Pause.
+
+       *       *       *       *       *
+
+
+PIBROCH OF DONUIL DHU
+
+
+  Pibroch of Donuil Dhu,
+    Pibroch of Donuil,
+  Wake thy wild voice anew,
+    Summon Clan Conuil.
+  Come away, come away,                                                5
+    Hark to the summons!
+  Come in your war array,
+    Gentles and commons.
+
+  Come from deep glen, and
+    From mountains so rocky,                                          10
+  The war-pipe and pennon
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one,
+  Come every steel blade, and                                         15
+    Strong hand that bears one.
+
+  Leave untended the herd,
+    The flock without shelter;
+  Leave the corpse uninterr'd
+    The bride at the altar;                                           20
+  Leave the deer, leave the steer,
+    Leave nets and barges:
+  Come with your fighting gear,
+    Broadswords and targes.
+
+  Come as the winds come, when                                        25
+    Forests are rended,
+  Come as the waves come, when
+    Navies are stranded;
+  Faster come, faster come,
+    Faster and faster,                                                30
+  Chief, vassal, page and groom,
+    Tenant and master.
+
+  Fast they come, fast they come;
+    See how they gather!
+  Wide waves the eagle plume,                                         35
+    Blended with heather.
+  Cast your plaids, draw your blades,
+    Forward each man set!
+  Pibroch of Donuil Dhu
+    Knell for the onset!                                              40
+
+      --_Sir Walter Scott_
+
+
+  HERD, UNINTERR'D. What sound has the vowel _e_?
+  (Appendix A, 1.)
+
+  GENTLES AND COMMONS; NETS AND BARGES; FIGHTING GEAR;
+  BROADSWORDS AND TARGES; FORESTS ARE RENDED; NAVIES ARE
+  STRANDED. (Appendix A, 3 and 6.)
+
+  For Pause read (Introduction, pp. 7 and 8.)
+
+  How is the gradually increasing excitement and energy
+  indicated in Time, Pitch, and Force? (Introduction, pp.
+  13, 23, and 27.)
+
+       *       *       *       *       *
+
+
+THE DAY IS DONE
+
+
+  The day is done, and the darkness
+    Falls from the wings of Night,
+  As a feather is wafted downwards
+    From an eagle in its flight.
+
+  I see the lights of the village                                      5
+    Gleam through the rain and the mist,
+  And a feeling of sadness comes o'er me,
+    That my soul cannot resist:
+
+  A feeling of sadness and longing,
+    That is not akin to pain,                                         10
+  And resembles sorrow only
+    As the mist resembles the rain.
+
+  Come, read to me some poem,
+    Some simple and heartfelt lay,
+  That shall soothe this restless feeling,                            15
+    And banish the thoughts of day.
+
+  Not from the grand old masters,
+    Not from the bards sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.                                    20
+
+  For, like strains of martial music,
+    Their mighty thoughts suggest
+  Life's endless toil and endeavour;
+    And to-night I long for rest.
+
+  Read from some humbler poet,                                        25
+    Whose songs gushed from his heart,
+  As showers from the clouds of summer,
+    Or tears from the eyelids start;
+
+  Who, through long days of labour,
+    And nights devoid of ease,                                        30
+  Still heard in his soul the music
+    Of wonderful melodies.
+
+  Such songs have power to quiet
+    The restless pulse of care,
+  And come like the benediction                                       35
+    That follows after prayer.
+
+  Then read from the treasured volume
+    The poem of thy choice,
+  And lend to the rhyme of the poet
+    The beauty of thy voice.                                          40
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+      --_Henry Wadsworth Longfellow_
+
+
+  What is the atmosphere of this poem? Compare it in this
+  respect with _Pibroch of Donuil Dhu_.
+
+  How does it differ from the latter in expression, so far
+  as Time, Pitch, and Force are concerned? (Introduction,
+  pp. 13, 22 and 26.)
+
+  WAFTED, AFTER, MASTERS, POEM, CORRIDORS, SORROW.
+  (Appendix A, 1.)
+
+  Observe the difficulties of Articulation in ll. 3, 11,
+  15, 18, 22, 26, 28 and 31. (Appendix A, 3 and 6.)
+
+       *       *       *       *       *
+
+
+THE SCHOOLMASTER AND THE BOYS
+
+From "The Old Curiosity Shop"
+
+
+1. The schoolmaster had scarcely arranged the room in due order, and
+taken his seat behind his desk, when a white-headed boy with a
+sunburnt face appeared at the door, and stopping there to make a
+rustic bow, came in and took his seat upon one of the forms. The
+white-headed boy then put an open book, astonishingly dog-eared, upon
+his knees, and thrusting his hands into his pockets, began counting
+the marbles with which they were filled. Soon afterwards another
+white-headed little boy came straggling in, and after him a red-headed
+lad, and after him two more with white heads, and then one with a
+flaxen poll, and so on until there were about a dozen boys in all,
+with heads of every colour but gray, and ranging in their ages from
+four years old to fourteen years or more; for the legs of the youngest
+were a long way from the floor when he sat upon the form, and the
+eldest was a heavy, good-tempered, foolish fellow, about half a head
+taller than the schoolmaster.
+
+2. At the top of the first form--the post of honour in the school--was
+the vacant place of the little sick scholar, and at the head of the
+row of pegs on which the hats and caps were hung, one peg was left
+empty. No boy attempted to violate the sanctity of seat or peg, but
+many a one looked from the empty spaces to the schoolmaster, and
+whispered to his idle neighbour behind his hand.
+
+3. Then began the hum of conning over lessons and getting them by
+heart, the whispered jest and stealthy game, and all the noise and
+drawl of school; and in the midst of the din sat the poor
+schoolmaster, the very image of meekness and simplicity, vainly
+attempting to fix his mind upon the duties of the day, and to forget
+his little sick friend. But the tedium of his office reminded him more
+strongly of the willing scholar, and his thoughts were rambling from
+his pupils--it was plain. None knew this better than the idlest boys,
+who, growing bolder with impunity, waxed louder and more
+daring--eating apples under the master's eye, pinching each other in
+sport or malice, and cutting their autographs in the very legs of his
+desk. The puzzled dunce, who stood beside it to say his lesson out of
+book, looked no longer at the ceiling for forgotten words, but drew
+closer to the master's elbow and boldly cast his eyes upon the page.
+If the master did chance to rouse himself and seem alive to what was
+going on, the noise subsided for a moment, and no eyes met his but
+wore a studious and deeply humble look; but, the instant he relapsed
+again, it broke out afresh, and ten times louder than before.
+
+4. Oh, how some of those idle fellows longed to be outside, and how
+they looked at the open door and window, as if they half meditated
+rushing violently out, plunging into the woods, and being wild boys
+and savages from that time forth. What rebellious thoughts of the cool
+river, and some shady bathing-place beneath willow-trees with branches
+dipping in the water, kept tempting and urging that sturdy boy, who
+sat fanning his flushed face with a spelling-book wishing himself a
+whale, or a fly, or anything but a boy at school on that hot, broiling
+day!
+
+5. Heat! Ask that other boy, whose seat being nearest the door gave
+him opportunities of gliding out into the garden and driving his
+companions to madness by dipping his face into the bucket of the well
+and then rolling on the grass--ask him if there were ever such a day
+as that, when even the bees were diving deep down into the cups of
+flowers and stopping there, as if they had made up their minds to
+retire from business and be manufacturers of honey no more. The day
+was made for laziness, and lying on one's back in green places, and
+staring at the sky till its brightness forced one to shut one's eyes
+and go to sleep; and was this a time to be poring over musty books in
+a dark room, slighted by the very sun itself? Monstrous!
+
+6. The lessons over, writing-time began; and there being but one desk
+and that the master's, each boy sat at it in turn and laboured at his
+crooked copy, while the master walked about. This was a quieter time;
+for he would come and look over the writer's shoulder, and tell him
+mildly to observe how such a letter was turned in such a copy on the
+wall, and bid him take it for his model. Then he would stop and tell
+them what the sick child had said last night, and how he had longed to
+be among them once again; and such was the schoolmaster's gentle and
+affectionate manner that the boys seemed quite remorseful that they
+had worried him so much, and were absolutely quiet; eating no apples,
+cutting no names, inflicting no pinches, for full two minutes
+afterwards.
+
+7. "I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this afternoon."
+
+8. At this intelligence the boys, led on and headed by the tall boy,
+raised a great shout, in the midst of which the master was seen to
+speak, but could not be heard. As he held up his hand, however, in
+token of his wish that they should be silent, they were considerate
+enough to leave off, as soon as the longest-winded among them were
+quite out of breath.
+
+9. "You must promise me first," said the schoolmaster, "that you 'll
+not be noisy, or, at least, if you are, that you'll go away and be
+so--away out of the village, I mean. I'm sure you wouldn't disturb
+your old playmate and companion."
+
+10. There was a general murmur in the negative.
+
+11. "Then, pray, don't forget--there's my dear scholars," said the
+schoolmaster--"what I have asked you, and do it as a favour to me. Be
+as happy as you can, and likewise be mindful that you are blessed with
+health. Good-bye, all!"
+
+12. "Thank you, sir," and "Good-bye, sir," were said a great many
+times in a variety of voices, and the boys went out very slowly and
+softly.
+
+13. But there was the sun shining and there were the birds singing, as
+the sun only shines and the birds only sing on holidays and
+half-holidays; there were the trees waving to all free boys to climb
+and nestle among their leafy branches; the hay, entreating them to
+come and scatter it in the pure air; the green corn, gently beckoning
+toward wood and stream; the smooth ground rendered smoother still by
+blending lights and shadows, inviting to runs and leaps, and long
+walks no one knows whither. It was more than boy could bear, and with
+a joyous whoop the whole company took to their heels and spread
+themselves about, shouting and laughing as they went.
+
+14. "It's natural, thank heaven!" said the poor schoolmaster, looking
+after them. "I'm very glad they didn't mind me!"
+
+      --_Charles Dickens_
+
+
+  Par. 1. DUE. (Appendix A 2.)
+
+  Indicate the pauses required to allow time for the
+  Imaging process. Discriminate between the short and the
+  long pauses. (Introduction, pp. 8 and 11.)
+
+  ORDER, DESK, DOOR. Account for the Inflection on each of
+  these words. (Introduction, pp. 15 and 16.)
+
+  What clause in the first sentence should be made most
+  prominent? Indicate the relative value of each part of
+  this sentence by the Shading. (Introduction, p. 33.)
+
+  Par. 2. What two phrases suggest the central idea of
+  this paragraph?
+
+  How does the voice indicate that the parenthetical
+  clause is subordinate in thought? (Introduction, pp. 24
+  and 33.)
+
+  Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8
+  and 2.)
+
+  DID CHANCE. What is the emphatic word? Why?
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+  NO EYES MET HIS ... How does the Inflection on HIS
+  indicate the exact meaning? (Introduction, p. 16.)
+
+  Par. 4. Give examples of Grouping in the last sentence
+  and show how Grouping affects the Pause. (Introduction,
+  p. 11.)
+
+  Par. 5. WHOSE SEAT--GRASS. What is the Shading? Indicate
+  the pauses in this group of words giving your reason in
+  each case.
+
+  What Inflection is placed on the question in the last
+  sentence? Account for it. (Introduction, p. 19.)
+
+  Par. 6. WRITER'S SHOULDER, BOYS SEEMED, ABSOLUTELY.
+  (Appendix A, 6, 2.)
+
+  Give examples of Grouping in the second sentence.
+
+  BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic
+  word? Why?
+
+  Par. 7. How is I THINK, BOYS connected with the rest of
+  the speech? Apply this principle to other examples of
+  direct speech interrupted by narrative. (Introduction,
+  p. 24.)
+
+  Par. 9. IF YOU ARE ... BE SO. Select the two emphatic
+  Words and give your reason for emphasizing them,
+  (Introduction, p. 30.)
+
+       *       *       *       *       *
+
+
+THE KNIGHTS' CHORUS
+
+From "Idylls of the King"
+
+
+    Blow trumpet, for the world is white with May;
+  Blow trumpet, the long night hath roll'd away!
+  Blow thro' the living world--Let the King reign.
+
+    Shall Rome or Heathen rule in Arthur's realm?
+  Flash brand and lance, fall battleaxe upon helm,                     5
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Strike for the King and live! his knights have heard
+  That God hath told the King a secret word.
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Blow trumpet! he will lift us from the dust!                      10
+  Blow trumpet! live the strength, and die the lust!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    Strike for the King and die! and if thou diest,
+  The King is King, and ever wills the highest.
+  Clang battleaxe, and clash brand! Let the king reign.               15
+
+    Blow, for our Sun is mighty in his May!
+  Blow, for our Sun is mightier day by day!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    The King will follow Christ, and we the King
+  In whom high God hath breathed a secret thing.                      20
+  Fall battleaxe, and flash brand! Let the King reign.
+
+      --_Alfred Tennyson_
+
+
+  How do you describe this poem from the standpoint of;
+  (1) the amount of energy, (2) excitement or nervous
+  tension? With what Force and in what Pitch should it be
+  read? (Introduction, pp. 22 and 25.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 13.)
+
+  What is the purpose of the question in stanza ii? How is
+  this purpose indicated by the Inflection? (Introduction,
+  p. 19.)
+
+       *       *       *       *       *
+
+
+THE NORTHERN STAR
+
+A Tynemouth Ship
+
+
+      The Northern Star
+      Sail'd over the bar
+  Bound to the Baltic Sea;
+      In the morning gray
+      She stretched away:--                                            5
+  'Twas a weary day to me!
+
+      For many an hour
+      In sleet and shower
+  By the lighthouse rock I stray;
+      And watch till dark                                             10
+      For the winged bark
+  Of him that is far away.
+
+      The castle's bound
+      I wander round
+  Amidst the grassy graves:                                           15
+      But all I hear
+      Is the north-wind drear,
+  And all I see are the waves.
+
+      The Northern Star
+      Is set afar!                                                    20
+  Set in the Baltic Sea:
+      And the waves have spread
+      The sandy bed
+  That holds my Love from me.
+
+      --_Unknown_
+
+
+  PREPARATORY.--Tell the story of the poem, making as
+  vivid as possible the scenes depicted. Compare
+  Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah
+  binding Shoes_.
+
+  Compare this poem with _The Knights' Chorus_ from the
+  standpoint of the amount of energy. How is the
+  difference between the two indicated vocally by the
+  Force? (Introduction, p. 26.)
+
+  What is the difference in nervous tension between the
+  last stanza and the preceding ones? What difference in
+  Pitch? (Introduction, p. 23.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 14.)
+
+  11. WINGED, with sails
+
+  15. TYNEMOUTH CASTLE used as a graveyard.
+
+       *       *       *       *       *
+
+
+THE INDIGO BIRD
+
+
+                    When I see,
+  High on the tip-top twig of a tree,
+  Something blue by the breezes stirred,
+  But so far up that the blue is blurred,
+  So far up no green leaf flies.                                       5
+  Twixt its blue and the blue of the skies,
+  Then I know, ere a note be heard,
+  That is naught but the Indigo bird.
+
+      Blue on the branch and blue in the sky,
+      And naught between but the breezes high,                        10
+      And naught so blue by the breezes stirred
+      As the deep, deep blue of the Indigo bird.
+
+                    When I hear
+  A song like a bird laugh, blithe and clear,
+  As though of some airy jest he had heard                            15
+  The last and the most delightful word,
+  A laugh as fresh in the August haze
+  As it was in the full-voiced April days,
+  Then I know that my heart is stirred
+  By the laugh-like song of the Indigo bird.                          20
+
+      Joy in the branch and joy in the sky,
+      And naught between but the breezes high;
+      And naught so glad on the breezes heard
+      As the gay, gay note of the Indigo bird.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Suggest a picture which would serve as an
+  illustration for this poem.
+
+  How does the Imaging affect the Pitch in the first two
+  stanzas?
+
+  What feelings does the poem arouse? Where do these
+  feelings reach a Climax? What is the effect on the
+  Pitch?
+
+  What other Climax is found in the poem besides the
+  Climax of feeling?
+
+  FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.)
+
+  BREEZES STIRRED. (Appendix A, 6.)
+
+  What is the Inflection on ll. 1-6 of stanza i and iii?
+  (Introduction, p. 17.) How does the Pitch of these lines
+  differ from that of ll. 7 and 8 of these stanzas?
+  Account for the change. (Introduction, p. 23.)
+
+  What are the contrasting words in l. 6, stanza i?
+
+  Note the Grouping and Pause in ll. 3 and 4, stanza iii.
+
+       *       *       *       *       *
+
+
+THE PASTURE FIELD
+
+
+  When spring has burned
+    The ragged robe of winter, stitch by stitch,
+  And deftly turned
+    To moving melody the wayside ditch,
+  The pale-green pasture field behind the bars                         5
+  Is goldened o'er with dandelion stars.
+
+  When summer keeps
+    Quick pace with sinewy white-shirted arms,
+  And daily steeps
+    In sunny splendour all her spreading farms,                       10
+  The pasture field is flooded foamy white
+  With daisy faces looking at the light.
+
+  When autumn lays
+    Her golden wealth upon the forest floor,
+  And all the days                                                    15
+    Look backward at the days that went before,
+  A pensive company, the asters, stand,
+  Their blue eyes brightening the pasture land.
+
+  When winter lifts
+    A sounding trumpet to his strenuous lips,                         20
+  And shapes the drifts
+    To curves of transient loveliness, he slips
+  Upon the pasture's ineffectual brown
+  A swan-soft vestment delicate as down.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Select the phrases which call into play
+  the Imaging process.
+
+  Describe four typical Canadian scenes suggested by this
+  poem.
+
+  Distinguish the sound of _a_ in PASTURE, RAGGED, BARS,
+  etc. (Appendix A, 1.)
+
+  What words express the central ideas in each stanza, and
+  at the same time form a contrast with one another?
+
+  What Inflection is used in the first four lines of each
+  stanza? (Introduction, p. 16.)
+
+  How does the Shading of these lines compare with that of
+  the last two of each stanza? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+SHIPWRECKED
+
+From "Kidnapped"
+
+
+1. The time I spent upon the island is still so horrible a thought to
+me that I must pass it lightly over. In all the books I have read of
+people cast away, either they had their pockets full of tools, or a
+chest of things would be thrown upon the beach along with them, as if
+on purpose. My case was very much different. I had nothing in my
+pockets but money and Alan's silver button; and being inland bred, I
+was as much short of knowledge as of means.
+
+2. I knew indeed that shellfish were counted good to eat; and among
+the rocks of the isle I found a great plenty of limpets, which at
+first I could scarcely strike from their places, not knowing quickness
+to be needful. There were, besides, some of the little shells that we
+call buckies; I think periwinkle is the English name. Of these two I
+made my whole diet, devouring them cold and raw as I found them; and
+so hungry was I that at first they seemed to me delicious.
+
+3. Perhaps they were out of season, or perhaps there was something
+wrong in the sea about my island. But at least I had no sooner eaten
+my first meal than I was seized with giddiness and retching, and lay
+for a long time no better than dead. A second trial of the same food
+(indeed, I had no other) did better with me and revived my strength.
+
+4. But as long as I was on the island, I never knew what to expect
+when I had eaten; sometimes all was well, and sometimes I was thrown
+into a miserable sickness; nor could I ever distinguish what
+particular fish it was that hurt me. All day it streamed rain; there
+was no dry spot to be found; and when I lay down that night, between
+two boulders that made a kind of roof, my feet were in a bog.
+
+5. From a little up the hillside over the bay I could catch a sight of
+the great ancient church and the roofs of the people's houses in Iona.
+And on the other hand, over the low country of the Ross, I saw smoke
+go up, morning and evening, as if from a homestead in a hollow of the
+land.
+
+6. I used to watch this smoke, when I was wet and cold and had my head
+half-turned with loneliness, and think of the fireside and of the
+company till my heart burned. Altogether, this sight I had of men's
+homes and comfortable lives, although it put a point on my own
+sufferings, yet it kept hope alive, and helped me to eat my raw
+shellfish (which had soon grown to be a disgust), and saved me from
+the sense of horror I had whenever I was quite alone with dead rocks,
+and fowls, and the rain, and the cold sea.
+
+7. Charles the Second declared a man could stay outdoors more days in
+the year in the climate of England than in any other. That was very
+like a king with a palace at his back and changes of dry clothes. But
+he must have had better luck on his flight from Worcester than I had
+on that miserable isle. It was the height of summer; yet it rained for
+more than twenty-four hours, and did not clear until the afternoon of
+the third day.
+
+8. There is a pretty high rock on the north-west of Earraid, which
+(because it had a flat top and overlooked the Sound) I was much in the
+habit of frequenting; not that I ever stayed in one place, save when
+asleep, my misery giving me no rest. Indeed, I wore myself down with
+continual and aimless goings and comings in the rain.
+
+9. As soon, however, as the sun came out, I lay down on the top of
+that rock to dry myself. The comfort of the sunshine is a thing I
+cannot tell. It set me thinking hopefully of my deliverance, of which
+I had begun to despair; and I scanned the sea and the Ross with a
+fresh interest. On the south of my rock a part of the island jutted
+out and hid the open ocean so that a boat could thus come quite near
+me upon that side and I be none the wiser.
+
+10. Well, all of a sudden, a coble, with a brown sail and a pair of
+fishers aboard of it, came flying round that corner of the isle, bound
+for Iona. I shouted out, and then fell on my knees on the rock and
+prayed to them. They were near enough to hear--I could even see the
+colour of their hair--and there was no doubt but they observed me, for
+they cried out in the Gaelic tongue, and laughed. But the boat never
+turned aside, and flew right on, before my eyes, for Iona.
+
+11. I could not believe such wickedness, and ran along the shore from
+rock to rock, crying on them piteously; even after they were out of
+reach of my voice I still cried and waved to them; and when they were
+quite gone I thought my heart would burst.
+
+12. The next day (which was the fourth of this horrible life of mine)
+I found my bodily strength run very low. But the sun shone, the air
+was sweet, and what I managed to eat of the shellfish agreed well with
+me and revived my courage.
+
+13. I was scarce back on my rock (where I went always the first thing
+after I had eaten) before I observed a boat coming down the Sound, and
+with her head, as I thought, in my direction.
+
+14. I began at once to hope and fear exceedingly; for I thought these
+men might have thought better of their cruelty and be coming back to
+my assistance. But another disappointment, such as yesterday's, was
+more than I could bear. I turned my back accordingly upon the sea, and
+did not look again till I had counted many hundreds.
+
+15. The boat was still heading for the island. The next time I counted
+the full thousand, as slowly as I could, my heart beating so as to
+hurt me. And then it was out of all question. She was coming straight
+to Earraid. I could no longer hold myself back, but ran to the seaside
+and out, from one rock to another, as far as I could go. It is a
+marvel I was not drowned; for when I was brought to a stand at last my
+legs shook under me, and my mouth was so dry I must wet it with the
+sea water before I was able to shout.
+
+16. All this time the boat was coming on; and now I was able to
+perceive it was the same boat and the same two men as yesterday. This
+I knew by their hair, which the one had of bright yellow and the other
+black. But now there was a third man along with them, who looked to be
+of a better class.
+
+17. As soon as they were come within easy speech, they let down their
+sail and lay quiet. In spite of my supplications, they drew no nearer
+in, and what frightened me most of all, the new man tee-heed with
+laughter as he talked and looked at me.
+
+18. Then he stood up in the boat and addressed me a long while,
+speaking fast and with many wavings of his hand. I told him I had no
+Gaelic; and at this he became very angry, and I began to suspect he
+thought he was talking English. Listening very close, I caught the
+word "whateffer" several times; but all the rest was Gaelic, and might
+have been Greek and Hebrew for me.
+
+19. "Whatever," said I, to show him I had caught a word. "Yes,
+yes--yes, yes," said he; and then he looked at the other men as much
+as to say, "I told you I spoke English," and began again as hard as
+ever in the Gaelic.
+
+20. This time I picked out another word, "tide." Then I had a flash of
+hope. I remembered he was always waving his hand toward the mainland
+of the Ross.
+
+21. "Do you mean when the tide is out?"--I cried, and could not
+finish.
+
+22. "Yes, yes," said he. "Tide."
+
+23. At that I turned tail upon their boat (where my adviser had once
+more begun to tee-hee with laughter), leaped back the way I had come,
+from one stone to another, and set off running across the isle as I
+had never run before. In about half an hour I came upon the shores of
+the creek, and, sure enough, it was shrunk into a little trickle of
+water, through which I dashed, not above my knees, and landed with a
+shout on the main island.
+
+24. A sea-bred boy would not have stayed a day on Earraid, which is
+only what they call a tidal islet, and, except, in the bottom of the
+neaps, can be entered and left twice in every twenty-four hours,
+either dry-shod, or, at the most, by wading. Even I, who had seen the
+tide going out and in before me in the bay, and even watched for the
+ebbs, the better to get my shellfish--even I (I say), if I had sat
+down to think, instead of raging at my fate, must have soon guessed
+the secret and got free.
+
+25. It was no wonder the fishers had not understood me. The wonder was
+rather that they had ever guessed my pitiful illusion, and taken the
+trouble to come back. I had starved with cold and hunger on that
+island for close upon one hundred hours. But for the fishers, I might
+have left my bones there, in pure folly. And even as it was, I had
+paid for it pretty dear, not only in past sufferings but in my present
+case, being clothed like a beggar man, scarce able to walk, and in
+great pain of my sore throat.
+
+26. I have seen wicked men and fools--a great many of both--and I
+believe they both get paid in the end; but the fools first.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  How are the parenthetical clauses in this selection kept
+  in the back-ground? (Introduction, p. 24.)
+
+  11. I could not believe such wickedness ... heart would
+  burst. Observe the Climax. (Introduction, p. 31.)
+
+  19. Whatever, said I, ... How is the direct speech made
+  to stand out from the narration which interrupts it?
+  (Introduction, p. 24.)
+
+       *       *       *       *       *
+
+
+ON HIS BLINDNESS
+
+
+  When I consider how my light is spent
+    Ere half my days, in this dark world and wide,
+    And that one talent which is death to hide,
+  Lodged with me useless, though my soul more bent
+  To serve therewith my Maker, and present
+    My true account, lest He, returning, chide;
+    "Doth God exact day labour, light denied?"
+
+  I fondly ask. But Patience, to prevent
+  That murmur, soon replies, "God doth not need
+    Either man's work, or His own gifts. Who best
+    Bear His mild yoke, they serve Him best: His state
+  Is kingly; thousands at His bidding speed,
+    And post o'er land and ocean without rest:
+    They also serve who only stand and wait."
+
+      --_Milton_
+
+
+  PREPARATORY.--Divide the sonnet into two parts, giving
+  each part a title.
+
+  Read the first part in prose order, supplying the
+  ellipses.
+
+  How many distinct statements are there in the second
+  part?
+
+  Select the clauses of the first part that are equal in
+  rank and have the same Shading. Show which should be
+  made prominent, and which held in the background.
+
+  Read the first part of this sonnet, with a view to
+  Perspective. (Introduction, p. 33.)
+
+  1-4. With what do you connect WHEN ... SPENT, and
+  LODGED? How?
+
+  How do you make the statements of the second part stand
+  out singly? (Introduction, pp. 8 and 10.)
+
+       *       *       *       *       *
+
+
+BRIGGS IN LUCK
+
+From "Doctor Birch and his Young Friends"
+
+
+_Enter the Knife-boy._ Hamper for Briggses!
+_Master Brown._ Hurray, Tom Briggs! I'll lend you my knife.
+
+If this story does not carry its own moral, what fable does, I wonder?
+Before the arrival of that hamper, Master Briggs was in no better
+repute than any other young gentleman of the lower school; and in fact
+I had occasion myself, only lately, to correct Master Brown for
+kicking his friend's shins during the writing-lesson. But how this
+basket, directed by his mother's house-keeper, and marked "GLASS WITH
+CARE," whence I concluded that it contained some jam and some bottles
+of wine probably, as well as the usual cake and game-pie, and half a
+sovereign for the elder Master B., and five new shillings for Master
+Decimus Briggs--how, I say, the arrival of this basket alters all
+Master Briggs's circumstances in life, and the estimation in which
+many persons regard him!
+
+If he is a good-hearted boy, as I have reason to think, the very first
+thing he will do, before inspecting the contents of the hamper, or
+cutting into them with the knife which Master Brown has so
+considerately lent him, will be to read over the letter from home
+which lies on top of the parcel. He does so, as I remarked to Miss
+Raby (for whom I happened to be mending pens when the little
+circumstance arose), with a flushed face and winking eyes. Look how
+the other boys are peering into the basket as he reads--I say to her,
+"Isn't it a pretty picture?" Part of the letter is in a very large
+hand. That is from his little sister. And I would wager that she
+netted the little purse which he has just taken out of it, and which
+Master Lynx is eyeing.
+
+"You are a droll man, and remark all sorts of queer things," Miss Raby
+says, smiling, and plying her swift needle and fingers as quick as
+possible.
+
+"I am glad we were both on the spot, and that the little fellow lies
+under our guns as it were, and so is protected from some such brutal
+school-pirate as young Duval for instance, who would rob him,
+probably, of some of those good things; good in themselves, and better
+because fresh from home. See, there is a pie as I said, and which I
+daresay is better than those which are served at our table (but you
+never take any notice of these kind of things, Miss Raby), a cake, of
+course, a bottle of currant wine, jam-pots, and no end of pears in
+the straw. With this money little Briggs will be able to pay the tick
+which that impudent child has run up with Mrs. Ruggles; and I shall
+let Briggs Major pay for the pencil-case which Bullock sold to
+him.--It will be a lesson to the young prodigal for the future.
+
+"But, I say, what a change there will be in his life for some time to
+come, and at least until his present wealth is spent! The boys who
+bully him will mollify toward him and accept his pie and sweetmeats.
+They will have feasts in the bedroom; and that wine will taste more
+deliciously to them than the best out of the Doctor's cellar. The
+cronies will be invited. Young Master Wagg will tell his most dreadful
+story and sing his best song for a slice of that pie. What a jolly
+night they will have! When we go the rounds at night, Mr. Prince and I
+will take care to make a noise before we come to Briggs's room, so
+that the boys may have time to put the light out, to push the things
+away, and to scud into bed. Doctor Spry may be put in requisition the
+next morning."
+
+"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I
+lay down the twelfth pen very nicely mended.
+
+"Yes; after luxury comes the doctor, I say; after extravagance, a hole
+in the breeches pocket. To judge from his disposition, Briggs Major
+will not be much better off a couple of days hence than he is now,
+and, if I am not mistaken, will end life a poor man. Brown will be
+kicking his shins before a week is over, depend upon it. There are
+boys and men of all sorts, Miss R.--there are selfish sneaks who hoard
+until the store they daren't use grows mouldy--there are spendthrifts
+who fling away, parasites who flatter and lick its shoes, and
+snarling curs who hate and envy good fortune."
+
+I put down the last of the pens, brushing away with it the quill chips
+from her desk first, and she looked at me with a kind, wondering face.
+I brushed them away, clicked the pen-knife into my pocket, made her a
+bow, and walked off--for the bell was ringing for school.
+
+      --_William Makepeace Thackeray_
+
+
+  MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.)
+
+  FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix
+  A, 3 and 6.)
+
+  Make an analysis from the standpoint of Perspective of
+  the following sentences: BUT HOW THIS BASKET ... REGARD
+  HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO
+  ... WINKING EYES; SEE THERE IS A PIE ... STRAW.
+
+       *       *       *       *       *
+
+
+THE LAUGHING SALLY
+
+
+  A wind blew up from Pernambuco,
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  A wind blew out of the east-sou'-east
+    And boomed at the break of day.                                    5
+
+  The _Laughing Sally_ sped for her life,
+    And a speedy craft was she.
+  The black flag flew at her top to tell
+    How she took toll of the sea.
+
+  The wind blew up from Pernambuco;                                   10
+    And in the breast of the blast
+  Came the King's black ship like a hound let slip
+    On the trail of the _Sally_ at last.
+
+  For a day and a night, a night and a day;
+    Over the blue, blue round,                                        15
+  Went on the chase of the pirate quarry,
+    The hunt of the tireless hound.
+
+  "Land on the port bow!" came the cry;
+    And the _Sally_ raced for shore,
+  Till she reached the bar at the river-mouth                         20
+    Where the shallow breakers roar.
+
+  She passed the bar by a secret channel
+    With clear tide under her keel,--
+  For he knew the shoals like an open book,
+    The captain at the wheel.                                         25
+
+  She passed the bar, she sped like a ghost,
+    Till her sails were hid from view
+  By the tall, liana'd, unsunned boughs
+    O'erbrooding the dark bayou.
+
+  At moonrise up to the river-mouth                                   30
+    Came the King's black ship of war,
+  The red cross flapped in wrath at her peak,
+    But she could not cross the bar.
+
+  And while she lay in the run of the seas,
+    By the grimmest whim of chance,                                   35
+  Out of the bay to the north came forth
+    Two battle-ships of France.
+
+  On the English ship the twain bore down
+    Like wolves that range by night;
+  And the breakers' roar was heard no more                            40
+    In the thunder of the fight.
+
+  The crash of the broadsides rolled and stormed
+    To the _Sally_ hid from view
+  Under the tall liana'd boughs
+    Of the moonless dark bayou.                                       45
+
+  A boat ran out for news of the fight,
+    And this was the word she brought--
+  "The King's ship fights the ships of France
+    As the King's ships all have fought!"
+
+  Then muttered the mate, "I'm a man of Devon!"                       50
+    And the captain thundered then--
+  "There's English rope that bides for our necks,
+    But we all be Englishmen!"
+
+  The _Sally_ glided out of the gloom
+    And down the moon-white river.                                    55
+  She stole like a gray shark over the bar
+    Where the long surf seethes for ever.
+
+  She hove to under a high French hull,
+    And the red cross rose to her peak.
+  The French were looking for fight that night,                       60
+    And they hadn't far to seek.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!                                      65
+
+  And when the stars paled out of heaven
+    And the red dawn-rays uprushed,
+  The oaths of battle, the crash of timbers,
+    The roar of the guns was hushed.
+
+  With one foe beaten under his bow,                                  70
+    The other far in flight,
+  The English captain turned to look
+    For his fellow in the fight.
+
+  The English captain turned and stared;--
+    For where the _Sally_ had been                                    75
+  Was a single spar upthrust from the sea
+    With the red cross flag serene!
+
+  A wind blew up from Pernambuco
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  And boomed for the doom of the _Laughing Sally_!
+    Gone down at the break of day.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+
+  PREPARATORY.--Divide the poem into sections giving to
+  each part a descriptive title. (Introduction, p. 10.)
+  How is each section made to stand out?
+
+  In what Time is the section which describes the flight
+  of the _Laughing Sally_ read? Give your reason.
+  (Introduction, pp. 5 and 13.)
+
+  Contrast the first and last stanzas from the standpoint
+  of feeling. How does the voice express the difference?
+
+  BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
+  A, 2, 3, 5, and 6.)
+
+  Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
+  LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
+  (Appendix A, 1.)
+
+  8-9. Note the Grouping and Pause. (Introduction, p. 11.)
+
+  11-13. Observe the Grouping. Which phrases have the
+  heaviest Shading? (Introduction, p. 33.)
+
+  16. Where is the Pause? Why?
+
+  18. LAND ON THE PORT BOW. What change is made in Pitch
+  and Force? Account for it. (Introduction, pp. 22 and
+  25.)
+
+  24. What is the Inflection on this line?
+
+  30-37. Observe the Grouping and Shading throughout these
+  stanzas.
+
+  38-45. What sense is appealed to in these stanzas? How
+  is the Time affected?
+
+  46-53. How are the transitions to direct discourse
+  indicated? (Introduction, p. 24.)
+
+  What is the difference in Pitch between the mate's and
+  the captain's speech? (Introduction, p. 23.)
+
+  66-67. Note the contrast with the preceding stanza and
+  with the two following lines.
+
+       *       *       *       *       *
+
+
+THE PRODIGAL SON
+
+Luke xv 11-32
+
+
+A certain man had two sons: And the younger of them said to his
+father, Father, give me the portion of goods that falleth to me. And
+he divided unto them his living.
+
+And not many days after the younger son gathered all together, and
+took his journey into a far country, and there wasted his substance
+with riotous living. And when he had spent all, there arose a mighty
+famine in that land; and he began to be in want. And he went and
+joined himself to a citizen of that country; and he sent him into his
+fields to feed swine. And he would fain have filled his belly with the
+husks that the swine did eat: and no man gave unto him. And when he
+came to himself, he said, How many hired servants of my father's have
+bread enough and to spare, and I perish with hunger! I will arise and
+go to my father, and will say unto him, Father, I have sinned against
+heaven, and before thee, and am no more worthy to be called thy son:
+make me as one of thy hired servants.
+
+And he arose, and came to his father. But when he was yet a great way
+off, his father saw him, and had compassion, and ran, and fell on his
+neck, and kissed him. And the son said unto him, Father, I have sinned
+against heaven, and in thy sight, and am no more worthy to be called
+thy son. But the father said to his servants, Bring forth the best
+robe, and put it on him; and put a ring on his hand, and shoes on his
+feet: And bring hither the fatted calf, and kill it; and let us eat,
+and be merry; For this my son was dead, and is alive again; he was
+lost, and is found. And they began to be merry.
+
+Now his elder son was in the field: and as he came and drew nigh to
+the house, he heard musick and dancing. And he called one of the
+servants, and asked what these things meant. And he said unto him, Thy
+brother is come; and thy father hath killed the fatted calf, because
+he hath received him safe and sound. And he was angry, and would not
+go in: therefore came his father out, and intreated him. And he
+answering said to his father, Lo, these many years do I serve thee,
+neither transgressed I at any time thy commandment; and yet thou never
+gavest me a kid, that I might make merry with my friends: But as soon
+as this thy son was come, which hath devoured thy living with harlots,
+thou hast killed for him the fatted calf. And he said unto him, Son,
+thou art ever with me, and all that I have is thine. It was meet that
+we should make merry, and be glad, for this thy brother was dead, and
+is alive again; and was lost, and is found.
+
+
+  PREPARATORY.--Divide this parable into four parts,
+  giving each part a descriptive title.
+
+  Describe pictures to illustrate each part.
+
+  Connect the parable with any similar story drawn from
+  modern life. Fill in details to account for (_a_) the
+  prodigal's desire to leave home, (_b_) the father's
+  great joy at his return, (_c_) the elder brother's
+  jealousy.
+
+  HOW MANY HIRED SERVANTS, ETC. What are the prodigal's
+  feelings? What new feeling is introduced with (_a_) I
+  WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.?
+
+  In what Time and Pitch do you read the passages which
+  describe the father's joy? (Introduction, pp. 12 and
+  22.)
+
+  What feeling pervades the speech of the elder son? What
+  is the motive of the father's reply?
+
+  Explain the Emphasis in the following; (_a_) AND HE SENT
+  HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_)
+  THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST
+  ME A KID. (Introduction, pp. 30 and 31.)
+
+  Explain the Inflection on DEAD, ALIVE, LOST, FOUND.
+
+       *       *       *       *       *
+
+
+CHRISTMAS AT SEA
+
+
+  The sheets were frozen hard, and they cut the naked hand;
+  The decks were like a slide, where a seaman scarce could stand;
+  The wind was a nor'-wester, blowing squally off the sea;
+  And cliffs and spouting breakers were the only things a-lee.
+
+  They heard the surf a-roaring before the break of day;               5
+  But 'twas only with the peep of light we saw how ill we lay.
+  We tumbled every hand on deck instanter, with a shout,
+  And we gave her the maintops'l, and stood by to go about.
+
+  All day we tacked and tacked between the South Head and the North;
+  All day we hauled the frozen sheets, and got no further forth;      10
+  All day as cold as charity, in bitter pain and dread,
+  For very life and nature we tacked from Head to Head.
+
+  We gave the South a wider berth, for there the tide-race roared,
+  But every tack we made we brought the North Head close aboard;
+  So's we saw cliffs and houses, and the breakers running high,       15
+  And the coast-guard in his garden, with his glass against his eye.
+
+  The frost was on the village roofs as white as ocean foam;
+  The good red fires were burning bright in every 'longshore home;
+  The windows sparkled clear, and the chimneys volleyed out;
+  And I vow we sniffed the victuals, as the vessel went about.        20
+
+  The bells upon the church were rung with a mighty jovial cheer;
+  For it's just that I should tell you how (of all days in the year)
+  This day of our adversity was blessed Christmas morn,
+  And the house above the coast-guard's was the house where I was born.
+
+  O well I saw the pleasant room, the pleasant faces there,           25
+  My mother's silver spectacles, my father's silver hair;
+  And well I saw the firelight, like a flight of homely elves,
+  Go dancing round the china plates that stand upon the shelves.
+
+  And well I knew the talk they had, the talk that was of me,
+  Of the shadow on the household and the son that went to sea;        30
+  And O the wicked fool I seemed, in every kind of way,
+  To be here and hauling frozen ropes on blessed Christmas day.
+
+  They lit the high sea-light, and the dark began to fall.
+  "All hands to loose topgallant sails," I heard the captain call.
+  "Captain, she'll never stand it," our first mate, Jackson, cried. 35
+  "It's the one way or the other, Mr. Jackson," he replied.
+
+  She staggered to her bearings, but the sails were new and good,
+  And the ship smelt up to windward just as though she understood.
+  As the winter's day was ending, in the entry of the night,
+  We cleared the weary headland, and passed below the light.          40
+
+  And they heaved a mighty breath, every soul on board but me,
+  As they saw her nose again pointing handsome out to sea;
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  PREPARATORY.--Supply an introduction and a conclusion
+  for the story suggested by this poem.
+
+  Indicate the pauses which should be made in this poem
+  after words and phrases: (_a_) because of the Imaging
+  process, (_b_) in order to conceive the thought more
+  fully, (_c_) in passing from the narration of one action
+  to that of another, (_d_) because of direct speech
+  interrupted by narrative. (Introduction, pp. 7, 24, and
+  27.)
+
+  20 and 22. Indicate the Pause before phrases to prepare
+  the mind for what is coming. (Introduction, p. 8.) What
+  Inflection is used as a connecting link? (Introduction,
+  p. 16.)
+
+  27. FIRELIGHT. With what should it be connected? How?
+  (Introduction, p. 24.)
+
+  34. ALL HANDS ... SAILS. What change in Pitch and Force?
+  (Introduction, pp. 22 and 26.)
+
+  40. What is the Shading? (Introduction, p. 33.)
+
+  Compare the mental state of the captain with that of the
+  first mate. How is the difference indicated in the Pitch
+  of their respective speeches? (Introduction, p. 22.)
+
+  Connect stanzas vii and viii with the last two lines of
+  the poem. What background of thought is suggested? How
+  is the rate of reading affected by the thoughts
+  suggested? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+THE EVENING WIND
+
+
+  Spirit that breathest through my lattice, thou
+    That cool'st the twilight of the sultry day,
+  Gratefully flows thy freshness round my brow:
+    Thou hast been out upon the deep at play,
+  Riding all day the wild blue waves till now,                         5
+    Roughening their crests, and scattering high their spray,
+  And swelling the white sail. I welcome thee
+  To the scorched land, thou wanderer of the sea!
+
+  Nor I alone;--a thousand bosoms round
+    Inhale thee in the fulness of delight;                            10
+  And languid forms rise up, and pulses bound
+    Livelier at coming of the wind of night;
+  And, languishing to hear thy grateful sound,
+    Lies the vast inland stretched beyond the sight.
+  Go forth into the gathering shade; go forth,                        15
+  God's blessing breathed upon the fainting earth!
+
+  Go, rock the little wood-bird in his nest,
+    Curl the still waters, bright with stars, and rouse
+  The wide old wood from his majestic rest,
+    Summoning from the innumerable boughs                             20
+  The strange deep harmonies that haunt his breast:
+    Pleasant shall be thy way, where meekly bows
+  The shutting flower and darkling waters pass,
+  And where the o'ershadowing branches sweep the grass.
+
+  The faint old man shall lean his silver head                        25
+    To feel thee; thou shalt kiss the child asleep,
+  And dry the moistened curls that overspread
+    His temples, while his breathing grows more deep;
+  And they who stand about the sick man's bed
+    Shall joy to listen to thy distant sweep,                         30
+  And softly part his curtains to allow
+  Thy visit, grateful to his burning brow.
+
+  Go,--but the circle of eternal change,
+    Which is the life of nature, shall restore,
+  With sounds and scents from all thy mighty range,                   35
+    Thee to thy birthplace of the deep once more;
+  Sweet odours in the sea-air, sweet and strange,
+    Shall tell the home-sick manner of the shore;
+  And, listening to thy murmur, he shall dream
+  He hears the rustling leaf and running stream.                      40
+
+      --_William Cullen Bryant_
+
+
+  PREPARATORY.--Describe fully the picture suggested by
+  (_a_) the first three lines of stanza i, (_b_) the last
+  four lines of stanza i, (_c_) stanza ii. Give to each a
+  suitable title.
+
+  1, 2, and 6. (Appendix A, 3, 4, and 8.)
+
+  1. THOU. What is the Inflection?
+
+  6. How does the sound accord with the sense?
+
+  15. GO FORTH ... GO FORTH. Where is the Emphasis?
+  (Introduction, p. 31.)
+
+  19-21. What feeling is aroused? How is the Quality of
+  voice affected? (Introduction, p. 34.)
+
+  25-32. What change in Time? Account for it.
+  (Introduction, p. 13.)
+
+  31. What atmosphere is created in this line? What
+  Quality of voice is the result? What lines in the last
+  stanza have the same atmosphere? (Introduction, p. 34.)
+
+  36. With what should THEE be connected? In what way?
+
+  33-36. What portions are read in lighter Shading?
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+PARADISE AND THE PERI
+
+From "Lalla Rookh"
+
+
+    One morn a Peri at the gate
+    Of Eden stood, disconsolate;
+  And as she listened to the Springs
+    Of Life within, like music flowing,
+  And caught the light upon her wings                                  5
+    Through the half-open portal glowing,
+  She wept to think her recreant race
+  Should e'er have lost that glorious place!
+  "How happy," exclaimed this child of air,
+  "Are the holy spirits who wander there,                             10
+    'Mid flowers that never shall fade or fall;
+  Though mine are the gardens of earth and sea,
+  And the stars themselves have flowers for me,
+    One blossom of Heaven out-blooms them all!"
+
+  The glorious Angel, who was keeping                                 15
+  The Gates of Light, beheld her weeping;
+  And, as he nearer drew and listened
+  To her sad song, a tear-drop glistened
+  Within his eyelids, like the spray
+    From Eden's fountain, when it lies                                20
+  On the blue flower, which--Brahmins say--
+    Blooms nowhere but in Paradise.
+  "Nymph of a fair, but erring line!"
+  Gently he said,--"One hope is thine.
+    'Tis written in the Book of Fate,                                 25
+    _The Peri yet may be forgiven
+  Who brings to this Eternal Gate
+    The Gift that is most dear to Heaven!_
+  Go, seek it, and redeem thy sin:
+  'Tis sweet to let the Pardoned in!"                                 30
+
+  Downward the Peri turns her gaze,
+  And, through the war-field's bloody haze,
+  Beholds a youthful warrior stand
+    Alone, beside his native river,--
+  The red blade broken in his hand,                                   35
+    And the last arrow in his quiver.
+  "Live," said the conqueror, "live to share
+  The trophies and the crowns I bear!"
+  Silent that youthful warrior stood--
+  Silent he pointed to the flood                                      40
+  All crimson with his country's blood,
+  Then sent his last remaining dart,
+  For answer, to th' invader's heart.
+
+  False flew the shaft, though pointed well;
+  The tyrant lived, the hero fell!                                    45
+  Yet marked the Peri where he lay,
+    And when the rush of war was past,
+  Swiftly descending on a ray
+    Of morning light, she caught the last,
+  Last glorious drop his heart had shed,                              50
+  Before its free-born spirit fled!
+
+  "Be this," she cried, as she winged her flight,
+  "My welcome gift at the Gates of Light."
+  "Sweet," said the Angel, as she gave
+    The gift into his radiant hand,                                   55
+  "Sweet is our welcome of the brave
+    Who die thus for their native land.--
+  But see--alas!--the crystal bar
+  Of Eden moves not--holier far
+  Than e'en this drop the boon must be,                               60
+  That opes the Gates of Heaven for thee!"
+
+  But nought can charm the luckless Peri;
+  Her soul is sad, her wings are weary.
+    When, o'er the vale of Balbec winging
+  Slowly, she sees a child at play,                                   65
+  Among the rosy wild-flowers singing,
+    As rosy and as wild as they;
+  Chasing, with eager hands and eyes,
+  The beautiful blue damsel-flies
+  That fluttered round the jasmine stems,                             70
+  Like-winged flowers or flying gems:
+  And, near the boy, who, tired with play,
+  Now nestling 'mid the roses lay,
+  She saw a wearied man dismount
+    From his hot steed, and on the brink                              75
+  Of a small imaret's rustic fount
+    Impatient fling him down to drink.
+  Then swift his haggard brow he turned
+    To the fair child, who fearless sat,
+  Though never yet hath daybeam burned                                80
+    Upon a brow more fierce than that.
+
+  But hark! the vesper call to prayer,
+    As slow the orb of daylight sets,
+  Is rising sweetly on the air,
+    From Syria's thousand minarets!                                   85
+  The boy has started from the bed
+  Of flowers, where he had laid his head,
+  And down upon the fragrant sod
+    Kneels, with his forehead to the south,
+  Lisping th' eternal name of God                                     90
+    From purity's own cherub mouth.
+
+  And how felt he, the wretched man,
+  Reclining there--while memory ran
+  O'er many a year of guilt and strife,
+  Flew o'er the dark flood of his life,                               95
+  Nor found one sunny resting-place,
+  Nor brought him back one branch of grace?
+  "There was a time," he said, in mild,
+  Heart-humbled tones, "thou blessed child!
+    When, young and haply pure as thou,                              100
+    I looked and prayed like thee--but now--"
+  He hung his head--each nobler aim,
+    And hope, and feeling, which had slept
+  From boyhood's hour, that instant came
+    Fresh o'er him, and he wept--he wept!                            105
+
+  And now, behold him kneeling there
+  By the child's side, in humble prayer,
+  While the same sunbeam shines upon
+  The guilty and the guiltless one,
+  And hymns of joy proclaim through Heaven                           110
+  The triumph of a soul forgiven!
+
+  'Twas when the golden orb had set,
+  While on their knees they lingered yet,
+  There fell a light, more lovely far
+  Than ever came from sun or star,                                   115
+  Upon the tear that, warm and meek,
+  Dewed that repentant sinner's cheek:
+  To mortal eye that light might seem
+  A northern flash or meteor beam--
+  But well th' enraptured Peri knew                                  120
+  'Twas a bright smile the Angel threw
+  From Heaven's gate, to hail that tear--
+  Her harbinger of glory near!
+  "Joy, joy for ever! my task is done:
+  The Gates are passed, and Heaven is won!"                          125
+
+      --_Thomas Moore_
+
+
+  PREPARATORY.--Divide this selection into four scenes,
+  describing minutely each scene, and pointing out what
+  part of the poem it covers. (Introduction, p. 10.)
+
+  What feelings are aroused by each scene?
+
+  SPIRIT, NATIVE, PURITY. (Appendix A, 8.)
+
+  1-4. Give two examples of Grouping from these lines.
+  Give numerous other examples throughout the selection,
+  and show how Grouping affects the Inflection and Pause.
+  (Introduction, pp. 10-12.)
+
+  3-7. Read with a view to Perspective. Select other
+  examples, noting especially ll. 17-22, 47-51, 72-77, and
+  112-117. (Introduction, p. 33.)
+
+  9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24
+  and 27.) Give other examples of direct discourse broken
+  by narration.
+
+  54 and 56. SWEET ... SWEET. Which word is more emphatic?
+  (Introduction, p. 31.) Compare l. 105.
+
+  84. With what should IS RISING be connected? How?
+  Compare UPON THE TEAR, l. 116.
+
+       *       *       *       *       *
+
+
+THE LADY OF SHALOTT
+
+PART 1
+
+
+  On either side the river lie
+  Long fields of barley and of rye,
+  That clothe the wold and meet the sky;
+  And thro' the field the road runs by
+      To many-tower'd Camelot;
+  And up and down the people go,
+  Gazing where the lilies blow
+  Round an island there below,
+      The island of Shalott.
+
+  Willows whiten, aspens quiver,
+  Little breezes dusk and shiver
+  Thro' the wave that runs for ever
+  By the island in the river
+      Flowing down to Camelot.
+  Four gray walls, and four gray towers,
+  Overlook a space of flowers,
+  And the silent isle embowers
+      The Lady of Shalott.
+
+  By the margin, willow-veil'd,
+  Slide the heavy barges trail'd
+  By slow horses; and unhail'd
+  The shallop flitteth silken-sail'd
+      Skimming down to Camelot:
+  But who has seen her wave her hand?
+  Or at the casement seen her stand?
+  Or is she known in all the land,
+      The Lady of Shalott?
+
+  Only reapers, reaping early
+  In among the bearded barley,
+  Hear a song that echoes cheerly
+  From the river winding clearly,
+      Down to tower'd Camelot:
+  And by the moon the reaper weary,
+  Piling sheaves in uplands airy,
+  Listening, whispers "'Tis the fairy
+      Lady of Shalott."
+
+
+PART II
+
+  There she weaves by night and day
+  A magic web with colours gay.
+  She has heard a whisper say,
+  A curse is on her if she stay
+      To look down to Camelot.
+  She knows not what the curse may be,
+  And so she weaveth steadily,
+  And little other care hath she,
+      The Lady of Shalott.
+
+  And moving thro' a mirror clear
+  That hangs before her all the year,
+  Shadows of the world appear.
+  There she sees the highway near
+      Winding down to Camelot:
+  There the river eddy whirls,
+  And there the surly village-churls,
+  And the red cloaks of market girls,
+      Pass onward from Shalott.
+
+  Sometimes a troop of damsels glad,
+  An abbot on an ambling pad,
+  Sometimes a curly shepherd-lad,
+  Or long-hair'd page in crimson clad,
+      Goes by to tower'd Camelot;
+  And sometimes thro' the mirror blue
+  The knights come riding two and two:
+  She hath no loyal knight and true,
+      The Lady of Shalott.
+
+  But in her web she still delights
+  To weave the mirror's magic sights,
+  For often thro' the silent nights
+  A funeral, with plumes and lights
+      And music, went to Camelot:
+  Or when the moon was overhead,
+  Came two young lovers lately wed;
+  "I am half sick of shadows," said
+      The Lady of Shalott.
+
+
+PART III
+
+  A bow-shot from her bower-eaves,
+  He rode between the barley-sheaves,
+  The sun came dazzling thro' the leaves,
+  And flamed upon the brazen greaves
+      Of bold Sir Lancelot.
+  A red-cross knight for ever kneel'd
+  To a lady in his shield,
+  That sparkled on the yellow field,
+      Beside remote Shalott.
+
+  The gemmy bridle glitter'd free,
+  Like to some branch of stars we see
+  Hung in the golden Galaxy.
+  The bridle bells rang merrily
+      As he rode down to Camelot:
+  And from his blazon'd baldric slung
+  A mighty silver bugle hung,
+  And as he rode his armour rung,
+      Beside remote Shalott.
+
+  All in the blue unclouded weather
+  Thick-jewell'd shone the saddle-leather,
+  The helmet and the helmet-feather
+  Burn'd like one burning flame together,
+      As he rode down to Camelot.
+  As often thro' the purple night,
+  Below the starry clusters bright,
+  Some bearded meteor, trailing light,
+      Moves over still Shalott.
+
+  His broad clear brow in sunlight glow'd;
+  On burnished hooves his war-horse trode;
+  From underneath his helmet flow'd
+  His coal-black curls as on he rode,
+      As he rode down to Camelot.
+  From the bank and from the river
+  He flash'd into the crystal mirror,
+  "Tirra lirra," by the river
+      Sang Sir Lancelot.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+      She look'd down to Camelot.
+  Out flew the web and floated wide;
+  The mirror crack'd from side to side;
+  "The curse is come upon me," cried
+      The Lady of Shalott.
+
+
+PART IV
+
+  In the stormy east-wind straining,
+  The pale yellow woods were waning,
+  The broad stream in his banks complaining,
+  Heavily the low sky raining
+      Over tower'd Camelot;
+  Down she came and found a boat
+      Beneath a willow left afloat,
+  And round about the prow she wrote
+      _The Lady of Shalott_.
+
+  And down the river's dim expanse
+  Like some bold seer in a trance,
+  Seeing all his own mischance--
+  With a glassy countenance
+      Did she look to Camelot.
+  And at the closing of the day
+  She loosed the chain and down she lay;
+  The broad stream bore her far away,
+      The Lady of Shalott.
+
+  Lying, robed in snowy white
+  That loosely flew to left and right--
+  The leaves upon her falling light--
+  Thro' the noises of the night
+      She floated down to Camelot:
+  And as the boat-head wound along
+  The willowy hills and fields among,
+  They heard her singing her last song,
+      The Lady of Shalott.
+
+  Heard a carol, mournful, holy,
+  Chanted loudly, chanted lowly,
+  Till her blood was frozen slowly,
+  And her eyes were darken'd wholly,
+      Turn'd to tower'd Camelot.
+  For ere she reach'd upon the tide
+  The first house by the water-side,
+  Singing in her song she died,
+      The Lady of Shalott.
+
+  Under tower and balcony,
+  By garden-wall and gallery,
+  A gleaming shape she floated by,
+  Dead-pale between the houses high,
+      Silent into Camelot.
+  Out upon the wharfs they came,
+  Knight and burgher, lord and dame,
+  And round the prow they read her name,
+      _The Lady of Shalott_.
+
+  Who is this? and what is here?
+  And in the lighted palace near
+  Died the sound of royal cheer;
+  And they cross'd themselves for fear,
+      All the knights at Camelot:
+  But Lancelot mused a little space;
+  He said, "She has a lovely face;
+  God in his mercy lend her grace,
+      The Lady of Shalott."
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Compare the poet's treatment of the story
+  of _The Lady of Shalott_ with that given in _Lancelot
+  and Elaine_.
+
+  Combine the smaller pictures in this poem into a number
+  of larger ones.
+
+  Give to the larger pictures titles which suggest the
+  different stages in the development of the story.
+
+  Exercises in Articulation. (Appendix A. See Examples)
+
+
+  PART I
+
+  Stanza i, ll. 1 and 4. Where is the Pause in each line?
+  Why? (Introduction, p. 11.)
+
+  Stanza iii, ll. 1 and 2. Account for the change in Time.
+  (Introduction, p. 13.)
+
+  2. Where is the Pause?
+
+  6-9. What is the Inflection in these questions?
+  (Introduction, p. 19.)
+
+  Stanza iv, l. 3. HEAR. With what word should this be
+  connected? How? (Introduction, p. 16.) Note the Shading.
+
+  6. Where are the Pauses in this line? Account for them.
+
+  8-9. In what Quality of voice are these lines read?
+  (Introduction, p. 6.) Compare from this standpoint the
+  last lines of Parts II, III, and IV.
+
+
+  Part II
+
+  Stanza i, ll. 3-5. Note the spontaneous imitation.
+  (Introduction, pp. 5 and 6.)
+
+  AND THERE THE SURLY ... TWO AND TWO. Note the three
+  separate groups of passers-by. Which group has the most
+  significance in its bearing on the rest of the poem? How
+  does the voice indicate this relative significance?
+  (Introduction, pp. 24 and 30.)
+
+  Stanza iii, l. 8. How is the transition made effective?
+  (Introduction, pp. 8, 9, and 25.)
+
+  Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading.
+  (Introduction, p. 33.)
+
+
+  PART III
+
+  HIS SHIELD, RODE DOWN, ARMOUR RUNG, SADDLE-LEATHER,
+  COAL-BLACK CURLS. (Appendix A, 6.)
+
+  Stanza i, l. 4. Observe the Grouping.
+
+  Stanza ii, l. 2. Where is the Pause? Explain. What is
+  the Inflection on STARS?
+
+  Compare the Shading in ll. 6 and 7.
+
+  Stanza iii. What are the central ideas of ll. 2 and 3?
+  How does the reader make them stand out?
+
+  6-8. Note the continuous Inflection. (Introduction, p.
+  17.)
+
+  Stanza iv, ll. 3 and 4. How does the Grouping here
+  affect the Pause and the Inflection?
+
+  Stanza v, ll. 1-4. What change in the voice indicates
+  the abrupt transition? What atmosphere does the voice
+  create as a preparation for the climax of the last four
+  lines?
+
+  1. What is the central idea of this line?
+
+  6-7. What change in Force, Pitch, and Stress expresses
+  the sudden disaster?
+
+
+  PART IV
+
+  Compare the atmosphere of the first four and a half
+  stanzas of this Part with the first four of Part III,
+  and also with the remainder of Part IV. What is the
+  difference in Pitch, Force, and Time? (Introduction, pp.
+  22, 26, and 13.)
+
+       *       *       *       *       *
+
+
+HOME THEY BROUGHT HER WARRIOR DEAD
+
+From "The Princess"
+
+
+  Home they brought her warrior dead:
+  She nor swoon'd, nor utter'd cry:
+  All her maidens, watching, said,
+  "She must weep or she will die."
+
+  Then they praised him, soft and low,
+  Call'd him worthy to be loved,
+  Truest friend and noblest foe;
+  Yet she neither spoke nor moved.
+
+  Stole a maiden from her place,
+  Lightly to the warrior stept,
+  Took the face-cloth from the face;
+  Yet she neither moved nor wept.
+
+  Rose a nurse of ninety years,
+  Set his child upon her knee--
+  Like summer tempest came her tears--
+  "Sweet my child, I live for thee."
+
+      --_Alfred Tennyson_
+
+
+  See Introduction, p. 6.
+
+       *       *       *       *       *
+
+
+THE SKY
+
+From "Modern Painters"
+
+
+1. It is a strange thing how little in general people know about the
+sky. It is the part of creation in which nature has done more for the
+sake of pleasing man, more for the sole and evident purpose of talking
+to him and teaching him, than in any other of her works, and it is
+just the part in which we least attend to her.
+
+2. There are not many of her other works in which some more material
+or essential purpose than the mere pleasing of man is not answered by
+every part of their organization; but every essential purpose of the
+sky might, so far as we know, be answered, if once in three days, or
+thereabouts, a great ugly black rain-cloud were brought up over the
+blue, and everything well watered, and so all left blue again till
+next time, with perhaps a film of morning and evening mist for dew.
+
+3. And instead of this, there is not a moment of any day of our lives,
+when nature is not producing scene after scene, picture after picture,
+glory after glory, and working still upon such exquisite and constant
+principles of the most perfect beauty, that it is quite certain it is
+all done for us, and intended for our perpetual pleasure. And every
+man, wherever placed, however far from other sources of interest or of
+beauty, has this doing for him constantly.
+
+4. The noblest scenes of the earth can be seen and known but by few;
+it is not intended that man should live always in the midst of them,
+he injures them by his presence, he ceases to feel them if he be
+always with them; but the sky is for all; bright as it is, it is not
+"too bright, nor good, for human nature's daily food"; it is fitted in
+all its functions for the perpetual comfort and exalting of the heart,
+for the soothing it and purifying it from its dross and dust.
+Sometimes gentle, sometimes capricious, sometimes awful, never the
+same for two moments together; almost human in its passions, almost
+spiritual in its tenderness, almost divine in its infinity, its appeal
+to what is immortal in us, is as distinct, as its ministry of
+chastisement or of blessing to what is mortal, is essential.
+
+5. And yet we never attend to it, we never make it a subject of
+thought, but as it has to do with our animal sensations; we look upon
+all by which it speaks to us more clearly than to brutes, upon all
+which bears witness to the intention of the Supreme, that we are to
+receive more from the covering vault than the light and the dew which
+we share with the weed and the worm, only as a succession of
+meaningless and monotonous accidents too common and too vain to be
+worthy of a moment of watchfulness, or a glance of admiration. If in
+our moments of utter idleness and insipidity, we turn to the sky as a
+last resource, which of its phenomena do we speak of?
+
+6. One says it has been wet, and another it has been windy, and
+another it has been warm. Who, among the whole chattering crowd, can
+tell me of the forms and the precipices of the chain of tall white
+mountains that girded the horizon at noon yesterday? Who saw the
+narrow sunbeam that came out of the south, and smote upon their
+summits until they melted and mouldered away in a dust of blue rain?
+Who saw the dance of the dead clouds when the sunlight left them last
+night, and the west wind blew them before it like withered leaves?
+
+7. All has passed, unregretted as unseen; or if the apathy be ever
+shaken off, even for an instant, it is only by what is gross, or what
+is extraordinary; and yet it is not in the broad and fierce
+manifestations of the elemental energies, not in the clash of the
+hail, nor the drift of the whirlwind, that the highest characters of
+the sublime are developed. God is not in the earthquake, nor in the
+fire, but in the still, small voice.
+
+8. They are but the blunt and the low faculties of our nature, which
+can only be addressed through lamp-black and lightning. It is in
+quiet and subdued passages of unobtrusive majesty, the deep, and the
+calm, and the perpetual,--that which must be sought ere it is seen,
+and loved ere it is understood,--things which the angels work out for
+us daily, and yet vary eternally, which are never wanting, and never
+repeated, which are to be found always yet each found but once; it is
+through these that the lesson of devotion is chiefly taught, and the
+blessing of beauty given.
+
+      --_John Ruskin_
+
+     (_By arrangement with George Allen, Publisher_)
+
+
+  SPIRITUAL, PRECIPICES, SUMMITS, UNOBTRUSIVE. (Appendix
+  A, 8.)
+
+  Par. 1. With what is LEAST ATTEND contrasted?
+
+  Par. 2. Why is SKY an emphatic word? Give examples of
+  momentary completeness. (Introduction, p. 16.)
+
+  Par. 3. What Inflection is placed on PERFECT BEAUTY?
+
+  Par. 4. Point out the contrasts in the first sentence.
+  What word is contrasted with DISTINCT?
+
+  Par. 5. With what is ONLY AS A SUCCESSION, ETC.,
+  connected in sense? How does the voice make the
+  connection? (Introduction, p. 33.)
+
+  Par. 7. UNREGRETTED, UNSEEN. Note the transferred
+  emphasis. (Introduction, p. 32.)
+
+  Par. 7. AND YET IT IS NOT ... NOR IN THE FIRE. Account
+  for the Inflection. (Introduction, p. 17.)
+
+       *       *       *       *       *
+
+
+THE RETURN OF THE SWALLOWS
+
+
+  "Out in the meadows the young grass springs,
+    Shivering with sap," said the larks, "and we
+  Shoot into air with our strong young wings,
+    Spirally up over level and lea;
+  Come, O Swallows, and fly with us
+  Now that horizons are luminous!
+    Evening and morning the world of light,
+    Spreading and kindling, is infinite!"
+
+  Far away, by the sea in the south,
+    The hills of olive and slopes of fern
+  Whiten and glow in the sun's long drouth,
+    Under the heavens that beam and burn;
+  And all the swallows were gather'd there
+  Flitting about in the fragrant air,
+    And heard no sound from the larks, but flew
+    Flashing under the blinding blue.
+
+  Out of the depths of their soft rich throats
+    Languidly fluted the thrushes, and said:
+  "Musical thought in the mild air floats,
+    Spring is coming and winter is dead!
+  Come, O Swallows, and stir the air,
+  For the buds are all bursting unaware,
+    And the drooping eaves and the elm-trees long
+    To hear the sound of your low sweet song."
+
+  Over the roofs of the white Algiers,
+    Flashingly shadowing the bright bazaar,
+  Flitted the swallows, and not one hears
+    The call of the thrushes from far, from far;
+  Sigh'd the thrushes; then, all at once,
+  Broke out singing the old sweet tones,
+    Singing the bridal of sap and shoot,
+    The tree's slow life between root and fruit.
+
+  But just when the dingles of April flowers
+    Shine with the earliest daffodils,
+  When, before sunrise, the cold clear hours
+    Gleam with a promise that noon fulfils,--
+  Deep in the leafage the cuckoo cried,
+  Perch'd on a spray by a rivulet-side,
+    "Swallows, O Swallows, come back again
+    To swoop and herald the April rain."
+
+  And something awoke in the slumbering heart
+    Of the alien birds in their African air,
+  And they paused, and alighted, and twitter'd apart,
+    And met in the broad white dreamy square;
+  And the sad slave-woman, who lifted up
+  From the fountain her broad-lipp'd earthen cup,
+  Said to herself, with a weary sigh,
+  "To-morrow the swallows will northward fly!"
+
+     --_Edmund William Gosse_
+
+
+  How does the vocal expression of the descriptive parts
+  of the poem differ from that of the call of the birds?
+  Account for the difference. (Introduction, p. 22.)
+
+  Point out the contrasts of thought and feeling in the
+  third and fourth stanzas respectively. Show a
+  corresponding contrast in vocal expression.
+
+  What line expresses the central idea of the fifth
+  stanza? How is this shown? (Introduction, p. 33.)
+
+  Account for the Pitch and the Force used in the
+  slave-woman's speech.
+
+  Supply a background of thought for the last four lines.
+  How does this affect the Time? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+BARBARA FRIETCHIE
+
+
+  Up from the meadows rich with corn,
+  Clear in the cool September morn,
+
+  The clustered spires of Frederick stand
+  Green walled by the hills of Maryland.
+
+  Round about them orchards sweep,                                     5
+  Apple-and peach-tree fruited deep,--
+
+  Fair as a garden of the Lord
+  To the eye of the famished rebel horde,
+
+  On that pleasant morn of the early fall
+  When Lee march'd over the mountain-wall,--                          10
+
+  Over the mountains winding down,
+  Horse and foot, into Frederick town.
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+
+  Flapped in the morning wind: the sun                                15
+  Of noon looked down, and saw not one.
+
+  Up rose old Barbara Frietchie then,
+  Bowed with her fourscore years and ten;
+
+  Bravest of all in Frederick town,
+  She took up the flag the men hauled down;                           20
+
+  In her attic window the staff she set,
+  To show that one heart was loyal yet.
+
+  Up the street came the rebel tread,
+  Stonewall Jackson riding ahead.
+
+  Under his slouched hat left and right                               25
+  He glanced; the old flag met his sight.
+
+  "Halt!"--the dust-brown ranks stood fast.
+  "Fire!"--out blazed the rifle-blast.
+
+  It shivered the window, pane and sash;
+  It rent the banner with seam and gash.                              30
+
+  Quick, as it fell, from the broken staff
+  Dame Barbara snatched the silken scarf;
+
+  She leaned far out on the window-sill,
+  And shook it forth with a royal will.
+
+  "Shoot, if you must, this old gray head,                            35
+  But spare your country's flag!" she said.
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came;
+
+  The nobler nature within him stirred
+  To life at that woman's deed and word:                              40
+
+  "Who touches a hair of yon gray head,
+  Dies like a dog! March on!" he said.
+
+  All day long through Frederick street
+  Sounded the tread of marching feet:
+
+  All day long that free flag tossed                                  45
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And, through the hill-gaps, sunset light
+  Shone over it with a warm good-night.                               50
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+  Honour to her! and let a tear
+  Fall, for her sake, on Stonewall's bier.
+
+  Over Barbara Frietchie's grave,                                     55
+  Flag of Freedom and Union wave!
+
+  Peace and order and beauty draw
+  Round thy symbol of light and law;
+
+  And ever the stars above look down
+  On thy stars below in Frederick town!                               60
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--Divide the poem into sections, giving each
+  a descriptive title. (Introduction, p. 10.)
+
+  Describe the scene portrayed in the first fifteen lines,
+  supplementing your description by a black-board diagram.
+
+  ll. 1-2. What is the Inflection? Why?
+
+  l. 3. Note the Grouping and Pause.
+
+  l. 3. STAND; l. 7, LORD; l. 8, HORDE. What is the
+  Inflection? Why?
+
+  l. 15. (Introduction, p. 9.)
+
+  l. 20. What are the emphatic words? Are both words of a
+  contrast necessarily emphatic?
+
+  ll. 17-22. Note the change in nervous tension. What
+  effect has this on the key of the voice? (Introduction,
+  p. 25.)
+
+  ll. 25-26. How do these lines illustrate the truth that
+  the Visualization of a scene is a necessary forerunner
+  of correct vocal expression?
+
+  ll. 27-28. HALT! FIRE! What change in vocal expression
+  accompanies the transition to abrupt command?
+
+  l. 31. With what do you connect FROM THE BROKEN STAFF?
+  How? (Introduction, p. 16.)
+
+  ll. 31-36. What part should Imitation play here?
+  (Introduction, pp. 5 and 6.)
+
+  ll. 37-38. (Introduction, p. 14.)
+
+  l. 39. Note Grouping and Pause.
+
+  ll. 41-42. (Introduction, p. 5.)
+
+  l. 43. With what do you connect THROUGH FREDERICK
+  STREET? How? Where do you pause in this line?
+
+  l. 51. (Introduction, p. 9.)
+
+       *       *       *       *       *
+
+
+BLESS THE LORD, O MY SOUL
+
+Psalm ciii
+
+
+  Bless the Lord, O my soul:
+    And all that is within me, bless his holy name
+  Bless the Lord, O my soul,
+    And forget not all his benefits:
+  Who forgiveth all thine iniquities;
+    Who healeth all thy diseases;
+  Who redeemeth thy life from destruction;
+    Who crowneth thee with lovingkindness and tender mercies:
+  Who satisfieth thy mouth with good things;
+    So that thy youth is renewed like the eagle's.
+
+  The Lord executeth righteousness
+    And judgment for all that are oppressed.
+  He made known his ways unto Moses,
+    His acts unto the children of Israel.
+  The Lord is merciful and gracious,
+    Slow to anger, and plenteous in mercy.
+  He will not always chide:
+    Neither will he keep his anger for ever.
+  He hath not dealt with us after our sins;
+    Nor rewarded us according to our iniquities.
+
+  For as the heaven is high above the earth,
+    So great is his mercy toward them that fear him.
+  As far as the east is from the west,
+    So far hath he removed our transgressions from us
+  Like as a father pitieth his children,
+    So the Lord pitieth them that fear him.
+  For he knoweth our frame;
+    He remembereth that we are dust.
+
+  As for man, his days are as grass:
+    As a flower of the field, so he flourisheth.
+  For the wind passeth over it, and it is gone;
+    And the place thereof shall know it no more.
+  But the mercy of the Lord is from everlasting to everlasting
+       upon them that fear him,
+    And his righteousness unto children's children;
+  To such as keep his covenant,
+    And to those that remember his commandments to do them.
+
+  The Lord hath prepared his throne in the heavens;
+    And his kingdom ruleth over all.
+  Bless the Lord, ye his angels,
+    That excel in strength,
+  That do his commandments,
+    Hearkening unto the voice of his word.
+  Bless ye the Lord, all ye his hosts;
+    Ye ministers of his, that do his pleasure.
+  Bless the Lord, all his works,
+    In all places of his dominion:
+  Bless the Lord, O my soul.
+
+      --_As arranged by Richard G. Moulton_
+
+
+  PREPARATORY.--What attitude of mind does the language of
+  this Psalm indicate? What Stress of voice is its natural
+  expression? (Introduction, p. 29.)
+
+  Articulation. (Appendix A, 3.)
+
+       *       *       *       *       *
+
+
+THE ETERNAL GOODNESS
+
+
+  I know not what the future hath
+  Of marvel or surprise,
+  Assured alone that life and death
+  His mercy underlies.
+
+  And if my heart and flesh are weak                                   5
+  To bear an untried pain,
+  The bruised reed He will not break,
+  But strengthen and sustain.
+
+  No offering of my own I have,
+  Nor works my faith to prove;                                        10
+  I can but give the gifts He gave,
+  And plead His love for love.
+
+  And so beside the Silent Sea
+  I wait the muffled oar;
+  No harm from Him can come to me                                     15
+  On ocean or on shore.
+
+  I know not where His islands lift
+  Their fronded palms in air;
+  I only know I cannot drift
+  Beyond His love and care.                                           20
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--What attitude of mind is suggested by this
+  poem?
+
+  How does it differ from that suggested by the preceding
+  selection? What is the difference in vocal expression?
+
+  Account for the Inflection placed on the negative
+  statements in this poem. (Introduction, pp. 17 and 18.)
+
+       *       *       *       *       *
+
+
+THE KING OF GLORY
+
+Psalm xxiv
+
+(Anthems for the Inauguration of Jerusalem)
+
+
+_I.--At the Foot of the Hill_
+
+FIRST CHOIR
+
+  The earth is the LORD'S, and the fulness thereof;
+    The world, and they that dwell therein.
+  For He hath founded it upon the seas,
+    And established it upon the floods.
+  Who shall ascend into the hill of the LORD?
+    And who shall stand in His holy place?
+
+
+SECOND CHOIR
+
+  He that hath clean hands, and a pure heart;
+    Who hath not lifted up his soul unto vanity,
+    And hath not sworn deceitfully.
+  He shall receive a blessing from the LORD,
+    And righteousness from the God of his salvation.
+  This is the generation of them that seek after Him,
+    That seek Thy face, O God of Jacob.
+
+
+_II.--Before the Gates_
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+    And be ye lift up, ye everlasting doors:
+    And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is the King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD strong and mighty,
+  The LORD mighty in battle.
+
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+  Yea, lift them up, ye everlasting doors:
+  And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is this King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD of Hosts,
+  He is the King of Glory.
+
+      --_As arranged by Richard G. Moulton_
+
+       *       *       *       *       *
+
+
+THE FOUR-HORSE RACE
+
+From "Black Rock"
+
+
+1. The great event of the day, however, was to be the four-horse race,
+for which three teams were entered--one from the mines driven by
+Nixon, Craig's friend, a citizens' team, and Sandy's. The race was
+really between the miners' team and that from the woods, for the
+citizens' team, though made up of speedy horses, had not been driven
+much together, and knew neither their driver nor each other. In the
+miners' team were four bays, very powerful, a trifle heavy perhaps,
+but well matched, perfectly trained, and perfectly handled by their
+driver. Sandy had his long rangy roans, and for leaders, a pair of
+half-broken pinto bronchos. The pintos, caught the summer before upon
+the Alberta prairies, were fleet as deer, but wicked and uncertain.
+They were Baptiste's special care and pride. If they would only run
+straight, there was little doubt that they would carry the roans and
+themselves to glory; but one could not tell the moment they might
+bolt or kick things to pieces.
+
+2. Being the only non-partisan in the crowd, I was asked to referee.
+The race was about half a mile and return, the first and last quarters
+being upon the ice. The course, after leaving the ice, led up from the
+river by a long, easy slope to the level above; and at the further
+end, curved somewhat sharply around the Old Fort. The only condition
+attaching to the race was, that the teams should start from the
+scratch, make the turn of the Fort, and finish at the scratch. There
+were no vexing regulations as to fouls. The man making the foul would
+find it necessary to reckon with the crowd, which was considered
+sufficient guarantee for a fair and square race. Owing to the hazards
+of the course, the result would depend upon the skill of the drivers
+quite as much as the speed of the teams. The points of hazard were at
+the turn round the Old Fort, and at a little ravine which led down to
+the river, over which the road passed by means of a long, log bridge
+or causeway.
+
+3. From a point upon the high bank of the river, the whole course lay
+in open view. It was a scene full of life and vividly picturesque.
+There were miners in dark clothes and peak caps; citizens in ordinary
+garb; ranch-men in wide cowboy hats and buckskin shirts and leggings,
+some with cartridge-belts and pistols; a few half-breeds and Indians
+in half-native, half-civilized dress; and scattering through the
+crowd, the lumbermen with gay scarlet and blue blanket coats, and some
+with knitted tuques of the same colour. A very good-natured but
+extremely uncertain crowd it was. At the head of each horse stood a
+man, but at the pintos' heads Baptiste stood alone, trying to hold
+down the off-leader, thrown into a frenzy of fear by the yelling of
+the crowd.
+
+4. Gradually all became quiet, till, in the midst of absolute
+stillness, came the words: "Are you ready?" then the pistol-shot, and
+the great race had begun. Above the roar of the crowd came the shrill
+cry of Baptiste, as he struck his broncho with the palm of his hand,
+and swung himself into the sleigh beside Sandy, as it shot past.
+
+5. Like a flash the bronchos sprang to the front, two lengths before
+the other teams; but, terrified by the yelling of the crowd, instead
+of bending to the left bank up which the road wound, they wheeled to
+the right and were almost across the river before Sandy could swing
+them back into the course.
+
+6. Baptiste's cries, a curious mixture of French and English,
+continued to strike through all other sounds, till they gained the top
+of the slope to find the others almost a hundred yards in front, the
+citizens' team leading, with the miners' following close. The moment
+the pintos caught sight of the teams before them, they set off at a
+terrific pace and steadily devoured the intervening space. Nearer and
+nearer the turn came, the eight horses in front, running straight and
+well within their speed. After them flew the pintos, running savagely
+with ears set back, leading well the big roans, thundering along and
+gaining at every bound. And now the citizens' team had almost reached
+the Fort, running hard and drawing away from the bays. But Nixon knew
+what he was about, and was simply steadying his team for the turn. The
+event proved his wisdom, for in the turn the leading team left the
+track, lost a moment or two in the deep snow, and before they could
+regain the road, the bays had swept superbly past, leaving their
+rivals to follow in the rear. On came the pintos, swiftly nearing the
+Fort. Surely at that pace they cannot make the turn. But Sandy knows
+his leaders. They have their eyes upon the teams in front, and need no
+touch of rein. Without the slightest change in speed the nimble-footed
+bronchos round the turn, hauling the big roans after them, and fall in
+behind the citizens' team, which is regaining steadily the ground lost
+in the turn.
+
+7. And now the struggle is for the bridge over the ravine. The bays in
+front, running with mouths wide open, are evidently doing their best;
+behind them, and every moment nearing them, but at the limit of their
+speed too, come the lighter and fleeter citizens' team; while opposite
+their driver are the pintos, pulling hard, eager and fresh. Their
+temper is too uncertain to send them to the front; they run well
+following, but when leading cannot be trusted, and besides, a broncho
+hates a bridge; so Sandy holds them where they are, waiting and hoping
+for his chance after the bridge is crossed. Foot by foot the citizens'
+team creep up upon the flank of the bays, with the pintos in turn
+hugging them closely, till it seems as if the three, if none slackens,
+must strike the bridge together; and this will mean destruction to one
+at least. This danger Sandy perceives, but he dare not check his
+leaders. Suddenly, within a few yards of the bridge, Baptiste throws
+himself upon the lines, wrenches them out of Sandy's hands, and, with
+a quick swing, forces the pintos down the steep side of the ravine,
+which is almost sheer ice with a thin coat of snow. It is a daring
+course to take, for the ravine, though not deep, is full of
+undergrowth, and is partially closed up by a brush heap at the further
+end. But with a yell, Baptiste hurls his four horses down the slope,
+and into the undergrowth. "Allons, mes enfants! Courage! vite, vite!"
+cries their driver, and nobly do the pintos respond. Regardless of
+bushes and brush heaps, they tear their way through; but as they
+emerge, the hind bob-sleigh catches a root, and, with a crash, the
+sleigh is hurled high into the air. Baptiste's cries ring out high and
+shrill as ever, encouraging his team, and never cease till, with a
+plunge and a scramble, they clear the brush heap lying at the mouth of
+the ravine, and are out on the ice on the river, with Baptiste
+standing on the front bob, the box trailing behind, and Sandy nowhere
+to be seen.
+
+8. Three hundred yards of the course remain. The bays, perfectly
+handled, have gained at the bridge, and in the descent to the ice, and
+are leading the citizens' team by half a dozen sleigh lengths. Behind
+both comes Baptiste. It is now or never for the pintos. The rattle of
+the trailing box, together with the wild yelling of the crowd rushing
+down the bank, excites the bronchos to madness, and, taking the bits
+in their teeth, they do their first free running that day. Past the
+citizens' team like a whirlwind they dash, clear the intervening
+space, and gain the flanks of the bays. Can the bays hold them? Over
+them leans their driver, plying for the first time the hissing lash.
+Only fifty yards more. The miners begin to yell. But Baptiste, waving
+his lines high in one hand, seizes his tuque with the other, whirls it
+above his head and flings it with a fiercer yell than ever at the
+bronchos. Like the bursting of a hurricane the pintos leap forward,
+and with a splendid rush cross the scratch, winners by their own
+length.
+
+      --_By arrangement with the Westminster Co., Limited,
+           and Rev. C. W. Gordon (Ralph Connor)_
+
+
+  PREPARATORY.--Make a black-board sketch of the
+  race-course, fixing the position of "the scratch," "the
+  Old Fort," "the high bank with the spectators," "the
+  bridge," etc.
+
+  In what passages does the excitement reach its greatest
+  height? How are the Pitch and Time affected?
+  (Introduction, pp. 13 and 22.)
+
+  What is the Stress employed throughout? Where is the
+  Stress most marked? Give reasons. (Introduction, pp. 27
+  and 28.)
+
+       *       *       *       *       *
+
+
+MRS. MALAPROP'S VIEWS
+
+From "The Rivals"
+
+
+The scene is Mrs. Malaprop's lodgings at Bath. Present, Lydia Languish.
+Enter Mrs. Malaprop and Sir Anthony Absolute.
+
+
+_Mrs. Malaprop._--There, Sir Anthony, there sits the deliberate
+simpleton who wants to disgrace her family, and lavish herself on a
+fellow not worth a shilling.
+
+_Lydia._--Madam, I thought you once--
+
+_Mrs. Malaprop._--You thought, miss! I don't know any business you
+have to think at all: thought does not become a young woman. But the
+point we would request of you is, that you will promise to forget this
+fellow; to illiterate him, I say, quite from your memory.
+
+_Lydia._--Ah, madam! our memories are independent of our wills. It is
+not so easy to forget.
+
+_Mrs. Malaprop._--But I say it is, miss! there is nothing on earth so
+easy as to forget, if a person chooses to set about it. I'm sure I
+have as much forgot your poor dear uncle as if he had never
+existed--and I thought it my duty so to do; and let me tell you,
+Lydia, these violent memories don't become a young woman.
+
+_Sir Anthony._--Why, sure she won't pretend to remember what she's
+ordered not! Ay, this comes of her reading!
+
+_Lydia._--What crime, madam, have I committed to be treated thus?
+
+_Mrs. Malaprop._--Now don't attempt to extirpate yourself from the
+matter; you know I have proof controvertible of it. But tell me, will
+you promise to do as you're bid? Will you take a husband of your
+friends' choosing?
+
+_Lydia._--Madam, I must tell you plainly that had I no preference for
+any one else, the choice you have made would be my aversion.
+
+_Mrs. Malaprop._--What business have you, miss, with preference and
+aversion. They don't become a young woman; and you ought to know that
+as both always wear off, 'tis safest in matrimony to begin with a
+little aversion. I am sure I hated your poor dear uncle before
+marriage as if he'd been a blackamoor; and yet, miss, you are sensible
+what a wife I made? and when it pleased Heaven to release me from him,
+'tis unknown what tears I shed! But suppose we were going to give you
+another choice, will you promise us to give up this Beverley?
+
+_Lydia._--Could I belie my thoughts so far as to give that promise, my
+actions would certainly as far belie my words.
+
+_Mrs. Malaprop._--Take yourself to your room. You are fit company for
+nothing but your own ill-humours.
+
+_Lydia._--Willingly, ma'am--I cannot change for the worse.
+  (_Exit_)
+
+_Mrs. Malaprop._--There's a little intricate hussy for you!
+
+_Sir Anthony._--It is not to be wondered at, ma'am: all this is the
+natural consequence of teaching girls to read. Had I a thousand
+daughters, by heaven I'd as soon have them taught the black art as
+their alphabet!
+
+_Mrs. Malaprop._--Nay, nay, Sir Anthony: you are an absolute
+misanthropy.
+
+_Sir Anthony._--In my way hither, Mrs. Malaprop, I observed your
+niece's maid coming forth from a circulating library! She had a book
+in each hand; they were half-bound volumes with marble covers! From
+that moment I guessed how full of duty I should see her mistress!
+
+_Mrs. Malaprop._--Those are vile places indeed!
+
+_Sir Anthony._--Madam, a circulating library in a town is an evergreen
+tree of diabolical knowledge,--it blossoms through the year! And
+depend on it, Mrs. Malaprop, that they who are so fond of handling the
+leaves will long for the fruit at last.
+
+_Mrs. Malaprop._--Fy, fy, Sir Anthony! you surely speak laconically.
+
+_Sir Anthony._--Why, Mrs. Malaprop, in moderation now, what would you
+have a woman know?
+
+_Mrs. Malaprop._--Observe me, Sir Anthony. I would by no means wish a
+daughter of mine to be a progeny of learning; I don't think so much
+learning becomes a young woman: for instance, I would never let her
+meddle with Greek, or Hebrew, or algebra, or simony, or fluxions, or
+paradoxes, or such inflammatory branches of learning; neither would it
+be necessary for her to handle any of your mathematical, astronomical,
+diabolical instruments. But, Sir Anthony, I would send her at nine
+years old to a boarding-school, in order to learn a little ingenuity
+and artifice. Then, sir, she should have a supercilious knowledge in
+accounts; and as she grew up I would have her instructed in geometry,
+that she might know something of the contagious countries: but above
+all, Sir Anthony, she should be mistress of orthodoxy, that she might
+not misspell and mispronounce words so shamefully as girls usually do;
+and likewise that she might reprehend the true meaning of what she is
+saying. This, Sir Anthony, is what I would have a woman know; and I
+don't think there is a superstitious article in it.
+
+_Sir Anthony._--Well, well, Mrs. Malaprop, I will dispute the point no
+further with you; though I must confess that you are a truly moderate
+and polite arguer, for almost every third word you say is on my side
+of the question. But, Mrs. Malaprop, to the more important point in
+debate: you say you have no objection to my proposal?
+
+_Mrs. Malaprop._--None, I assure you. I am under no positive
+engagement with Mr. Acres; and as Lydia is so obstinate against him,
+perhaps your son may have better success.
+
+_Sir Anthony._--Well, madam, I will write for the boy directly. He
+knows not a syllable of this yet, though I have for some time had the
+proposal in my head. He is at present with his regiment.
+
+_Mrs. Malaprop._--We have never seen your son, Sir Anthony; but I hope
+no objection on his side.
+
+_Sir Anthony._--Objection! let him object if he dare! No, no, Mrs.
+Malaprop, Jack knows that the least demur puts me in a frenzy
+directly. My process was always very simple: in their younger days,
+'twas "Jack, do this"; if he demurred I knocked him down, and if he
+grumbled at that I always sent him out of the room.
+
+_Mrs. Malaprop._--Ay, and the properest way, o'my conscience! Nothing
+is so conciliating to young people as severity. Well, Sir Anthony, I
+shall give Mr. Acres his discharge, and prepare Lydia to receive your
+son's invocations; and I hope you will represent her to the captain as
+an object not altogether illegible.
+
+_Sir Anthony._--Madam, I will handle the subject prudently. Well I
+must leave you; and let me beg you, Mrs. Malaprop, to enforce this
+matter roundly to the girl. Take my advice--keep a tight hand: if she
+rejects this proposal, clap her under lock and key; and if you were
+just to let the servants forget to bring her dinner for three or four
+days, you can't conceive how she'd come about. (Exit)
+
+_Mrs. Malaprop._--Well, at any rate I shall be glad to get her from
+under my intuition. She has somehow discovered my partiality for Sir
+Lucius O'Trigger: sure Lucy can't have betrayed me! No, the girl is
+such a simpleton, I should have made her confess it. (Calls) Lucy!
+Lucy!--Had she been one of your artificial ones, I should never have
+trusted her.
+
+    --_Richard Brinsley Sheridan_
+
+
+  What is the difference between Mrs. Malaprop's mental
+  attitude toward Lydia and toward Sir Anthony? How is
+  this difference indicated in the Stress of voice?
+  (Introduction, pp. 27 and 28.)
+
+       *       *       *       *       *
+
+
+THE GLOVE AND THE LIONS
+
+
+  King Francis was a hearty king, and lov'd a royal sport,
+  And one day, as his lions strove, sat looking on the court;
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride;
+  And truly 'twas a gallant thing to see that crowning show,           5
+  Valour and love, and a king above, and the royal beasts below.
+
+  Ramp'd and roar'd the lions, with horrid laughing jaws;
+  They bit, they glared, gave blows like beams, a wind went with
+    their paws;
+  With wallowing might and stifled roar, they roll'd one on another,
+  Till all the pit, with sand and mane, was in a thund'rous smother;  10
+  The bloody foam above the bars came whizzing through the air;
+  Said Francis then, "Good gentlemen, we're better here than there!"
+
+  De Lorge's love o'erheard the King, a beauteous, lively dame,
+  With smiling lips, and sharp bright eyes, which always seem'd
+    the same:
+  She thought, "The Count, my lover, is as brave as brave can be;     15
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wond'rous fine;
+  I'll drop my glove to prove his love; great glory will be mine!"
+
+  She dropp'd her glove to prove his love: then looked on him
+    and smiled;
+  He bow'd, and in a moment leap'd among the lions wild:              20
+  The leap was quick; return was quick; he soon regain'd his place;
+  Then threw the glove, but not with love, right in the lady's face!
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+      --_Leigh Hunt_
+
+
+  PREPARATORY.--Divide the poem into four scenes, and
+  describe each scene.
+
+  What are the difficulties of Articulation in ll. 2, 9,
+  10, and 14.
+
+  What attitude of mind is indicated by the King's first
+  speech? By his second speech? What difference in Stress?
+  (Introduction, pp. 27-29.) What is the Force in each
+  case? (Introduction, p. 25.)
+
+  15, 16, and 17. Use these lines as an illustration to
+  show that Visualization is necessary in order to secure
+  good vocal expression.
+
+  In what Time do you read the lady's thoughts!
+  (Introduction, p. 13.)
+
+  Give examples from stanzas ii, and iv, where the
+  sympathy with the picture may be sufficiently strong to
+  lead to imitation of movements or sounds. (Introduction,
+  pp. 5 and 6.)
+
+       *       *       *       *       *
+
+
+THE FICKLENESS OF A ROMAN MOB
+
+From "Julius Caesar" Act I. Scene i.
+
+_Enter_ FLAVIUS, MARULLUS, _and certain Commoners over the Stage._
+
+
+_Flav._ Hence! home, you idle creatures, get you home.
+Is this a holiday? What! know you not,
+Being mechanical, you ought not walk
+Upon a labouring day without the sign
+Of your profession?--Speak, what trade art thou?                       5
+
+_1 Cit._ Why, sir, a carpenter.
+
+_Mar._ Where is thy leather apron, and thy rule?
+What dost thou with thy best apparel on?--
+You, sir, what trade are you?
+
+_2 Cit._ Truly, sir, in respect of a fine workman, I am               10
+but, as you would say, a cobbler.
+
+_Mar._ But what trade are thou? Answer me directly.
+
+_2 Cit._ A trade, sir, that I hope I may use with a safe
+conscience; which is, indeed, sir, a mender of bad soles.
+
+_Mar._ What trade, thou knave? thou naughty knave,                    15
+what trade?
+
+_2 Cit._ Nay, I beseech you, sir, be not out with me;
+yet, if you be out, sir, I can mend you.
+
+_Mar._ What mean'st thou by that? Mend me, thou saucy fellow?
+
+_2 Cit._ Why, sir, cobble you.                                        20
+
+_Flav._ Thou art a cobbler, art thou?
+
+_2 Cit._ Truly, sir, all that I live by is with the awl.
+I meddle with no tradesman's matters, nor women's
+matters, but with all. I am, indeed, sir, a surgeon to
+old shoes; when they are in great danger, I re-cover                  25
+them. As proper men as ever trod upon neat's leather
+have gone upon my handiwork.
+
+_Flav._ But wherefore art not in thy shop to-day?
+Why dost thou lead these men about the streets?
+
+_2 Cit._ Truly, sir, to wear out their shoes, to get                  30
+myself into more work.  But, indeed, sir, we make
+holiday to see Caesar, and to rejoice in his triumph.
+
+_Mar._ Wherefore rejoice? What conquest brings he home?
+What tributaries follow him to Rome,
+To grace in captive bonds his chariot wheels?                         35
+You blocks, you stones, you worse than senseless things!
+O, you hard hearts, you cruel men of Rome,
+Knew you not Pompey? Many a time and oft
+Have you climbed up to walls and battlements,
+To towers and windows, yea, to chimney-tops,                          40
+Your infants in your arms, and there have sat
+The livelong day, with patient expectation,
+To see great Pompey pass the streets of Rome;
+And when you saw his chariot but appear,
+Have you not made an universal shout,                                 45
+That Tiber trembled underneath her banks,
+To hear the replication of your sounds
+Made in her concave shores?
+And do you now put on your best attire?
+And do you now cull out a holiday?                                    50
+And do you now strew flowers in his way
+That comes in triumph over Pompey's blood?
+Be gone!
+Run to your houses, fall upon your knees,
+Pray to the gods to intermit the plague                               55
+That needs must light on this ingratitude.
+
+_Flav._ Go, go, good countrymen, and for this fault
+Assemble all the poor men of your sort;
+Draw them to Tiber banks, and weep your tears
+Into the channel, till the lowest stream                              60
+Do kiss the most exalted shores of all.
+
+[_Exeunt all the Commoners_]
+
+See, whe'r their basest metal be not moved!
+They vanish tongue-tied in their guiltiness.
+Go you down that way towards the Capitol;
+This way will I. Disrobe the images,                                  65
+If you do find them deck'd with ceremonies.
+
+_Mar._ May we do so?
+You know it is the feast of Lupercal.
+
+_Flav._ It is no matter; let no images
+Be hung with Caesar's trophies. I'll about,                            70
+And drive away the vulgar from the streets;
+So do you too, where you perceive them thick.
+These growing feathers pluck'd from Caesar's wing
+Will make him fly an ordinary pitch,
+Who else would soar above the view of men,                            75
+And keep us all in servile fearfulness.
+
+[_Exeunt]_
+
+      --_Shakespeare_
+
+
+  In what Stress do Flavius and Marullus speak when
+  questioning the citizens? Why?
+
+  What Stress does the first citizen use?
+
+  How does the mental attitude of the second citizen
+  influence his Stress and Inflection? (Introduction, pp.
+  21, 22, and 30.) Where does he change his Stress? For
+  what reason?
+
+  WHEREFORE REJOICE? Point out the various examples of
+  Climax in this speech, and show how the voice indicates
+  them. (Introduction, p. 31.)
+
+  Account for the Inflection on the various questions.
+  (Introduction, pp. 18 and 19.)
+
+  SEE WHE'R THEIR BASEST METAL, ETC. Note the change in
+  tension and energy. What change in Pitch and Force is
+  the natural result? (Introduction, pp. 25 and 26.)
+
+       *       *       *       *       *
+
+
+SIR PETER AND LADY TEAZLE
+
+From "The School for Scandal"
+
+
+_Sir Peter._--Lady Teazle, Lady Teazle, I'll not bear it!
+
+_Lady Teazle._--Sir Peter, Sir Peter, you may bear it or not, as you
+please; but I ought to have my own way in everything, and, what's
+more, I will, too. What though I was educated in the country, I know
+very well that women of fashion in London are accountable to nobody
+after they are married.
+
+_Sir Peter._--Very well, ma'am, very well; so a husband is to have no
+influence, no authority?
+
+_Lady Teazle._--Authority! No, to be sure: if you wanted authority
+over me, you should have adopted me and not married me: I am sure you
+were old enough.
+
+_Sir Peter._--Old enough!--ay, there it is. Well, well, Lady Teazle,
+though my life may be made unhappy by your temper, I'll not be ruined
+by your extravagance!
+
+_Lady Teazle._--My extravagance! I'm sure I'm not more extravagant
+than a woman of fashion ought to be.
+
+_Sir Peter._--No, no, madam, you shall throw away no more sums on such
+unmeaning luxury. To spend as much to furnish your dressing room with
+flowers in winter as would suffice to turn the Pantheon into a
+greenhouse, and give a fete champetre at Christmas!
+
+_Lady Teazle._--And am I to blame, Sir Peter, because flowers are dear
+in cold weather? You should find fault with the climate, and not with
+me. For my part, I'm sure I wish it was spring all the year round,
+and that roses grew under our feet!
+
+_Sir Peter._--Oons! madam--if you had been born to this, I shouldn't
+wonder at your talking thus; but you forget what your situation was
+when I married you.
+
+_Lady Teazle._--No, no, I don't; 'twas a very disagreeable one, or I
+should never have married you.
+
+_Sir Peter._--Yes, yes, madam, you were then in somewhat a humbler
+style--the daughter of a plain country squire. Recollect, Lady Teazle,
+when I saw you first sitting at your tambour, in a pretty figured
+linen gown, with a bunch of keys at your side, your hair combed smooth
+over a roll, and your apartment hung round with fruits in worsted, of
+your own working.
+
+_Lady Teazle._--Oh, yes! I remember it very well, and a curious life I
+led. My daily occupation to inspect the dairy, superintend the
+poultry, make extracts from the family receipt book, and comb my aunt
+Deborah's lap-dog.
+
+_Sir Peter._--Yes, yes, ma'am, 'twas so indeed.
+
+_Lady Teazle._--And then, you know, my evening amusements! To draw
+patterns for ruffles, which I had not materials to make up; to play
+Pope Joan with the curate; to read a sermon to my aunt; or to be stuck
+down to an old spinet to strum my father to sleep after a fox chase.
+
+_Sir Peter._--I am glad you have so good a memory. Yes, madam, these
+were the recreations I took you from; but now you must have your
+coach--_vis-a-vis_--and three powdered footmen before your chair; and,
+in the summer, a pair of white cats to draw you to Kensington Gardens.
+No recollection, I suppose, when you were content to ride double,
+behind the butler, on a docked coach horse.
+
+_Lady Teazle._--No--I swear I never did that: I deny the butler and
+the coach horse.
+
+_Sir Peter._--This, madam, was your situation; and what have I done
+for you? I have made you a woman of fashion, of fortune, of rank,--in
+short, I have made you my wife.
+
+_Lady Teazle._--Well, then, and there is but one thing more you can
+make me to add to the obligation, that is--
+
+_Sir Peter._--My widow, I suppose?
+
+_Lady Teazle._--Hem! hem!
+
+_Sir Peter._--I thank you, madam--but don't flatter yourself, for,
+though your ill conduct may disturb my peace of mind, it shall never
+break my heart, I promise you: however, I am equally obliged to you
+for the hint.
+
+_Lady Teazle._--Then why will you endeavour to make yourself so
+disagreeable to me, and thwart me in every little elegant expense.
+
+_Sir Peter._--Oons! madam, I say, had you any of these little elegant
+expenses when you married me?
+
+_Lady Teazle._--Lud, Sir Peter! would you have me be out of the
+fashion?
+
+_Sir Peter._--The fashion, indeed! what had you to do with the fashion
+before you married me?
+
+_Lady Teazle._--For my part, I should think you would like to have
+your wife thought a woman of taste.
+
+_Sir Peter._--Ay--there again--taste! Zounds! madam, you had no taste
+when you married me!
+
+_Lady Teazle._--That's very true, indeed, Sir Peter! and, after
+having married you, I should never pretend to taste again, I allow.
+But now, Sir Peter, since we have finished our daily jangle, I presume
+I may go to my engagement at Lady Sneerwell's.
+
+_Sir Peter._--Ay, there's another precious circumstance--a charming
+set of acquaintance you have made there.
+
+_Lady Teazle._--Nay, Sir Peter, they are all people of rank and
+fortune, and remarkably tenacious of reputation.
+
+_Sir Peter._--Yes, they are tenacious of reputation with a vengeance;
+for they don't choose anybody should have a character but themselves!
+Such a crew! Ah! many a wretch has rid on a hurdle who has done less
+mischief than these utterers of forged tales, coiners of scandal, and
+clippers of reputation.
+
+_Lady Teazle._--What! would you restrain the freedom of speech?
+
+_Sir Peter._--Ah! they have made you just as bad as any one of the
+society.
+
+_Lady Teazle._--Why, I believe I do bear a part with a tolerable
+grace.
+
+_Sir Peter._--Grace indeed!
+
+_Lady Teazle._--But I vow I bear no malice against the people I abuse:
+when I say an ill-natured thing, 'tis out of pure good humour: and I
+take it for granted they deal exactly the same with me. But, Sir
+Peter, you know you promised to come to Lady Sneerwell's too.
+
+_Sir Peter._--Well, well, I'll call in, just to look after my own
+character.
+
+_Lady Teazle._--Then, indeed, you must make haste after me, or you'll
+be too late. So good-bye to ye. (_Exit_)
+
+_Sir Peter._--So--I have gained much by my intended expostulation!
+Yet with what a charming air she contradicts everything I say, and how
+pleasantly she shows her contempt for my authority! Well, though I
+can't make her love me, there is great satisfaction in quarrelling
+with her; and I think she never appears to such advantage as when she
+is doing everything in her power to plague me. _(Exit_)
+
+      --_Richard Brinsley Sheridan_
+
+
+  Select the passages where Lady Teazle tries to enforce
+  her opinion by (a) strong assertion, (b) peevishness and
+  whining.
+
+  In what passages does her desire to taunt and ridicule
+  Sir Peter predominate?
+
+  In what passages does she address Sir Peter in the tone
+  of ordinary conversation?
+
+  What Stress is used in each case? (Introduction, pp.
+  28-30.)
+
+  HAD YOU ANY OF THESE LITTLE ELEGANT EXPENSES? What
+  Stress is placed on the last four words?
+
+       *       *       *       *       *
+
+
+THE PARTING OF MARMION AND DOUGLAS
+
+From "Marmion"
+
+
+  Not far advanced was morning day,
+  When Marmion did his troop array
+      To Surrey's camp to ride;
+  He had safe-conduct for his band,
+  Beneath the royal seal and hand,                                     5
+      And Douglas gave a guide.
+
+  The ancient Earl, with stately grace,
+  Would Clara on her palfrey place,
+  And whispered in an undertone,
+  "Let the hawk stoop, his prey is flown."                            10
+  The train from out the castle drew,
+  But Marmion stopped to bid adieu:
+  "Though something I might plain," he said,
+  "Of cold respect to stranger guest,
+  Sent hither by your King's behest,                                  15
+      While in Tantallon's towers I stayed;
+  Part we in friendship from your land,
+  And, noble earl, receive my hand."
+
+  But Douglas round him drew his cloak,
+  Folded his arms, and thus he spoke:                                 20
+  "My manors, halls, and bowers, shall still
+  Be open, at my Sovereign's will,
+  To each one whom he lists, howe'er
+  Unmeet to be the owner's peer.
+  My castles are my King's alone,                                     25
+  From turret to foundation-stone:
+  The hand of Douglas is his own;
+  And never shall, in friendly grasp,
+  The hand of such as Marmion clasp."
+
+  Burned Marmion's swarthy cheek like fire,                           30
+  And shook his very frame for ire;
+      And--"This to me," he said,
+  "An't were not for thy hoary beard,
+  Such hand as Marmion's had not spared
+      To cleave the Douglas' head!                                    35
+  And, first, I tell thee, haughty peer,
+  He who does England's message here,
+  Although the meanest in her state,
+  May well, proud Angus, be thy mate:
+  And, Douglas, more I tell thee here,                                40
+      Even in thy pitch of pride
+  Here in thy hold, thy vassals near
+  (Nay, never look upon your lord,
+  And lay your hands upon your sword,)
+      I tell thee, thou'rt defied!                                    45
+  And if thou saidst, I am not peer
+  To any lord in Scotland here,
+  Lowland or Highland, far or near,
+      Lord Angus, thou hast lied!"
+
+  On the Earl's cheek the flush of rage                               50
+  O'ercame the ashen hue of age:
+  Fierce he broke forth: "And darest thou, then,
+  To beard the lion in his den,
+      The Douglas in his hall?
+  And hopest thou hence unscathed to go?--                            55
+  No, by Saint Bride of Bothwell, no!--
+  Up drawbridge, grooms!--what, Warder, ho!
+      Let the portcullis fall."
+
+  Lord Marmion turned,--well was his need,--
+  And dashed the rowels in his steed,                                 60
+  Like arrow through the archway sprung,
+  The ponderous grate behind him rung:
+  To pass there was such scanty room,
+  The bars, descending, grazed his plume.
+
+  The steed along the drawbridge flies,                               65
+  Just as it trembles on the rise;
+  Nor lighter does the swallow skim
+  Along the smooth lake's level brim:
+  And when Lord Marmion reached his band,
+  He halts, and turns with clenched hand,                             70
+  And shout of loud defiance pours,
+  And shook his gauntlet at the towers.
+
+  "Horse! horse!" the Douglas cried, "and chase!"
+  But soon he reined his fury's pace:
+  "A royal messenger he came,                                         75
+  Though most unworthy of the name.
+  A letter forged! Saint Jude to speed!
+  Did ever knight so foul a deed!
+  At first, in heart, it liked me ill,
+  When the King praised his clerkly skill.                            80
+  Thanks to Saint Bothan, son of mine,
+  Save Gawain, ne'er could pen a line.
+  Saint Mary mend my fiery mood!
+  Old age ne'er cools the Douglas blood;
+  I thought to slay him where he stood.                               85
+  'Tis pity of him, too," he cried:
+  "Bold can he speak, and fairly ride:
+  I warrant him a warrior tried."--
+  With this his mandate he recalls,
+  And slowly seeks his castle halls.                                  90
+
+      --_Sir Walter Scott_
+
+
+  In what Quality of voice should the following passages
+  of this poem be read: (_a_) the descriptive parts; (_b_)
+  l. 10; (_c_) the first speeches of Marmion and Douglas,
+  ll. 14-18, and ll. 21-29; (_d_) the second speeches of
+  Marmion and Douglas, ll. 32-49, and ll. 52-56; (_e_) ll.
+  57-58, and ll. 75-88?
+
+       *       *       *       *       *
+
+
+COLUMBUS
+
+
+  Behind him lay the gray Azores.
+    Behind him the gates of Hercules;
+  Before him not the ghost of shores,
+    Before him only shoreless seas.
+  The good mate said: "Now we must pray,                               5
+    For, lo! the very stars are gone.
+  Brave Adm'r'l, speak; what shall I say?"
+    "Why, say: 'Sail on! sail on! and on!'"
+
+  "My men grow mutinous day by day;
+    My men grow ghastly wan and weak."                                10
+  The stout mate thought of home; a spray
+    Of salt wave washed his swarthy cheek.
+  "What shall I say, brave Adm'r'l, say,
+    If we sight naught but seas at dawn?"
+  "Why, you shall say, at break of day:                               15
+    'Sail on! sail on! sail on! and on!'"
+
+  They sailed and sailed as winds might blow,
+    Until at last the blanched mate said:
+  "Why, now not even God would know
+    Should I and all my men fall dead.                                20
+  These very winds forget the way,
+    For God from these dread seas is gone.
+  Now speak, brave Adm'r'l, speak and say--"
+    He said: "Sail on! sail on! and on!"
+
+  They sailed. They sailed. Then spake the mate:                      25
+    "This mad sea shows his teeth to-night;
+  He curls his lip, he lies in wait,
+    With lifted teeth as if to bite:
+  Brave Adm'r'l, say but one good word;
+    What shall we do when hope is gone?"                              30
+  The words leapt as a leaping sword:
+    "Sail on! sail on! sail on! and on!"
+
+  Then, pale and worn, he kept his deck
+  And peered through darkness. Ah, that night
+  Of all dark nights! And then, a speck--                             35
+  A light! a light! a light! a light!
+  It grew, a starlit flag unfurled!
+  It grew to be Time's burst of dawn.
+  He gained a world; he gave that world
+  Its greatest lesson; "On! sail on!"                                 40
+
+    --_Joaquin Miller_
+
+    --_By permission of the publishers, Whitaker & Ray-Wiggin Co._
+
+
+  WHAT, SHALL, WHY. (Appendix A, 7 and 8.)
+
+  Give examples of words or phrases which when repeated
+  become (1) unemphatic, (2) more emphatic, (3) equivalent
+  to a climax. (Introduction, pp. 31 and 32.)
+
+  Compare the mate's attitude of mind with that of the
+  Admiral. How is the difference indicated by the Stress?
+
+       *       *       *       *       *
+
+
+FROM THE "APOLOGY" OF SOCRATES
+
+From "The Dialogues of Plato"
+
+
+1. Not much time will be gained, O Athenians, in return for the evil
+name which you will get from the detractors of the city, who will say
+that you killed Socrates, a wise man; for they will call me wise, even
+although I am not wise, when they want to reproach you. If you had
+waited a little while, your desire would have been fulfilled in the
+course of nature. For I am far advanced in years, as you may perceive,
+and not far from death. I am speaking now only to those of you who
+have condemned me to death. And I have another thing to say to them:
+You think that I was convicted through deficiency of words--I mean,
+that if I had thought fit to leave nothing undone, nothing unsaid, I
+might have gained an acquittal. Not so; the deficiency which led to
+my conviction was not of words--certainly not. But I had not the
+boldness or impudence or inclination to address you as you would have
+liked me to address you, weeping and wailing and lamenting, and saying
+and doing many things which you have been accustomed to hear from
+others, and which, as I say, are unworthy of me. But I thought that I
+ought not to do anything common or mean in the hour of danger; nor do
+I now repent of the manner of my defence, and I would rather die
+having spoken after my manner, than speak in your manner and live. For
+neither in war nor yet at law ought any man to use every way of
+escaping death. For often in battle there is no doubt that if a man
+will throw away his arms, and fall on his knees before his pursuers,
+he may escape death; and in other dangers there are other ways of
+escaping death, if a man is willing to say and do anything. The
+difficulty, my friends, is not in avoiding death, but in avoiding
+unrighteousness; for that runs faster than death. I am old and move
+slowly, and the slower runner has overtaken me, and my accusers are
+keen and quick, and the faster runner, who is unrighteousness, has
+overtaken them. And now I depart hence, condemned by you to suffer the
+penalty of death, and they too go their ways, condemned by the truth
+to suffer the penalty of villainy and wrong; and I must abide by my
+reward--let them abide by theirs. I suppose that these things may be
+regarded as fated,--and I think that they are well.
+
+2. And now, O men who have condemned me, I would fain prophesy to you;
+for I am about to die, and that is the hour in which men are gifted
+with prophetic power. And I prophesy to you who are my murderers,
+that immediately after my death punishment far heavier than you have
+inflicted on me will surely await you. Me you have killed because you
+wanted to escape the accuser, and not to give an account of your
+lives. But that will not be as you suppose: far otherwise. For I say
+that there will be more accusers of you than there are now; accusers
+whom hitherto I have restrained: and as they are younger they will be
+more severe with you, and you will be more offended at them. For if
+you think that by killing men you can avoid the accuser censuring your
+lives, you are mistaken; that is not a way of escape which is either
+possible or honourable; the easiest and the noblest way is not to be
+crushing others, but to be improving yourselves. This is the prophecy
+which I utter before my departure to the judges who have condemned me.
+
+3. Friends, who would have acquitted me, I would like also to talk
+with you about this thing which has happened, while the magistrates
+are busy, and before I go to the place at which I must die. Stay then
+a while, for we may as well talk with one another while there is time.
+You are my friends, and I should like to show you the meaning of this
+event which has happened to me. O my judges--for you I may truly call
+judges--I should like to tell you of a wonderful circumstance.
+Hitherto the familiar oracle within me has constantly been in the
+habit of opposing me even about trifles, if I was going to make a slip
+or error about anything; and now, as you see, there has come upon me
+that which may be thought, and is generally believed to be, the last
+and worst evil. But the oracle made no sign of opposition, either as I
+was leaving my house and going out in the morning, or when I was going
+up into this court, or while I was speaking, at anything which I was
+going to say; and yet I have often been stopped in the middle of a
+speech, but now in nothing I either said or did touching this matter
+has the oracle opposed me. What do I take to be the explanation of
+this? I will tell you. I regard this as a proof that what has happened
+to me is a good, and that those of us who think that death is an evil
+are in error. This is a great proof to me of what I am saying, for the
+customary sign would surely have opposed me had I been going to evil
+and not to good.
+
+4. Let us reflect in another way, and we shall see that there is a
+great reason to hope that death is a good, for one of two things:
+either death is a state of nothingness and utter unconsciousness, or,
+as men say, there is a change and migration of the soul from this
+world to another. Now if you suppose that there is no consciousness,
+but a sleep like the sleep of him who is undisturbed even by the sight
+of dreams, death will be an unspeakable gain. For if a person were to
+select the night in which his sleep was undisturbed even by dreams,
+and were to compare with this the other days and nights of his life,
+and then were to tell us how many days and nights he had passed in the
+course of his life better and more pleasantly than this one, I think
+that any man, I will not say a private man, but even the great king
+will not find many such days or nights, when compared with the others.
+Now if death is like this, I say that to die is gain; for eternity is
+then only a single night. But if death is the journey to another
+place, and there, as men say, all the dead are, what good, O my
+friends and judges, can be greater than this? If indeed when the
+pilgrim arrives in the world below, he is delivered from the
+professors of justice in this world, and finds the true judges who
+are said to give judgment there, Minos and Rhadamanthus, and Aeacus,
+and Triptolemus, and other sons of God who were righteous in their own
+life, that pilgrimage will be worth making. What would not a man give
+if he might converse with Orpheus and Musaeus and Hesiod and Homer?
+Nay, if this be true, let me die again and again. I, too, shall have a
+wonderful interest in a place where I can converse with Palamedes, and
+Ajax the son of Telamon, and other heroes of old, who have suffered
+death through an unjust judgment; and there will be no small pleasure,
+as I think, in comparing my own sufferings with theirs. Above all, I
+shall be able to continue my search into true and false knowledge; as
+in this world, so also in that; I shall find out who is wise, and who
+pretends to be wise and is not. What would not a man give, O judges,
+to be able to examine the leader of the great Trojan expedition; or
+Odysseus, or Sisyphus, or numberless others, men and women too! What
+infinite delight would there be in conversing with them and asking
+them questions! For in that world they do not put a man to death for
+this; certainly not. For besides being happier in that world than in
+this, they will be immortal, if what is said is true.
+
+5. Wherefore, O judges, be of good cheer about death, and know this of
+a truth--that no evil can happen to a good man, either in life or
+after death. He and his are not neglected by the gods; nor has my own
+approaching end happened by mere chance. But I see clearly that to die
+and be released was better for me; and therefore the oracle gave no
+sign. For which reason, also, I am not angry with my accusers or my
+condemners; they have done me no harm, although neither of them meant
+to do me any good; and for this I may gently blame them.
+
+6. Still I have a favour to ask of them. When my sons are grown up, I
+would ask you, O my friends, to punish them and I would have you
+trouble them, as I have troubled you, if they seem to care about
+riches, or anything, more than about virtue; or if they pretend to be
+something when they are really nothing,--then reprove them, as I have
+reproved you, for not caring about that for which they ought to care,
+and thinking that they are something when they are really nothing. And
+if you do this, I and my sons will have received justice at your
+hands.
+
+7. The hour of departure has arrived, and we go our ways--I to die,
+and you to live. Which is better God only knows.
+
+      --_Benjamin Jowett_
+
+
+  Illustrate from this extract the general principle that
+  incompleteness is expressed by means of the Rising, and
+  completeness by means of the Falling Inflection.
+
+  Par. 1. FOR NEITHER IN WAR NOR YET AT LAW ... DEATH.
+  Explain the Inflection placed on this negative
+  statement. Give a similar example from Par. 2.
+
+  I MUST ABIDE BY MY AWARD ... LET THEM ABIDE BY THEIRS.
+  Explain the opposite Inflections on antithetical words
+  and phrases. If one part of the antithesis is a
+  negation, what is the Inflection? (Introduction, pp. 19
+  and 20.) Give examples from Par. 2.
+
+  I AM OLD AND MOVE SLOWLY ... WRONG. Explain the Emphasis
+  in these sentences. Which one of a pair of contrasted
+  words is necessarily emphatic? Give examples from this
+  and the following paragraph, in which both are emphatic,
+  and explain why. (Introduction, pp. 30-32.)
+
+  Par. 4. Explain the Inflection on the questions.
+  (Introduction, pp. 18 and 19.)
+
+  What clauses in this paragraph are really parenthetical
+  in force? How does the voice subordinate them? Give
+  similar examples from other paragraphs. (Introduction,
+  pp. 24 and 25.)
+
+       *       *       *       *       *
+
+
+HIGHLAND HOSPITALITY
+
+From "The Lady of the Lake"
+
+
+  The shades of eve come slowly down,
+  The woods are wrapt in deeper brown,
+  The owl awakens from her dell,
+  The fox is heard upon the fell;
+  Enough remains of glimmering light                                   5
+  To guide the wanderer's steps aright,
+  Yet not enough from far to show
+  His figure to the watchful foe.
+  With cautious step, and ear awake,
+  He climbs the crag and threads the brake;                           10
+  And not the summer solstice there,
+  Tempered the midnight mountain air,
+  But every breeze that swept the wold,
+  Benumbed his drenched limbs with cold.
+  In dread, in danger, and alone,                                     15
+  Famished and chilled, through ways unknown,
+  Tangled and steep, he journeyed on;
+  Till, as a rock's huge point he turned,
+  A watch-fire close before him burned.
+
+  Beside its embers red and clear,                                    20
+  Basked, in his plaid, a mountaineer;
+  And up he sprung with sword in hand,--
+  "Thy name and purpose! Saxon, stand!"--
+  "A stranger."--"What dost thou require?"--
+  "Rest and a guide, and food and fire.                               25
+  My life's beset, my path is lost.
+  The gale has chilled my limbs with frost."--
+  "Art thou a friend to Roderick?"--"No."--
+  "Thou darest not call thyself a foe?"--
+  "I dare! to him and all the band                                    30
+  He brings to aid his murderous hand."--
+  "Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,                                  35
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+  Thus, treacherous scouts,--yet sure they lie,
+  Who say thou camest a secret spy!"--
+  "They do, by Heaven!--Come Roderick Dhu,                            40
+  And of his clan the boldest two,
+  And let me but till morning rest,
+  I write the falsehood on their crest."--
+  "If by the blaze I mark aright,
+  Thou bear'st the belt and spur of Knight."--                        45
+  "Then, by these tokens mayest thou know,
+  Each proud oppressor's mortal foe."--
+  "Enough, enough; sit down and share
+  A soldier's couch, a soldier's fare."--
+
+  He gave him of his Highland cheer,                                  50
+  The hardened flesh of mountain deer;
+  Dry fuel on the fire he laid,
+  And bade the Saxon share his plaid.
+  He tended him like welcome guest,
+  Then thus his further speech addressed:--                           55
+  "Stranger, I am to Roderick Dhu
+  A clansman born, a kinsman true;
+  Each word against his honour spoke,
+  Demands of me avenging stroke;
+  Yet more,--upon thy fate, 'tis said,                                60
+  A mighty augury is laid.
+  It rests with me to wind my horn,
+  Thou art with numbers overborne;
+  It rests with me, here, brand to brand,
+  Worn as thou art, to bid thee stand:                                65
+  But not for clan, nor kindred's cause,
+  Will I depart from honour's laws;
+  To assail a wearied man were shame,
+  And stranger is a holy name;
+  Guidance and rest, and food and fire,                               70
+  In vain he never must require.
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward.
+  Till past Clan-Alpine's outmost guard,                              75
+  As far as Coilantogle's ford;
+  From thence thy warrant is thy sword."--
+  "I take thy courtesy, by Heaven,
+  As freely as 'tis nobly given!"--
+  "Well, rest thee; for the bittern's cry                             80
+  Sings us the lake's wild lullaby."
+  With that he shook the gathered heath,
+  And spread his plaid upon the wreath;
+  And the brave foemen, side by side,
+  Lay peaceful down, like brothers tried,                             85
+  And slept until the dawning beam
+  Purpled the mountain and the stream.
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Connect this scene with the rest of the
+  poem.
+
+  Give a dramatic form to this extract, describing
+  definitely the scenery and stage-setting. One reader may
+  render the descriptive parts, another the speeches of
+  Roderick Dhu, and a third those of Fitz-James.
+
+  WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS,
+  BOLDEST TWO. (Appendix A, 6.)
+
+  25 and 70. (Appendix A, 5.) 1-4. Note the word-pictures.
+  How do they affect the Pause? (Introduction, pp. 7 and
+  8.)
+
+  7. NOT ENOUGH. With what is it contrasted? Which word is
+  emphatic? Where do the Pauses occur in this line?
+
+  9. What is the atmosphere of this line? What is the
+  Quality of voice? (Introduction, p. 34.)
+
+  10-11. What Inflection? Why? What is the Shading when
+  compared with the two following lines? (Introduction, p.
+  24.)
+
+  16-17. Give an example of Grouping.
+
+  18-19. Compare the Shading of these two lines.
+
+  22. What feeling and movement are here expressed? How
+  does the voice give expression to them? (Introduction,
+  pp. 5, 6, and 27.)
+
+  Describe the mental attitude of each of the speakers.
+  What is the Stress in each case? (Introduction, pp.
+  27-29.)
+
+  38. THE PROWLING FOX ... SCOUTS. What is the mental
+  attitude here? What Stress is the result? (Introduction,
+  p. 28.) How does the rest of the speech differ from the
+  preceding? What is the Inflection? (Introduction, p.
+  18.)
+
+  What is the Stress of ordinary conversation? Illustrate
+  from the above selection.
+
+  32-39. BOLD WORDS ... SPY. (Introduction, p. 24.)
+
+  48. Why should SIT DOWN be kept distinct from SHARE? How
+  is this effected?
+
+  60. 'TIS SAID. How does the voice subordinate this
+  phrase? (Introduction, p. 24.)
+
+  66-69. Which are the emphatic words and why are they
+  emphatic?
+
+  77. What feeling is introduced here? How does the voice
+  express it?
+
+       *       *       *       *       *
+
+
+THE OUTLAW
+
+From "Rokeby"
+
+
+  O, Brignall banks are wild and fair,
+    And Greta woods are green,
+  And you may gather garlands there,
+    Would grace a summer queen.
+
+  And as I rode by Dalton-Hall,                                        5
+    Beneath the turrets high,
+  A Maiden on the castle wall
+    Was singing merrily,--
+
+  "O, Brignall banks are fresh and fair,
+    And Greta woods are green;                                        10
+  I'd rather rove with Edmund there
+    Than reign our English queen."--
+
+  "If, Maiden, thou would'st wend with me,
+    To leave both tower and town,
+  Thou first must guess what life lead we                             15
+    That dwell by dale and down.
+  And if thou canst that riddle read,
+    As read full well you may,
+  Then to the greenwood shalt thou speed
+    As blithe as Queen of May."--                                     20
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are green;
+  I'd rather rove with Edmund there.
+    Than reign our English queen.
+
+  "I read you by your bugle-horn,                                     25
+    And by your palfrey good,
+  I read you for a Ranger sworn,
+    To keep the king's greenwood."--
+  "A Ranger, lady, winds his horn,
+   And 'tis at peep of light;                                         30
+  His blast is heard at merry morn,
+    And mine at dead of night."--
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are gay;
+  I would I were with Edmund there,                                   35
+    To reign his Queen of May!
+
+  "With burnish'd brand and musketoon,
+    So gallantly you come,
+  I read you for a bold Dragoon,
+    That lists the tuck of drum."--                                   40
+  "I list no more the tuck of drum,
+    No more the trumpet hear;
+  But when the beetle sounds his hum
+    My comrades take the spear.
+
+  "And O! though Brignall banks be fair                               45
+    And Greta woods be gay,
+  Yet mickle must the maiden dare
+    Would reign my Queen of May!
+
+  "Maiden! a nameless life I lead,
+    A nameless death I'll die!                                        50
+  The fiend whose lantern lights the mead
+    Were better mate than I!
+  And when I'm with my comrades met
+    Beneath the greenwood bough,
+  What once we were we all forget,                                    55
+    Nor think what we are now.
+
+  "Yet Brignall banks are fresh and fair,
+    And Greta woods are green,
+  And you may gather garlands there
+    Would grace a summer queen."                                      60
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--"The Life of an Outlaw." Speak on this
+  subject, illustrating from such characters as Rob Roy,
+  Robin Hood, etc., and emphasizing the pathos of such a
+  life.
+
+  For dramatic rendering see preparatory notes on
+  _Highland Hospitality_.
+
+  1-4. What Stress indicates the state of mind reflected
+  by these lines? (Introduction, p. 29.)
+
+  3, 11. What Inflection is placed on THERE?
+  (Introduction, p. 16.)
+
+  12. What word may be supplied after REIGN? How is this
+  indicated in the reading? (Introduction, p. 10.)
+
+  13-20. Read these lines with a view to Perspective.
+  (Introduction, p. 33.)
+
+  Give examples of Grouping throughout the poem and show
+  how the Pause is affected. (Introduction, p. 11.)
+
+  What words in stanza iii are emphatic through contrast?
+  In stanza v?
+
+  What feeling in the last half of stanza v?
+  (Introduction, pp. 10-12.) In what Time, Pitch, and
+  Force are these lines read? Give your reasons.
+
+       *       *       *       *       *
+
+
+OF STUDIES
+
+From the "Essays"
+
+
+Studies serve for delight, for ornament, and for ability. Their chief
+use for delight, is in privateness and retiring; for ornament, is in
+discourse; and for ability, is in the judgment and disposition of
+business. For expert men can execute, and perhaps judge of
+particulars, one by one; but the general counsels, and the plots, and
+marshalling of affairs, come best from those that are learned.
+
+To spend too much time in studies, is sloth; to use them too much for
+ornament, is affectation; to make judgment wholly by their rules, is
+the humour of a scholar. They perfect nature and are perfected by
+experience: for natural abilities are like natural plants, that need
+pruning by study; and studies themselves do give forth directions too
+much at large, except they be bounded in by experience.
+
+Crafty men contemn studies; simple men admire them; and wise men use
+them; for they teach not their own use; but that is a wisdom without
+them, and above them, won by observation. Read not to contradict and
+confute; nor to believe and take for granted; nor to find talk and
+discourse; but to weigh and consider.
+
+Some books are to be tasted, others to be swallowed, and some few to
+be chewed and digested; that is, some books are to be read only in
+parts; others to be read, but not curiously; and some few to be read
+wholly, and with diligence and attention. Some books also may be read
+by deputy, and extracts made of them by others; but that would be only
+in the less important arguments, and the meaner sort of books; else
+distilled books are like common distilled waters, flashy things.
+
+Reading maketh a full man; conference a ready man; and writing an
+exact man. And therefore, if a man write little, he had need have a
+good memory, if he confer little, he had need have a present wit; and
+if he read little, he had need have much cunning, to seem to know that
+he doth not.
+
+If a man's wit be wandering, let him study the mathematics; for in
+demonstrations, if his wit be called away never so little, he must
+begin again; if his wits be not apt to distinguish or find
+differences, let him study the schoolmen; if he be not apt to beat
+over matters, and to call up one thing to prove and illustrate
+another, let him study the lawyers' cases. So every defect of the mind
+may have a special receipt.
+
+      --_Lord Bacon_
+
+
+  Preparatory.--Observe the sentence structure employed
+  throughout this extract, and make a list of the
+  antithetical words and phrases.
+
+  This lesson may be used as an exercise to illustrate the
+  principle of Inflection as applied to antithetical words
+  or phrases and to series of words or phrases parallel in
+  construction. (Introduction, p. 20.)
+
+       *       *       *       *       *
+
+
+THE INFLUENCE OF ATHENS
+
+From essay "On Mitford's History of Greece"
+
+
+If we consider merely the subtlety of disquisition, the force of
+imagination, the perfect energy and elegance of expression, which
+characterize the great works of Athenian genius, we must pronounce
+them intrinsically most valuable. But what shall we say when we
+reflect that from hence have sprung, directly or indirectly, all the
+noblest creations of the human intellect; that from hence were the
+vast accomplishments and the brilliant fancy of Cicero, the withering
+fire of Juvenal, the plastic imagination of Dante, the humour of
+Cervantes, the comprehension of Bacon, the wit of Butler, the supreme
+and universal excellence of Shakespeare?
+
+All the triumphs of truth and genius over prejudice and power, in
+every country and in every age, have been the triumphs of Athens.
+Wherever a few great minds have made a stand against violence and
+fraud, in the cause of liberty and reason, there has been her spirit
+in the midst of them; inspiring, encouraging, consoling;--by the
+lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune
+of Mirabeau, in the cell of Galileo, on the scaffold of Sidney.
+
+But who shall estimate her influence on private happiness? Who shall
+say how many thousands have been made wiser, happier, and better, by
+those pursuits in which she has taught mankind to engage; to how many
+the studies which took their rise from her have been wealth in
+poverty, liberty in bondage, health in sickness, society in solitude?
+
+Her power is, indeed, manifested at the bar, in the senate, in the
+field of battle, in the schools of philosophy. But these are not her
+glory. Wherever literature consoles sorrow, or assuages pain; wherever
+it brings gladness to eyes which fail with wakefulness and tears, and
+ache for the dark house and the long sleep,--there is exhibited, in
+its noblest form, the immortal influence of Athens.
+
+The dervish, in the Arabian tale, did not hesitate to abandon to his
+comrade the camels with their loads of jewels and gold, while he
+retained the casket of that mysterious juice which enabled him to
+behold at one glance all the hidden riches of the universe. Surely it
+is no exaggeration to say that no external advantage is to be compared
+with that purification of the intellectual eye which gives us to
+contemplate the infinite wealth of the mental world, all the hoarded
+treasures of its primeval dynasties, all the shapeless ore of its yet
+unexplored mines. This is the gift of Athens to man.
+
+Her freedom and her power have, for more than twenty centuries, been
+annihilated; her people have degenerated into timid slaves; her
+language, into a barbarous jargon; her temples have been given up to
+the successive depredations of Romans, Turks, and Scotchmen; but her
+intellectual empire is imperishable.
+
+And when those who have rivalled her greatness shall have shared her
+fate; when civilization and knowledge shall have fixed their abode in
+distant continents; when the sceptre shall have passed away from
+England; when, perhaps, travellers from distant regions shall in vain
+labour to decipher on some mouldering pedestal the name of our
+proudest chief, shall hear savage hymns chaunted to some misshapen
+idol over the ruined dome of our proudest temple, and shall see a
+single naked fisherman wash his nets in the river of the ten thousand
+masts,--her influence and her glory will still survive,--fresh in
+eternal youth, exempt from mutability and decay, immortal as the
+intellectual principle from which they derived their origin, and over
+which they exercise their control.
+
+      --_Macaulay_
+
+
+  Illustrate from this lesson the principle of Inflection
+  as applied to (1) a series of words parallel in
+  construction; (2) rhetorical questions.
+
+  How should the principal clause in the last paragraph be
+  made prominent by the voice? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+NATIONAL MORALITY
+
+
+1. I believe there is no permanent greatness to a nation except it be
+based upon morality. I do not care for military greatness or military
+renown. I care for the condition of the people among whom I live.
+There is no man in England who is less likely to speak irreverently of
+the Crown and Monarchy of England than I am; but crowns, coronets,
+mitres, military display, the pomp of war, wide colonies, and a huge
+empire, are, in my view, all trifles light as air, and not worth
+considering, unless with them you can have a fair share of comfort,
+contentment, and happiness, among the great body of the people.
+Palaces, baronial castles, great halls, stately mansions, do not make
+a nation. The nation in every country dwells in the cottage; and
+unless the light of your Constitution can shine there, unless the
+beauty of your legislation and the excellence of your statesmanship
+are impressed there on the feelings and condition of the people, rely
+upon it, you have yet to learn the duties of government.
+
+2. I have not pleaded, as you have observed, that this country should
+remain without adequate and scientific means of defence. I acknowledge
+it to be the duty of your statesmen, acting upon the known opinions
+and principles of ninety-nine out of every one hundred persons in the
+country, at all times, with all possible moderation, but with all
+possible efficiency, to take steps which shall preserve order within
+and on the confines of your kingdom. But I shall repudiate and
+denounce the expenditure of every shilling, the engagement of every
+man, the employment of every ship which has no object but
+intermeddling in the affairs of other countries and endeavouring to
+extend the boundaries of an Empire which is already large enough to
+satisfy the greatest ambition, and I fear is much too large for the
+highest statesmanship to which any man has yet attained.
+
+3. The most ancient of profane historians has told us that the
+Scythians of his time were a very warlike people, and that they
+elevated an old scimitar upon a platform as a symbol of Mars, for to
+Mars alone, I believe, they built altars and offered sacrifices. To
+this scimitar they offered sacrifices of horses and cattle, the main
+wealth of the country, and more costly sacrifices than to all the rest
+of their gods. I often ask myself whether we are at all advanced in
+one respect beyond those Scythians. What are our contributions to
+charity, to education, to morality, to religion, to justice, and to
+civil government, when compared with the wealth we expend in
+sacrifices to the old scimitar?
+
+4. Two nights ago I addressed in this hall a vast assembly composed to
+a great extent of your countrymen, who have no political power, who
+are at work from the dawn of the day to the evening, and who have
+therefore limited means of informing themselves on these great
+subjects. Now I am privileged to speak to a somewhat different
+audience. You represent those of your great community who have a more
+complete education, who have on some points greater intelligence, and
+in whose hands reside the power and influence of the district. I am
+speaking, too, within the hearing of those whose gentle nature, whose
+finer instincts, whose purer minds, have not suffered as some of us
+have suffered in the turmoil and strife of life. You can mould
+opinion, you can create political power,--you cannot think a good
+thought on this subject and communicate it to your neighbours,--you
+cannot make these points topics of discussion in your social circles
+and more general meetings, without affecting sensibly and speedily the
+course which the government of your country will pursue. May I ask
+you, then, to believe, as I do most devoutly believe, that the moral
+law was not written for men alone in their individual character, but
+that it was written as well for nations, and for nations great as this
+of which we are citizens. If nations reject and deride that moral law,
+there is a penalty which will inevitably follow. It may not come at
+once, it may not come in our lifetime; but, rely upon it, the great
+Italian is not a poet only, but a prophet, when he says:
+
+  The sword of heaven is not in haste to smite,
+  Nor yet doth linger.
+
+5. We have experience, we have beacons, we have landmarks enough. We
+know what the past has cost us, we know how much and how far we have
+wandered, but we are not left without a guide. It is true, we have
+not, as an ancient people had, Urim and Thummin--those oraculous gems
+in Aaron's breast--from which to take counsel, but we have the
+unchangeable and eternal principles of the moral law to guide us, and
+only so far as we walk by that guidance can we be permanently a great
+nation, or our people a happy people.
+
+      --_The Right Honourable John Bright_
+
+
+  BARONIAL, CASTLES, CHARACTER, PAST. (Appendix A, 1.)
+
+  Par. 1. MILITARY GREATNESS, MILITARY RENOWN. Note the
+  transferred Emphasis. (Introduction, pp. 31 and 32.)
+
+  CROWNS, CORONETS, ETC. Explain the Inflection on each
+  member of this series. Give similar examples from this
+  paragraph and from Pars. 3, 4, and 5.
+
+  UNLESS WITH THEM, ETC. How does the voice prepare the
+  listener for this clause? Give a similar example from
+  Par. 4.
+
+  YOU HAVE YET TO LEARN, ETC. How is this clause made
+  prominent?
+
+  Par. 2. Give an analysis of the second sentence from the
+  standpoint of Perspective.
+
+  THE EXPENDITURE ... SHIP. How is the Climax brought out?
+
+  FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give
+  another example from this sentence.
+
+  Par. 4. NATIONS. What Inflection on this word? With what
+  is it contrasted?
+
+       *       *       *       *       *
+
+
+HAMLET'S ADVICE TO THE PLAYERS
+
+Act III. Scene 2
+
+
+Speak the speech, I pray you, as I pronounced it to
+you, trippingly on the tongue: but if you mouth it, as
+many of your players do, I had as lief the town-crier
+spoke my lines. Nor do not saw the air too much with
+your hand, thus; but use all gently: for in the very                   5
+torrent, tempest, and, as I may say, the whirlwind of
+passion, you must acquire and beget a temperance that
+may give it smoothness. O, it offends me to the soul to
+hear a robustious periwig-pated fellow tear a passion to
+tatters, to very rags, to split the ears of the groundlings,          10
+who, for the most part, are capable of nothing but
+inexplicable dumb-shows and noise: I would have such
+a fellow whipped for o'erdoing Termagant; it out-herods
+Herod: pray you, avoid it.
+
+Be not too tame neither, but let your own discretion                  15
+be your tutor: suit the action to the word, the word to
+the action; with this special observance, that you o'erstep
+not the modesty of nature: for anything so overdone
+is from the purpose of playing, whose end, both at the
+first and now, was and is, to hold, as 'twere, the mirror             20
+up to nature; to show virtue her own feature, scorn her
+own image, and the very age and body of the time his
+form and pressure. Now, this overdone or come tardy
+off, though it make the unskilful laugh, cannot but make
+the judicious grieve; the censure of the which one                    25
+must, in your allowance, o'erweigh a whole theatre of
+others. O, there be players that I have seen play, and
+heard others praise, and that highly, not to speak it
+profanely, that neither having the accent of Christains
+nor the gait of Christain, pagan, nor man, have so                    30
+strutted and bellowed, that I have thought some of
+nature's journeymen had made men, and not made them
+well, they imitated humanity so abominably.
+
+      --_Shakespeare_
+
+
+  MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words
+  emphatic? (Introduction, p. 30.)
+
+  Explain FROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE
+  CENSURE OF THE WHICH ... OTHERS. What are the emphatic
+  words in each?
+
+  TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.
+
+  Give other examples of Climax from this selection and
+  show how the Emphasis is employed. (Introduction, p.
+  31.)
+
+  Select parenthetical clauses and show how they are
+  subordinated. (Introduction, p. 24.)
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+ROSABELLE
+
+  From "The Lay of the Last Minstrel"
+
+
+    O listen, listen, ladies gay!
+      No haughty feat of arms I tell;
+    Soft is the note, and sad the lay
+      That mourns the lovely Rosabelle.
+
+  "Moor, moor the barge, ye gallant crew!
+    And, gentle ladye, deign to stay!
+  Rest thee in Castle Ravensheuch,
+    Nor tempt the stormy firth to-day.
+
+  "The blackening wave is edged with white;
+    To inch and rock the sea-mews fly;
+  The fishers have heard the Water-Sprite,
+    Whose screams forebode that wreck is =nigh=.
+
+  "Last night the gifted Seer did view
+    A wet shroud swathed round ladye gay;
+  Then stay thee, Fair, in Ravensheuch;
+    Why cross the gloomy firth to-day?"--
+
+  "'Tis not because Lord Lindesay's heir
+    To-night at Roslin leads the ball,
+  But that my ladye-mother there
+    Sits lonely in her castle-hall.
+
+  "'Tis not because the ring they ride,
+    And Lindesay at the ring rides well,
+  But that my sire the wine will chide
+    If 'tis not fill'd by Rosabelle."--
+
+  O'er Roslin all that dreary night
+    A wondrous blaze was seen to gleam;
+  'Twas broader than the watch-fire's light,
+    And redder than the bright moonbeam.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from cavern'd Hawthornden.
+
+  Seem'd all on fire that chapel proud,
+    Where Roslin's chiefs uncoffin'd lie,
+  Each Baron, for a sable shroud,
+    Sheathed in his iron panoply.
+
+  Seem'd all on fire within, around,
+    Deep sacristy and altar's pale;
+  Shone every pillar foliage-bound,
+    And glimmer'd all the dead men's mail.
+
+  Blazed battlement and pinnet high,
+    Blazed every rose-carved buttress fair--
+  So still they blaze, when fate is nigh
+    The lordly line of high Saint Clair.
+
+  There are twenty of Roslin's barons bold
+    Lie buried within that proud chapelle;
+  Each one the holy vault doth hold--
+    But the sea holds lovely Rosabelle!
+
+  And each Saint Clair was buried there
+    With candle, with book, and with knell;
+  But the sea-caves rung, and the wild winds sung
+    The dirge of lovely Rosabelle!
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Describe the scene suggested by the first
+  stanza.
+
+  Make three scenes of the rest of the poem, and give a
+  descriptive title to each.
+
+  Articulation. (Appendix A, 1, 3, and 6.)
+
+  Stanza i. How is the ellipsis in l. 3 indicated?
+
+  Stanza ii. What is the difference between the way the
+  speaker addresses the crew and that in which he
+  addresses the lady?
+
+  Stanzas iii-iv. How does the reader make prominent the
+  four different arguments of the speaker in ll. 9-15, at
+  the same time showing that each is a stronger warning
+  than the last? (Introduction, pp. 24, 25, and 31.)
+
+  Stanzas v-vi. What is the Inflection on the negative
+  statements in the first two lines of each stanza?
+
+  Stanzas vii-xi. What feeling pervades the description of
+  the ominous light over Roslyn? What Quality of voice is
+  the natural outcome? (Introduction, p. 34.)
+
+  What are the central ideas in stanzas vii, ix, and x?
+
+  How is the break in the thought after FAIR, (stanza xi)
+  shown? (Introduction, pp. 8, 9, and 25.)
+
+  Stanzas xii-xiii. What phrases contrast the burial of
+  the Saint Clairs with that of Rosabelle? What contrast
+  of feeling?
+
+       *       *       *       *       *
+
+
+THE ISLAND OF THE SCOTS
+
+December, 1697
+
+
+  The Rhine is running deep and red, the island lies before,--
+  "Now is there one of all the host will dare to venture o'er?
+  For not alone the river's sweep might make a brave man quail;
+  The foe are on the further side, their shot comes fast as hail.
+  God help us, if the middle isle we may not hope to win;              5
+  Now is there any of the host will dare to venture in?"
+  "The ford is deep, the banks are steep, the island-shore lies wide;
+  Nor man nor horse could stem its force, or reach the further side.
+  See there! amidst the willow-boughs the serried bayonets gleam;
+  They've flung their bridge,--they've won the isle; the foe have
+    cross'd the stream!                                               10
+  Their volley flashes sharp and strong,--by all the saints! I trow
+  There never yet was soldier born could force that passage now!"
+
+  So spoke the bold French Mareschal with him who led the van,
+  Whilst rough and red before their view the turbid river ran.
+  Nor bridge nor boat had they to cross the wild and swollen Rhine, 15
+  And thundering on the other bank far stretch'd the German line.
+  Hard by there stood a swarthy man was leaning on his sword,
+  And a sadden'd smile lit up his face as he heard the Captain's word.
+  "I've seen a wilder stream ere now than that which rushes there;
+  I've stemm'd a heavier torrent yet and never thought to dare.       20
+  If German steel be sharp and keen, is ours not strong and true?
+  There may be danger in the deed, but there is honour too."
+
+  The old lord in his saddle turn'd, and hastily he said,
+  "Hath bold Duguesclin's fiery heart awaken'd from the dead?
+  Thou art the leader of the Scots,--now well and sure I know,        25
+  That gentle blood in dangerous hour ne'er yet ran cold nor slow,
+  And I have seen ye in the fight do all that mortal may:
+  If honour is the boon ye seek, it may be won this day,--
+  The prize is in the middle isle, there lies the adventurous way,
+  And armies twain are on the plain, the daring deed to see,--        30
+  Now ask thy gallant company if they will follow thee!"
+
+  Right gladsome look'd the Captain then, and nothing did he say,
+  But he turn'd him to his little band, O, few, I ween, were they!
+  The relics of the bravest force that ever fought in fray.
+  No one of all that company but bore a gentle name,                  35
+  Not one whose fathers had not stood in Scotland's fields of fame.
+  All they had march'd with great Dundee to where he fought and fell,
+  And in the deadly battle-strife had venged their leader well;
+  And they had bent the knee to earth when every eye was dim,
+  As o'er their hero's buried corpse they sang the funeral hymn;      40
+  And they had trod the Pass once more, and stoop'd on either side.
+  To pluck the heather from the spot where he had dropp'd and died;
+  And they had bound it next their hearts, and ta'en a last farewell
+  Of Scottish earth and Scottish sky, where Scotland's glory fell.
+  Then went they forth to foreign lands like bent and broken men,     45
+  Who leave their dearest hope behind, and may not turn again.
+
+  "The stream," he said, "is broad and deep, and stubborn is
+    the foe,--
+  Yon island-strength is guarded well,--say, brothers, will ye go?
+  From home and kin for many a year our steps have wander'd wide,
+  And never may our bones be laid our fathers' graves beside.         50
+  No children have we to lament, no wives to wail our fall;
+  The traitor's and the spoiler's hand have reft our hearths of all.
+  But we have hearts, and we have arms, as strong to will and dare
+  As when our ancient banners flew within the northern air.
+  Come, brothers! let me name a spell shall rouse your souls again, 55
+  And send the old blood bounding free through pulse and heart
+    and vein.
+  Call back the days of bygone years,--be young and strong once more;
+  Think yonder stream, so stark and red, is one we've cross'd before.
+
+  Rise, hill and glen! rise, crag and wood! rise up on either hand,--
+  Again upon the Garry's banks, on Scottish soil we stand!            60
+  Again I see the tartans wave, again the trumpets ring;
+  Again I hear our leader's call: 'Upon them for the King!'
+  Stay'd we behind that glorious day for roaring flood or linn?
+  The soul of Graeme is with us still,--now, brothers, will ye in?"
+
+  No stay,--no pause. With one accord, they grasp'd each
+    other's hand,                                                     65
+  Then plunged into the angry flood, that bold and dauntless band.
+  High flew the spray above their heads, yet onward still they bore,
+  Midst cheer, and shout, and answering yell, and shot,
+    and cannon-roar,--
+  "Now, by the Holy Cross! I swear, since earth and sea began,
+  Was never such a daring deed essay'd by mortal man!"                70
+  Thick blew the smoke across the stream, and faster flash'd
+    the flame:
+  The water plash'd in hissing jets as ball and bullet came.
+  Yet onward push'd the Cavaliers all stern and undismay'd,
+  With thousand armed foes before, and none behind to aid
+  Once, as they near'd the middle stream, so strong
+    the torrent swept,                                                75
+  That scarce that long and living wall their dangerous footing kept.
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them
+   in the Rhine!"                                                     80
+
+  Have you seen the tall trees swaying when the blast is sounding
+    shrill,
+  And the whirlwind reels in fury down the gorges of the hill?
+  How they toss their mighty branches struggling with
+    the tempest's shock;
+  How they keep their place of vantage, cleaving firmly to the rock?
+  Even so the Scottish warriors held their own against the river;     85
+  Though the water flashed around them, not an eye was seen to quiver;
+  Though the shot flew sharp and deadly, not a man relax'd his hold;
+  For their hearts were big and thrilling with the mighty thoughts
+    of old.
+  One word was spoken among them, and through the ranks it spread,--
+  "Remember our dead Claverhouse!" was all the Captain said.          90
+  Then, sternly bending forward, they wrestled on a while,
+  Until they clear'd the heavy stream, then rush'd toward the isle.
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armed foemen throng.
+  But never had they faced in field so stern a charge before,         95
+  And never had they felt the sweep of Scotland's broad claymore.
+  Not fiercer pours the avalanche adown the steep incline,
+  That rises o'er the parent springs of rough and rapid Rhine,--
+  Scarce swifter shoots the bolt from heaven than came
+    the Scottish band
+  Right up against the guarded trench, and o'er it sword in hand.    100
+  In vain their leaders forward press,--they meet the deadly brand!
+
+  O lonely island of the Rhine,--where seed was never sown,
+  What harvest lay upon thy sands, by those strong reapers thrown?
+  What saw the winter moon that night, as, struggling through
+    the rain,
+  She pour'd a wan and fitful light on marsh, and stream,
+    and plain?                                                       105
+  A dreary spot with corpses strewn, and bayonets glistening round;
+  A broken bridge, a stranded boat, a bare and batter'd mound;
+  And one huge watch-fire's kindled pile, that sent its
+    quivering glare
+  To tell the leaders of the host the conquering Scots were there.
+
+  And did they twine the laurel-wreath, for those who fought
+    so well?                                                         110
+  And did they honour those who liv'd, and weep for those who fell?
+  What meed of thanks was given to them let aged annals tell.
+  Why should they bring the laurel-wreath,--why crown the cup
+    with wine?
+  It was not Frenchmen's blood that flow'd so freely on the Rhine,--
+  A stranger band of beggar'd men had done the venturous deed:       115
+  The glory was to France alone, the danger was their meed.
+  And what cared they for idle thanks from foreign prince and peer?
+  What virtue had such honey'd words the exiled heart to cheer?
+  What matter'd it that men should vaunt and loud and fondly swear,
+
+  That higher feat of chivalry was never wrought elsewhere?          120
+  They bore within their breasts the grief that fame
+    can never heal,--
+  The deep, unutterable woe which none save exiles feel.
+  Their hearts were yearning for the land they ne'er might
+    see again,--
+  For Scotland's high and heather'd hills, for mountains,
+    loch and glen--
+  For those who haply lay at rest beyond the distant sea,            125
+  Beneath the green and daisied turf where they would gladly be!
+
+  Long years went by. The lonely isle in Rhine's tempestuous flood
+  Has ta'en another name from those who bought it with their blood:
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,           130
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep
+    and dangerous ford
+  The Passage of the Scot.
+
+      --_William Edmondstoune Aytoun_
+
+
+  PREPARATORY.--Narrate briefly the events of this poem,
+  and show by a blackboard diagram the situation of the
+  island, the position of the armies, etc.
+
+  Into how many dramatic scenes can the poem be divided?
+  Describe each one, showing what part of the poem it
+  covers.
+
+  For exercise in dramatic rendering, see notes on
+  _Highland Hospitality_, pp. 153 and 154.
+
+  In what state of mind are the first two speakers?
+  Compare their speeches in this respect with the first
+  speech of the Scottish Captain--"I'VE SEEN A WILDER,"
+  ETC. What is the difference in Time, Pitch, and Stress?
+
+  3. RIVER'S SWEEP, FOE. Which is more emphatic? Compare
+  MAN and HORSE, l. 8.
+
+  10-12. Give some examples of Climax in the second stanza
+  and show how the Force and the Pitch are affected.
+
+  24. "HATH BOLD DUGUESCLIN'S," ETC. Supply the
+  undercurrent of thought between the first line of this
+  speech and the second. How is this suggested in reading?
+  (Introduction, p. 14.)
+
+  33. HE TURNED HIM TO HIS LITTLE BAND--O FEW, ETC. How
+  can the break in the thought be indicated?
+  (Introduction, pp. 8, 9, and 25.)
+
+  33-46. O FEW I WEEN ... NOT TURN AGAIN. What two
+  feelings predominate?
+
+  Compare the first part of the Captain's speech with the
+  second part from the standpoint of energy. What is the
+  difference in Force and Pitch? (Introduction, pp. 23 and
+  26.)
+
+  65. NO STAY,--NO PAUSE, ETC. What part does spontaneous
+  Imitation play here, and in the following stanza?
+  (Introduction, pp. 4 and 5.)
+
+  69. NOW, BY THE HOLY CROSS! ETC. Where should the
+  longest Pause be made in this line?
+
+  78. THE CURRENT'S STRONG, ETC. What are the Pitch,
+  Force, and Stress? (Introduction, pp. 22, 26, and 29.)
+
+  93. THE GERMAN HEART, ETC. Emphasis. (Introduction, p.
+  31.)
+
+  96. AND NEVER HAD THEY FELT, ETC. Note Grouping and
+  Pause.
+
+  99. SCARCE SWIFTER, ETC. What is the Stress? Why?
+  (Introduction, p. 28.)
+
+  101. IN VAIN. Note the transition at this line.
+  (Introduction, pp. 8, 9, and 25.)
+
+  113. WHY SHOULD THEY BRING, ETC. How does the voice
+  indicate the insincerity of thought in these lines?
+  (Introduction, pp. 21, 22, and 30.)
+
+  What Inflection is used on the various questions in this
+  and the preceding stanzas? (Introduction, pp. 18 and
+  19.)
+
+  127-133. Note the Grouping and the Shading.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+CRANFORD SOCIETY
+
+From "Cranford"
+
+
+In the first place, Cranford is in possession of the Amazons; all the
+holders of houses above a certain rent are women. If a married couple
+come to settle in the town, somehow the gentleman disappears; he is
+either fairly frightened to death by being the only man in the
+Cranford evening parties, or he is accounted for by being with his
+regiment, his ship, or closely engaged in business all the week in the
+great neighbouring commercial town of Drumble, distant only twenty
+miles on a railway. In short, whatever does become of the gentlemen,
+they are not at Cranford. What could they do if they were there? The
+surgeon has his round of thirty miles, and sleeps at Cranford; but
+every man cannot be a surgeon. For keeping the trim gardens full of
+choice flowers without a weed to speck them; for frightening away
+little boys who look wistfully at the said flowers through the
+railings; for rushing out at the geese that occasionally venture into
+the gardens if the gates are left open; for deciding all questions of
+literature and politics without troubling themselves with unnecessary
+reasons or arguments; for obtaining clear and correct knowledge of
+everybody's affairs in the parish; for keeping their neat maidservants
+in admirable order; for kindness (somewhat dictatorial) to the poor,
+and real tender good offices to each other whenever they are in
+distress--the ladies of Cranford are quite sufficient. "A man," as one
+of them observed to me once, "is _so_ in the way in the house!"
+Although the ladies of Cranford know all each other's proceedings,
+they are exceedingly indifferent to each other's opinions. Indeed, as
+each has her own individuality, not to say eccentricity, pretty
+strongly developed, nothing is so easy as verbal retaliation; but,
+somehow, good-will reigns among them to a considerable degree.
+
+Then there were rules and regulations for visiting and calls; and they
+were announced to any young people who might be staying in the town,
+with all the solemnity with which the old Manx laws were read once a
+year on the Tinwald Mount.
+
+"Our friends have sent to inquire how you are after your journey
+to-night, my dear" (fifteen miles in a gentleman's carriage). "They
+will give you some rest to-morrow; but the next day, I have no doubt,
+they will call; so be at liberty after twelve--from twelve to three
+are our calling hours."
+
+Then, after they had called--
+
+"It is the third day, I dare say your mamma has told you, my dear,
+never to let more than three days elapse between receiving a call and
+returning it; and also, that you are never to stay longer than a
+quarter of an hour."
+
+"But am I to look at my watch? How am I to find out when a quarter of
+an hour has passed?"
+
+"You must keep thinking about the time, my dear, and not allow
+yourself to forget it in conversation."
+
+As everybody had this rule in their minds, whether they received or
+paid a call, of course no absorbing subject was ever spoken about. We
+kept ourselves to short sentences of small talk, and were punctual to
+our time.
+
+I imagine that a few of the gentlefolks of Cranford were poor, and had
+some difficulty in making both ends meet; but they were like the
+Spartans, and concealed their smart under a smiling face. We none of
+us spoke of money, because that subject savoured of commerce and
+trade; and though some might be poor, we were all aristocratic. The
+Cranfordians had that kindly _esprit de corps_ which made them
+overlook all deficiencies in success when some among them tried to
+conceal their poverty. When Mrs. Forrester, for instance, gave a party
+in her baby-house of a dwelling, and the little maiden disturbed the
+ladies on the sofa by a request that she might get the tea-tray out
+from underneath, every one took this novel proceeding as the most
+natural thing in the world, and talked on about household forms and
+ceremonies as if we all believed that our hostess had a regular
+servants' hall, second table, with house-keeper and steward, instead
+of the one little charity-school maiden, whose short ruddy arms could
+never have been strong enough to carry the tray upstairs, if she had
+not been assisted in private by her mistress, who now sat in state,
+pretending not to know what cakes were sent up, though she knew, and
+we knew, and she knew that we knew, and we knew that she knew that we
+knew, she had been busy all morning making tea-bread and
+sponge-cakes.
+
+There were one or two consequences arising from this general but
+unacknowledged poverty, and this very much acknowledged gentility,
+which were not amiss, and which might be introduced into many circles
+of society to their great improvement. For instance, the inhabitants
+of Cranford kept early hours, and clattered home in their pattens,
+under the guidance of a lantern-bearer, about nine o'clock at night;
+and the whole town was abed and asleep by half-past ten. Moreover, it
+was considered "vulgar" (a tremendous word in Crawford) to give
+anything expensive, in the way of eatable or drinkable, at the evening
+entertainments. Wafer bread-and-butter and sponge-biscuits were all
+that the Honourable Mrs. Jamieson gave; and she was sister-in-law to
+the late Earl of Glenmire, although she did practise such "elegant
+economy."
+
+"Elegant economy!" How naturally one falls back into the phraseology
+of Cranford! There, economy was always "elegant," and money-spending
+always "vulgar and ostentatious;" a sort of sour-grapeism which made
+us very peaceful and satisfied. I never shall forget the dismay felt
+when a certain Captain Brown came to live at Cranford, and openly
+spoke about his being poor--not in a whisper to an intimate friend,
+the doors and windows being previously closed, but in the public
+street, in a loud military voice, alleging his poverty as a reason for
+not taking a particular house. The ladies of Cranford were already
+rather moaning over the invasion of their territories by a man and a
+gentleman. He was a half-pay captain, and had obtained some situation
+on a neighbouring railway, which had been vehemently petitioned
+against by the little town; and if, in addition to his masculine
+gender, and his connection with the obnoxious railway, he was so
+brazen as to talk of being poor--why, then, indeed, he must be sent to
+Coventry. Death was as true and as common as poverty; yet people never
+spoke about that loud out in the streets. It was a word not to be
+mentioned to ears polite. We had tacitly agreed to ignore that any
+with whom we associated on terms of visiting equality could ever be
+prevented by poverty from doing anything that they wished. If we
+walked to or from a party, it was because the night was _so_ fine, or
+the air _so_ refreshing, not because sedan-chairs were expensive. If
+we wore prints instead of summer silks, it was because we preferred a
+washing material; and so on, till we blinded ourselves to the vulgar
+fact that we were, all of us, people of very moderate means. Of
+course, then, we did not know what to make of a man who could speak of
+poverty as if it was not a disgrace. Yet, somehow, Captain Brown made
+himself respected in Cranford, and was called upon, in spite of all
+resolutions to the contrary.
+
+      --_Mrs. Gaskell_
+
+
+  Give examples of momentary completeness in the second
+  and sixth sentences of Par. 1. (Introduction, p. 16.)
+
+  What Inflection is placed on the Interrogative sentence
+  in Par. 1? (Introduction, p. 19.)
+
+  Select words throughout the lesson which are emphatic
+  through contrast and tell what Inflection is placed on
+  them. (Introduction, pp. 20 and 21.)
+
+  How are the parenthetical clauses kept in the
+  background? (Introduction, p. 24.)
+
+  WHEN MRS FORRESTER ... SPONGE-CAKES. Account for the
+  Inflection on the various phrases and clauses of this
+  sentence.
+
+  THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW THAT WE KNEW.
+  Explain the Emphasis. (Introduction, pp. 30-32.)
+
+       *       *       *       *       *
+
+
+SIR GALAHAD
+
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,                               5
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel:
+  They reel, they roll in clanging lists,
+    And when the tide of combat stands,                               10
+  Perfume and flowers fall in showers,
+    That lightly rain from ladies' hands.
+
+  How sweet are looks that ladies bend
+    On whom their favours fall!
+  For them I battle till the end,                                     15
+    To save from shame and thrall:
+  But all my heart is drawn above,
+    My knees are bow'd in crypt and shrine:
+  I never felt the kiss of love,
+    Nor maiden's hand in mine.                                        20
+  More bounteous aspects on me beam,
+    Me mightier transports move and thrill;
+  So keep I fair thro' faith and prayer
+    A virgin heart in work and will.
+
+  When down the stormy crescent goes,                                 25
+    A light before me swims,
+  Between dark stems the forest glows,
+    I hear a noise of hymns:
+  Then by some secret shrine I ride;
+    I hear a voice but none are there;                                30
+  The stalls are void, the doors are wide,
+    The tapers burning fair.
+  Fair gleams the snowy altar-cloth,
+    The silver vessels sparkle clean,
+  The shrill bell rings, the censer swings,                           35
+    And solemn chaunts resound between.
+
+  Sometimes on lonely mountain-meres
+    I find a magic bark;
+  I leap on board: no helmsman steers:
+    I float till all is dark.                                         40
+  A gentle sound, an awful light!
+    Three angels bear the Holy Grail;
+  With folded feet, in stoles of white,
+    On sleeping wings they sail.
+  Ah, blessed vision! blood of God!                                   45
+    My spirit beats her mortal bars,
+  As down dark tides the glory slides,
+    And star-like mingles with the stars.
+
+  When on my goodly charger borne
+    Thro' dreaming towns I go,                                        50
+  The cock crows ere the Christmas morn,
+    The streets are dumb with snow.
+  The tempest crackles on the leads,
+    And, ringing, springs from brand and mail;
+  But o'er the dark a glory spreads,                                  55
+    And gilds the driving hail.
+  I leave the plain, I climb the height;
+    No branchy thicket shelter yields;
+  But blessed forms in whistling storms
+    Fly o'er waste fens and windy fields.                             60
+
+  A maiden knight--to me is given
+    Such hope, I know not fear;
+  I yearn to breathe the airs of heaven
+    That often meet me here.
+  I muse on joy that will not cease.                                  65
+    Pure spaces clothed in living beams,
+  Pure lilies of eternal peace,
+    Whose odours haunt my dreams;
+  And, stricken by an angel's hand,
+    This mortal armour that I wear,                                   70
+  This weight and size, this heart and eyes,
+    Are touch'd, are turn'd to finest air.
+
+  The clouds are broken in the sky,
+    And thro' the mountain-walls
+  A rolling organ-harmony                                             75
+    Swells up, and shakes and falls.
+  Then move the trees, the copses nod,
+    Wings flutter, voices hover clear:
+  "O just and faithful knight of God!
+    Ride on! the prize is near."                                      80
+  So pass I hostel, hall, and grange;
+    By bridge and ford, by park and pale,
+  All-arm'd I ride, whate'er betide,
+    Until I find the Holy Grail.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Point out the contrast of scene in stanza
+  i. How has the poet obtained contrast of sound? Note the
+  difficulties of Articulation.
+
+  Enumerate the manifestations by means of which Sir
+  Galahad apprehends the continual proximity of the Holy
+  Grail.
+
+  Select the lines in which the mystical element is most
+  strongly marked. What feeling is aroused in reading
+  these lines?
+
+  In what Quality of voice does this feeling find
+  expression? (Introduction, p. 34.)
+
+  What is the prevailing Quality of voice?
+
+  A ROLLING ORGAN-HARMONY, ETC. What idea predominates?
+  How does it affect the Quality of voice?
+
+       *       *       *       *       *
+
+
+SONG FOR SAINT CECILIA'S DAY
+
+November 22, 1687
+
+
+  From harmony, from heavenly harmony
+      This universal frame began;
+    When Nature underneath a heap
+        Of jarring atoms lay,
+        And could not heave her head,                                  5
+  The tuneful voice was heard from high,
+      Arise ye more than dead.
+  Then cold, and hot, and moist, and dry,
+  In order to their stations leap,
+        And Music's power obey.                                       10
+  From harmony, from heavenly harmony,
+      This universal frame began;
+      From harmony to harmony
+  Through all the compass of the notes it ran,
+  The diapason closing full in Man.                                   15
+
+  What passion cannot Music raise and quell?
+      When Jubal struck the chorded shell,
+    His listening brethren stood around,
+      And, wondering, on their faces fell
+    To worship that celestial sound;                                  20
+  Less than a God they thought there could not dwell
+      Within the hollow of that shell,
+    That spoke so sweetly and so well.
+  What passion cannot Music raise and quell?
+
+  The trumpet's loud clangour                                         25
+    Excites us to arms
+  With shrill notes of anger
+    And mortal alarms.
+  The double double double beat
+    Of the thundering drum                                            30
+    Cries, Hark! the foes come;
+  Charge, charge, 'tis too late to retreat!
+
+    The soft complaining flute
+    In dying notes discovers
+    The woes of hopeless lovers,                                      35
+  Whose dirge is whisper'd by the warbling lute.
+    Sharp violins proclaim
+  Their jealous pangs and desperation,
+  Fury, frantic indignation,
+  Depth of pains, and height of passion                               40
+    For the fair, disdainful dame.
+
+    But oh! what art can teach,
+    What human voice can reach
+      The sacred organ's praise?
+    Notes inspiring holy love,                                        45
+  Notes that wing their heavenly ways
+    To mend the choirs above.
+
+  Orpheus could lead the savage race,
+  And trees unrooted left their place,
+    Sequacious of the lyre:                                           50
+  But bright Cecilia rais'd the wonder higher:
+  When to her organ vocal breath was given
+  An angel heard, and straight appear'd
+    Mistaking Earth for Heaven.
+
+
+GRAND CHORUS
+
+  As from the power of sacred lays                                    55
+    The spheres began to move,
+  And sung the great Creator's praise
+    To all the blessed above;
+  So when the last and dreadful hour
+  This crumbling pageant shall devour,                                60
+  The trumpet shall be heard on high,
+  The dead shall live, the living die,
+  And Music shall untune the sky.
+
+      --_John Dryden_
+
+
+  What feeling pervades the first and last stanzas? The
+  second stanza? In what Quality of voice does each of
+  these feelings find expression? (Introduction, pp.
+  33-35.)
+
+  Illustrate by means of the third, fourth, and fifth
+  stanzas the extent to which Imitation enters into
+  reading. (Introduction, pp. 4 and 5.)
+
+  Account for the gradually increasing Emphasis in ll.
+  11-15, 48-54, and 60-63. (Introduction, p. 31.)
+
+  3-6. What is the Shading and Inflection? (Introduction,
+  pp. 16 and 33.) Compare with these ll. 55-61.
+
+  16. What is the Inflection on this question?
+  (Introduction, p. 19.) Compare with this ll. 42-44.
+
+  21. THEY THOUGHT. How does the reader give to these
+  words the force of a parenthetical clause?
+  (Introduction, p. 33.)
+
+  22-23. Note the Grouping.
+
+  31. How does the voice make the transition to direct
+  discourse? (Introduction, p. 24.)
+
+  42-54. What is the mental attitude? What is the
+  corresponding Stress? (Introduction, p. 29.)
+
+  44. ORGAN'S. Account for the marked Emphasis on this
+  word. Compare BRIGHT CECILIA, l. 51.
+
+       *       *       *       *       *
+
+
+THE DAY WAS LINGERING
+
+
+  The day was lingering in the pale northwest,
+    And night was hanging o'er my head,--
+    Night where a myriad stars were spread;
+  While down in the east, where the light was least,
+    Seem'd the home of the quiet dead.                                 5
+  And, as I gazed on the field sublime,
+    To watch the bright, pulsating stars,
+    Adown the deep where the angels sleep
+  Came drawn the golden chime
+    Of those great spheres that sound the years                       10
+  For the horologe of time.
+    Millenniums numberless they told,
+    Millenniums a million-fold
+  From the ancient hour of prime.
+
+      --_Charles Heavysege_
+
+
+  PREPARATORY.--Compare other passages from literature
+  which suggest the "music of the spheres," for example:
+  Dryden's _Song for Saint Cecilia's Day, The Moonlight
+  Scene_ from _The Merchant of Venice_, Milton's _The
+  Hymn_.
+
+  What is the atmosphere of ll. 1-4? Of ll. 5-14? In what
+  two different Qualities of voice do the corresponding
+  feelings find expression?
+
+  Read ll. 6-11, with a view to Perspective.
+
+  Note the Grouping in ll. 9-11.
+
+       *       *       *       *       *
+
+
+ON FIRST LOOKING INTO CHAPMAN'S HOMER
+
+
+  Much have I travelled in the realms of gold,
+    And many goodly states and kingdoms seen;
+    Round many western islands have I been,
+  Which bards in fealty to Apollo hold.
+  Oft of one wide expanse had I been told                              5
+    That deep-browed Homer ruled as his demesne;
+    Yet never did I breathe its pure serene
+  Till I heard Chapman speak out loud and bold:
+  Then felt I like some watcher of the skies
+    When a new planet swims into his ken;                             10
+  Or like stout Cortez when with eagle eyes
+    He stared at the Pacific--and all his men
+  Looked at each other with a wild surmise--
+    Silent, upon a peak in Darien.
+
+      --_John Keats_
+
+
+  PREPARATORY.--How is the fundamental idea of this sonnet
+  illustrated in _The Key to Human Happiness?_ (p. 266.)
+
+  What feeling pervades the last six lines? In which line
+  is this feeling most marked? In what Quality of voice
+  does it find expression? (Introduction, pp. 33-35.)
+
+  Select the words which are emphatic through contrast,
+  expressed or implied. (Introduction, p. 32.)
+
+       *       *       *       *       *
+
+
+GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR
+
+
+  Great things were ne'er begotten in an hour;
+    Ephemerons in birth, are such in life;
+    And he who dareth, in the noble strife
+  Of intellects, to cope for real power,--
+  Such as God giveth as His rarest dower                               5
+    Of mastery, to the few with greatness rife,--
+  Must, ere the morning mists have ceased to lower
+    Till the long shadows of the night arrive,
+  Stand in the arena. Laurels that are won,
+  Plucked from green boughs, soon wither; those that last             10
+  Are gather'd patiently, when sultry noon
+  And summer's fiery glare in vain are past.
+      Life is the hour of labour; on Earth's breast
+      Serene and undisturb'd shall be thy rest.
+
+      --_Sir Daniel Wilson (By permission)_
+
+
+  PREPARATORY.--What is the essential thought in this
+  sonnet? Quote corresponding passages. Give illustrations
+  from history and fiction.
+
+  What words are emphatic because of (_a_) contrast
+  expressed, (_b_) contrast implied? (Introduction, pp. 30
+  and 32.)
+
+  Read ll. 3-9, with a view to Perspective. (Introduction,
+  p. 33.)
+
+       *       *       *       *       *
+
+
+A WOOD LYRIC
+
+
+  Into the stilly woods I go,
+  Where the shades are deep and the wind-flowers blow,
+  And the hours are dreamy and lone and long,
+  And the power of silence is greater than song.
+  Into the stilly woods I go,                                          5
+  Where the leaves are cool and the wind-flowers blow.
+
+  When I go into the stilly woods,
+  And know all the flowers in their sweet, shy hoods,
+  The tender leaves in their shimmer and sheen
+  Of darkling shadow, diaphanous green,                               10
+  In those haunted halls where my footstep falls,
+  Like one who enters cathedral walls,
+  A spirit of beauty floods over me,
+  As over a swimmer the waves of the sea,
+  That strengthens and glories, refreshens and fills,                 15
+  Till all mine inner heart wakens and thrills
+  With a new and a glad and a sweet delight,
+  And a sense of the infinite out of sight,
+  Of the great unknown that we may not know,
+  But only feel with an inward glow                                   20
+  When into the great, glad woods we go.
+
+  O life-worn brothers, come with me
+  Into the wood's hushed sanctity,
+  Where the great, cool branches are heavy with June,
+  And the voices of summer are strung in tune;                        25
+  Come with me, O heart out-worn,
+  Or spirit whom life's brute-struggles have torn,
+  Come, tired and broken and wounded feet,
+  Where the walls are greening, the floors are sweet,
+  The roofs are breathing and heaven's airs meet.                     30
+  Come, wash earth's grievings from out of the face,
+  The tear and the sneer and the warfare's trace,
+  Come, where the bells of the forest are ringing,
+  Come, where the oriole's nest is swinging,
+  Where the brooks are foaming in amber pools,                        35
+  The mornings are still and the noonday cools.
+  Cast off earth's sorrows and know what I know,
+  When into the glad, deep woods I go.
+
+      --_William Wilfred Campbell (By permission)_
+
+
+  PREPARATORY.--"An Afternoon alone in the Woods." Tell
+  what one may see, and think, and feel. Illustrate by
+  quotations from the poets.
+
+  Give numerous examples of momentary completeness
+  throughout the poem. (Introduction, p. 16.)
+
+  How does the reader show that ll. 7-12 are merely
+  anticipative? (Introduction, p. 17.)
+
+  What change is made in the Force in l. 13?
+  (Introduction, p. 33.)
+
+  How is l. 15 connected with l. 13?
+
+  Observe the transition from description to appeal in l.
+  22. What is the change in vocal expression?
+
+       *       *       *       *       *
+
+
+TO NIGHT
+
+
+  Swiftly walk over the western wave,
+          Spirit of Night!
+  Out of the misty eastern cave,
+  Where, all the long and lone daylight,
+  Thou wovest dreams of joy and fear,                                  5
+  Which make thee terrible and dear,--
+          Swift be thy flight!
+
+  Wrap thy form in a mantle gray,
+          Star-inwrought!
+  Blind with thine hair the eyes of Day,                              10
+  Kiss her until she be wearied out,
+  Then wander o'er city, and sea, and land,
+  Touching all with thine opiate wand--
+          Come, long-sought!
+
+  When I arose and saw the dawn,                                      15
+          I sighed for thee;
+  When light rode high, and the dew was gone,
+  And noon lay heavy on flower and tree,
+  And the weary Day turned to his rest,
+  Lingering like an unloved guest,                                    20
+          I sighed for thee.
+
+  Thy brother Death came, and cried,
+          Wouldst thou me?
+  Thy sweet child Sleep, the filmy-eyed,
+  Murmured like a noontide bee                                        25
+  Shall I nestle near thy side?
+  Wouldst thou me?--And I replied,
+         No, not thee!
+
+  Death will come when thou art dead,
+         Soon, too soon--                                             30
+  Sleep will come when thou art fled;
+  Of neither would I ask the boon
+  I ask of thee, beloved Night--
+  Swift be thine approaching flight,
+        Come soon, soon!                                              35
+
+      --_Percy Bysshe Shelley_
+
+       *       *       *       *       *
+
+
+THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS
+
+From "Essay on Warren Hastings"
+
+
+On the 13th of February, 1788, the sittings of the Court commenced.
+There have been spectacles more dazzling to the eye, more gorgeous
+with jewelry and cloth of gold, more attractive to grown-up children,
+than that which was then exhibited at Westminster; but, perhaps, there
+never was a spectacle so well calculated to strike a highly
+cultivated, a reflecting, an imaginative mind. All the various kinds
+of interest which belong to the near and to the distant, to the
+present and to the past, were collected on one spot and in one hour.
+All the talents and all the accomplishments which are developed by
+liberty and civilization were now displayed with every advantage that
+could be derived both from co-operation and from contrast. Every step
+in the proceedings carried the mind either backward, through many
+troubled centuries, to the days when the foundations of our
+constitution were laid; or far away, over boundless seas and deserts,
+to dusky nations living under strange stars, worshipping strange gods,
+and writing strange characters from right to left. The High Court of
+Parliament was to sit, according to forms handed down from the days of
+the Plantagenets, on an Englishman accused of exercising tyranny over
+the lord of the holy city of Benares and over the ladies of the
+princely house of Oude.
+
+The place was worthy of such a trial. It was the great hall of William
+Rufus, the hall which had resounded with acclamations at the
+inauguration of thirty kings, the hall which had witnessed the just
+sentence of Bacon and the just absolution of Somers, the hall where
+the eloquence of Strafford had for a moment awed and melted a
+victorious party inflamed with just resentment, the hall where Charles
+had confronted the High Court of Justice with the placid courage which
+has half redeemed his fame.
+
+Neither military nor civil pomp was wanting. The avenues were lined
+with grenadiers. The streets were kept clear by cavalry. The peers,
+robed in gold and ermine, were marshalled by the heralds under Garter
+King-at-Arms. The judges in their vestments of state attended to give
+advice on points of law. Near a hundred and seventy lords, three
+fourths of the Upper House as the Upper House then was, walked in
+solemn order from their usual place of assembling to the tribunal. The
+junior Baron present led the way, George Eliott, Lord Heathfield,
+recently ennobled for his memorable defence of Gibraltar against the
+fleets and armies of France and Spain. The long procession was closed
+by the Duke of Norfolk, Earl Marshal of the realm, by the great
+dignitaries, and by the brothers and sons of the King. Last of all
+came the Prince of Wales, conspicuous by his fine person and noble
+bearing.
+
+The gray old walls were hung with scarlet. The long galleries were
+crowded by an audience such as has rarely excited the fears or the
+emulation of an orator. There were gathered together, from all parts
+of a great, free, enlightened and prosperous empire, grace and female
+loveliness, wit and learning, the representatives of every science and
+of every art. There were seated round the Queen, the fair-haired young
+daughters of the house of Brunswick. There the Ambassadors of great
+Kings and Commonwealths gazed with admiration on a spectacle which no
+other country in the world could present. There Siddons, in the prime
+of her majestic beauty, looked with emotion on a scene surpassing all
+the imitations of the stage. There the historian of the Roman Empire
+thought of the days when Cicero pleaded the cause of Sicily against
+Verres, and when, before a senate which still retained some show of
+freedom, Tacitus thundered against the oppressor of Africa.
+
+There were seen, side by side, the greatest painter and the greatest
+scholar of the age. The spectacle had allured Reynolds from that easel
+which has preserved to us the thoughtful foreheads of so many writers
+and statesmen, and the sweet smiles of so many noble matrons. It had
+induced Parr to suspend his labours in that dark and profound mine
+from which he had extracted a vast treasure of erudition--a treasure
+too often buried in the earth, too often paraded with injudicious and
+inelegant ostentation; but still precious, massive, and splendid.
+There appeared the voluptuous charms of her to whom the heir of the
+throne had in secret plighted his faith. There too was she, the
+beautiful mother of a beautiful race, the Saint Cecilia, whose
+delicate features, lighted up by love and music, art has rescued from
+the common decay. There were the members of that brilliant society
+which quoted, criticised, and exchanged repartees under the rich
+peacock hangings of Mrs. Montague. And there the ladies, whose lips,
+more persuasive than those of Fox himself, had carried the Westminster
+election against palace and treasury, shone round Georgiana, Duchess
+of Devonshire.
+
+The Serjeants made proclamation. Hastings advanced to the bar and bent
+his knee. The culprit was indeed not unworthy of that great presence.
+He had ruled an extensive and populous country, had made laws and
+treaties, had sent forth armies, had set up and pulled down princes.
+And in his high place he had so borne himself that all had feared him,
+that most had loved him, and that hatred itself could deny him no
+title to glory except virtue. He looked like a great man and not like
+a bad man. A person small and emaciated, yet deriving dignity from a
+carriage which, while it indicated deference to the court, indicated
+also habitual self-possession and self-respect; a high and
+intellectual forehead; a brow pensive, but not gloomy; a mouth of
+inflexible decision; a face pale and worn, but serene, on which was
+written, as legibly as under the picture in the council-chamber at
+Calcutta, _Mens aequa in arduis_; such was the aspect with which the
+great Proconsul presented himself to his judges.
+
+His counsel accompanied him, men all of whom were afterwards raised by
+their talents and learning to the highest posts in their
+profession--the bold and strong-minded Law, afterwards Chief-Justice
+of the King's Bench; the more humane and eloquent Dallas, afterwards,
+Chief-Justice of the Common Pleas; and Plomer, who, near twenty years
+later, successfully conducted in the same high court the defence of
+Lord Melville, and subsequently became Vice-chancellor and Master of
+the Rolls.
+
+But neither the culprit nor his advocates attracted so much notice as
+the accusers. In the midst of the blaze of red drapery, a space had
+been fitted up with green benches and tables for the Commons. The
+managers, with Burke at their head, appeared in full dress. The
+collectors of gossip did not fail to remark that even Fox, generally
+so regardless of his appearance, had paid to the illustrious tribunal
+the compliment of wearing a bag and sword. Pitt had refused to be one
+of the conductors of the impeachment; and his commanding, copious, and
+sonorous eloquence was wanting to that great muster of various
+talents. Age and blindness had unfitted Lord North for the duties of a
+public prosecutor; and his friends were left without the help of his
+excellent sense, his tact, and his urbanity.
+
+But in spite of the absence of these two distinguished members of the
+Lower House, the box in which the managers stood contained an array of
+speakers such as perhaps had not appeared together since the great age
+of Athenian eloquence. There were Fox and Sheridan, the English
+Demosthenes and the English Hyperides. There was Burke, ignorant,
+indeed, or negligent of the art of adapting his reasonings and his
+style to the capacity and taste of his hearers, but in amplitude of
+comprehension and richness of imagination superior to every orator,
+ancient or modern.
+
+There, with eyes reverentially fixed on Burke, appeared the finest
+gentleman of the age--his form developed by every manly exercise, his
+face beaming with intelligence and spirit--the ingenious, the
+chivalrous, the high-souled Windham. Nor, though surrounded by such
+men, did the youngest manager pass unnoticed. At an age when most of
+those who distinguish themselves in life are still contending for
+prizes and fellowships at college, he had won for himself a
+conspicuous place in Parliament. No advantage of fortune or connection
+was wanting that could set off to the height his splendid talents and
+his unblemished honour. At twenty-three he had been thought worthy to
+be ranked with the veteran statesmen who appeared as the delegates of
+the British Commons at the bar of the British nobility. All who stood
+at the bar, save him alone, are gone--culprit, advocates, accusers. To
+the generation which is now in the vigour of life, he is the sole
+representative of a great age which has passed away. But those who,
+within the last ten years, have listened with delight till the morning
+sun shone on the tapestries of the House of Lords, to the lofty and
+animated eloquence of Charles, Earl Grey, are able to form some
+estimate of the powers of a race of men among whom he was not the
+foremost.
+
+The charges, and the answers of Hastings, were first read. The
+ceremony occupied two whole days, and was rendered less tedious than
+it would otherwise have been by the silver voice and just emphasis of
+Cowper, the clerk of the court, near relation of the amiable poet. On
+the third day Burke rose. Four sittings were occupied by his opening
+speech, which was intended to be a general introduction to all the
+charges. With an exuberance of thought and splendour of diction which
+more than satisfied the highly raised expectations of the audience, he
+described the character and institutions of the natives of India;
+recounted the circumstances in which the Asiatic empire of Britain had
+originated; and set forth the constitution of the Company and of the
+English Presidencies. Having thus attempted to communicate to his
+hearers an idea of Eastern society, as vivid as that which existed in
+his own mind, he proceeded to arraign the administration of Hastings,
+as systematically conducted in defiance of morality and public law.
+
+The energy and pathos of the great orator extorted expressions of
+unwonted admiration from the stern and hostile Chancellor, and, for a
+moment, seemed to pierce even the resolute heart of the defendant. The
+ladies in the galleries, unaccustomed to such displays of eloquence,
+excited by the solemnity of the occasion, and perhaps not unwilling to
+display their taste and sensibility, were in a state of uncontrollable
+emotion. Handkerchiefs were pulled out, smelling-bottles were handed
+round; hysterical sobs and screams were heard; and Mrs. Sheridan was
+carried out in a fit. At length the orator concluded. Raising his
+voice till the old arches of Irish oak resounded: "Therefore," said
+he, "hath it with all confidence been ordered by the Commons of Great
+Britain, that I impeach Warren Hastings of high crimes and
+misdemeanours. I impeach him in the name of the Commons' House of
+Parliament, whose trust he has betrayed. I impeach him in the name of
+the English nation, whose ancient honour he has sullied. I impeach him
+in the name of the people of India, whose rights he has trodden under
+foot and whose country he has turned into a desert. Lastly in the name
+of human nature itself, in the name of both sexes, in the name of
+every age, in the name of every rank, I impeach the common enemy and
+oppressor of all."
+
+      --_Macaulay_
+
+
+  This lesson is an exercise on Inflection, especially as
+  it occurs on antithetical words or phrases and on series
+  of words or phrases parallel in construction.
+  (Introduction, pp. 19 and 20.)
+
+       *       *       *       *       *
+
+
+PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS
+
+
+1. In the name of the Commons of England, I charge all this villainy
+upon Warren Hastings, in this last moment of my application to you.
+
+2. My Lords, what is it that we want here to a great act of national
+justice. Do we want a cause, my Lords? You have the cause of oppressed
+princes, of undone women of the first rank, of desolated provinces,
+and of wasted kingdoms.
+
+3. Do you want a criminal, my Lords? When was there so much iniquity
+ever laid to the charge of any one? No, my Lords, you must not look to
+punish any other such delinquent from India. Warren Hastings has not
+left substance enough in India to nourish such another delinquent.
+
+4. My Lords, is it a prosecutor you want? You have before you the
+Commons of Great Britain as prosecutors; and I believe, my Lords, that
+the sun, in his beneficent progress round the world, does not behold a
+more glorious sight than that of men, separated from a remote people
+by the material bounds and barriers of nature, united by the bond of a
+social and moral community--all the Commons of England resenting, as
+their own, the indignities and cruelties that are offered to all the
+people of India.
+
+5. Do we want a tribunal? My Lords, no example of antiquity, nothing
+in the modern world, nothing in the range of human imagination, can
+supply us with a tribunal like this. My Lords, here we see virtually,
+in the mind's eye, that sacred majesty of the Crown, under whose
+authority you sit and whose power you exercise. We have here all the
+branches of the royal family, in a situation between majesty and
+subjection, between the sovereign and the subject--offering a pledge
+in that situation, for the support of the rights of the Crown and the
+liberties of the people, both which extremities they touch.
+
+6. My Lords, we have a great hereditary peerage here; those who have
+their own honour, the honour of their ancestors, and of their
+posterity, to guard, and who will justify, as they always have
+justified, that precision in the Constitution by which justice is made
+an hereditary office. My Lords, we have here a new nobility, who have
+risen and exalted themselves by various merits, by great civil and
+military services, which have extended the fame of this country from
+the rising to the setting sun. My Lords, you have here, also, the
+lights of our religion; you have the bishops of England. My Lords, you
+have that true image of the primitive church in its ancient form, in
+its ancient ordinances, purified from the superstitions and vices
+which a long succession of ages will bring upon the best institutions.
+
+7. My Lords, these are the securities which we have in all the
+constituent parts of the body of this House. We know them, we reckon,
+we rest upon them, and commit safely the interests of India and of
+humanity into your hands. Therefore, it is with confidence that,
+ordered by the Commons, I impeach Warren Hastings, Esquire, of high
+crimes and misdemeanours. I impeach him in the name of the Commons of
+Great Britain in Parliament assembled, whose parliamentary trust he
+has betrayed. I impeach him in the name of all the Commons of Great
+Britain, whose national character he has dishonoured. I impeach him in
+the name of the people of India, whose laws, rights, and liberties he
+has subverted, whose property he has destroyed, whose country he has
+laid waste and desolate. I impeach him in the name and by virtue of
+those eternal laws of justice which he has violated. I impeach him in
+the name of human nature itself, which he has cruelly outraged,
+injured and oppressed, in both sexes, in every age, rank, situation,
+and condition of life.
+
+   --_Edmund Burke_
+
+
+  What effect would the solemnity of the occasion and the
+  gravity of the accusation have on the Quality of the
+  speaker's voice? (Introduction, p. 34.)
+
+  Par. 2. CAUSE. What words in Pars. 3, 4, and 5 are
+  emphatic through contrast with this word? Point out
+  similar contrasts in Par. 6.
+
+  Account for the Inflection on the various questions.
+
+  How are the Climaxes in Pars. 2, 5, and 7 interpreted
+  vocally? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SONG MY PADDLE SINGS
+
+
+  West wind, blow from your prairie nest,
+  Blow from the mountains, blow from the west.
+  The sail is idle, the sailor too;
+  O! wind of the west, we wait for you.
+  Blow, blow!                                                          5
+  I have wooed you so,
+  But never a favour you bestow.
+  You rock your cradle the hills between,
+  But scorn to notice my white lateen.
+
+  I stow the sail, unship the mast:                                   10
+  I wooed you long, but my wooing's past;
+  My paddle will lull you into rest.
+  O! drowsy wind of the drowsy west,
+  Sleep, sleep,
+  By your mountain steep,                                             15
+  Or down where the prairie grasses sweep!
+  Now fold in slumber your laggard wings,
+  For soft is the song my paddle sings.
+
+  August is laughing across the sky,
+  Laughing while paddle, canoe, and I,                                20
+  Drift, drift,
+  Where the hills uplift
+  On either side of the current swift.
+
+  The river rolls in its rocky bed;
+  My paddle is plying its way ahead                                   25
+  Dip, dip,
+  While the waters flip
+  In foam as over their breast we slip.
+
+  And oh, the river runs swifter now;
+  The eddies circle about my bow.                                     30
+  Swirl, swirl!
+  How the ripples curl
+  In many a dangerous pool awhirl!
+
+  And forward far the rapids roar,
+  Fretting their margin for evermore.                                 35
+  Dash, dash,
+  With a mighty crash,
+  They seethe, and boil, and bound, and splash.
+
+  Be strong, O paddle! be brave, canoe!
+  The reckless waves you must plunge into.                            40
+  Reel, reel,
+  On your trembling keel,
+  But never a fear my craft will feel.
+
+  We've raced the rapid, we're far ahead!
+  The river slips through its silent bed.                             45
+  Sway, sway,
+  As the bubbles spray
+  And fall in tinkling tunes away.
+
+  And up on the hills against the sky,
+  A fir-tree rocking its lullaby,                                     50
+  Swings, swings,
+  Its emerald wings,
+  Swelling the song that my paddle sings.
+
+      --_E. Pauline Johnson (Tekahionwake)_
+            (_By arrangement with the Author_)
+
+
+  By examples from the above poem show to what extent
+  Imitation enters into vocal expression. (Introduction,
+  pp. 4-6.)
+
+       *       *       *       *       *
+
+
+THE DEFENCE OF THE BRIDGE
+
+From "Horatius"
+
+
+  ... The Consul's brow was sad,
+    And the Consul's speech was low,
+  And darkly looked he at the wall
+    And darkly at the foe.
+  "Their van will be upon us                                           5
+    Before the bridge goes down;
+  And if they once may win the bridge,
+    What hope to save the town?"
+
+  Then out spake brave Horatius,
+    The Captain of the Gate:                                          10
+  "To every man upon this earth
+    Death cometh soon or late.
+  And how can man die better
+    Than facing fearful odds,
+  For the ashes of his fathers,                                       15
+    And the temples of his gods?
+
+  "Hew down the bridge, Sir Consul,
+    With all the speed ye may;
+  I, with two more to help me,
+    Will hold the foe in play.                                        20
+  In yon straight path a thousand
+    May well be stopped by three.
+  Now who will stand on either hand,
+  And keep the bridge with me?"
+
+  Then out spake Spurius Lartius,--                                   25
+    A Ramnian proud was he,--
+  "Lo, I will stand at thy right hand,
+    And keep the bridge with thee."
+  And out spake strong Herminius,--
+    Of Titian blood was he,--                                         30
+  "I will abide on thy left side,
+    And keep the bridge with thee."
+
+  "Horatius," quoth the Consul,
+    "As thou sayest, so let it be."
+  And straight against that great array                               35
+    Forth went the dauntless Three.
+  For Romans in Rome's quarrel
+    Spared neither land nor gold,
+  Nor son nor wife, nor limb nor life,
+    In the brave days of old.                                         40
+
+  Then none was for a party;
+    Then all were for the state;
+  Then the great man helped the poor,
+    And the poor man loved the great:
+  Then lands were fairly portioned;                                   45
+    Then spoils were fairly sold:
+  The Romans were like brothers
+    In the brave days of old.
+
+  Now, Roman is to Roman
+    More hateful than a foe,                                          50
+  And the Tribunes beard the high,
+    And the Fathers grind the low.
+  As we wax hot in faction,
+    In battle we wax cold:
+  Wherefore men fight not as they fought                              55
+    In the brave days of old.
+
+  Now while the Three were tightening
+    Their harness on their backs,
+  The Consul was the foremost man
+    To take in hand an axe:                                           60
+  And Fathers mixed with Commons
+    Seized hatchet, bar, and crow,
+  And smote upon the planks above,
+    And loosed the props below.
+
+  Meanwhile the Tuscan army,                                          65
+    Right glorious to behold,
+  Came flashing back the noonday light,
+  Rank behind rank, like surges bright
+    Of a broad sea of gold.
+  Four hundred trumpets sounded                                       70
+    A peal of warlike glee,
+  As that great host with measured tread,
+  And spears advanced, and ensigns spread,
+  Rolled slowly towards the bridge's head,
+    Where stood the dauntless Three.                                  75
+
+  The Three stood calm and silent,
+    And looked upon the foes,
+  And a great shout of laughter
+    From all the vanguard rose:
+  And forth three chiefs came spurring                                80
+    Before that deep array;
+  To earth they sprang, their swords they drew,
+  And lifted high their shields, and flew
+    To win the narrow way;
+
+  Aunus from green Tifernum,                                          85
+    Lord of the Hill of Vines;
+  And Seius, whose eight hundred slaves
+    Sicken in Ilva's mines;
+  And Picus, long to Clusium
+    Vassal in peace and war,                                          90
+  Who led to fight his Umbrian powers
+  From that gray crag where, girt with towers,
+  The fortress of Nequinum lowers
+    O'er the pale waves of Nar.
+
+  Stout Lartius hurled down Aunus                                     95
+    Into the stream beneath;
+  Herminius struck at Seius,
+    And clove him to the teeth;
+  At Picus brave Horatius
+    Darted one fiery thrust;                                         100
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+  Then Ocnus of Falerii
+    Rushed on the Roman Three;
+  And Lausulus of Urgo,                                              105
+    The rover of the sea;
+  And Aruns of Volsinium,
+    Who slew the great wild boar,
+  The great wild boar that had his den
+  Amidst the reeds of Cosa's fen,                                    110
+  And wasted fields, and slaughtered men,
+    Along Albinia's shore.
+
+  Herminius smote down Aruns;
+    Lartius laid Ocnus low;
+  Right to the heart of Lausulus                                     115
+    Horatius sent a blow.
+  "Lie there," he cried, "fell pirate!
+    No more, aghast and pale,
+  From Ostia's walls the crowd shall mark
+  The track of thy destroying bark.                                  120
+  No more Campania's hinds shall fly
+  To woods and caverns when they spy
+    Thy thrice accursed sail."
+
+  But now no sound of laughter
+    Was heard among the foes.                                        125
+  A wild and wrathful clamour
+    From all the vanguard rose.
+  Six spears' lengths from the entrance
+    Halted that deep array,
+  And for a space no man came forth                                  130
+    To win the narrow way.
+
+  But hark! the cry is Astur:
+    And lo! the ranks divide,
+  And the great Lord of Luna
+    Comes with his stately stride.                                   135
+  Upon his ample shoulders
+    Clangs loud the fourfold shield,
+  And in his hand he shakes the brand
+    Which none but he can wield.
+
+  He smiled on those bold Romans                                     140
+    A smile serene and high;
+  He eyed the flinching Tuscans,
+    And scorn was in his eye.
+  Quoth he: "The she-wolf's litter
+    Stand savagely at bay;                                           145
+  But will ye dare to follow
+    If Astur clears the way?"
+
+  Then, whirling up his broadsword
+    With both hands to the height,
+  He rushed against Horatius,                                        150
+    And smote with all his might.
+  With shield and blade Horatius
+    Right deftly turned the blow.
+  The blow, though turned, came yet too nigh;
+  It missed his helm, but gashed his thigh:                          155
+  The Tuscans raised a joyful cry
+    To see the red blood flow.
+
+  He reeled, and on Herminius
+    He leaned one breathing-space;
+  Then, like a wild cat mad with wounds,                             160
+    Sprang right at Astur's face.
+  Through teeth, and skull, and helmet,
+    So fierce a thrust he sped,
+  The good sword stood a hand-breadth out
+    Behind the Tuscan's head.                                        165
+
+  And the great Lord of Luna
+    Fell at that deadly stroke,
+  As falls on Mount Alvernus
+    A thunder-smitten oak.
+  Far o'er the crashing forest                                       170
+    The giant arms lie spread;
+  And the pale augurs, muttering low,
+    Gaze on the blasted head.
+
+  On Astur's throat Horatius
+    Right firmly pressed his heel,                                   175
+  And thrice and four times tugged amain,
+    Ere he wrenched out the steel.
+  "And see," he cried, "the welcome,
+    Fair guests, that waits you here!
+  What noble Lucumo comes next,                                      180
+    To taste our Roman cheer?"
+
+  But at his haughty challenge
+    A sullen murmur ran,
+  Mingled of wrath, and shame, and dread,
+    Along that glittering van.                                       185
+  There lacked not men of prowess,
+    Nor men of lordly race;
+  For all Etruria's noblest
+    Were round the fatal place.
+  But all Etruria's noblest                                          190
+    Felt their hearts sink to see
+  On the earth the bloody corpses,
+    In the path the dauntless Three.
+
+  Yet one man for one moment
+    Strode out before the crowd;                                     195
+  Well known was he to all the Three,
+    And they gave him greeting loud.
+  "Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?                                 200
+    Here lies the road to Rome."
+
+  Thrice looked he at the city;
+    Thrice looked he at the dead;
+  And thrice came on in fury,
+    And thrice turned back in dread;                                 205
+  And, white with fear and hatred,
+    Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+    The bravest Tuscans lay.
+
+  But meanwhile axe and lever                                        210
+    Have manfully been plied;
+  And now the bridge hangs tottering
+    Above the boiling tide.
+  "Come back, come back, Horatius!"
+    Loud cried the Fathers all.                                      215
+  "Back Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+  Back darted Spurius Lartius;
+    Herminius darted back:
+  And, as they passed beneath their feet                             220
+    They felt the timbers crack.
+  But when they turned their faces.
+    And on the farther shore
+  Saw brave Horatius stand alone,
+    They would have crossed once more.                               225
+
+  But with a crash like thunder
+    Fell every loosened beam,
+  And, like a dam, the mighty wreck
+    Lay right athwart the stream:
+  And a long shout of triumph                                        230
+    Rose from the walls of Rome,
+  As to the highest turret-tops
+    Was splashed the yellow foam.
+
+  Alone stood brave Horatius,
+    But constant still in mind;                                      235
+  Thrice thirty thousand foes before,
+    And the broad flood behind.
+  "Down with him!" cried false Sextus,
+    With a smile on his pale face,
+  "Now yield thee," cried Lars Porsena,                              240
+    "Now yield thee to our grace."
+
+  Round turned he, as not deigning
+    Those craven ranks to see;
+  Naught spake he to Lars Porsena,
+    To Sextus naught spake he:                                       245
+  But he saw on Palatinus
+    The white porch of his home;
+  And he spake to the noble river
+    That rolls by the towers of Rome:
+
+  "Oh, Tiber! Father Tiber!                                          250
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+  So he spake, and speaking sheathed
+    The good sword by his side,                                      255
+  And with his harness on his back,
+    Plunged headlong in the tide.
+
+  No sound of joy or sorrow
+    Was heard from either bank;
+  But friends and foes in dumb surprise,                             260
+  With parted lips and straining eyes,
+    Stood gazing where he sank;
+  And when above the surges
+    They saw his crest appear,
+  All Rome sent forth a rapturous cry,                               265
+  And even the ranks of Tuscany
+    Could scarce forbear to cheer.
+
+  But fiercely ran the current,
+    Swollen high by months of rain:
+  And fast his blood was flowing,                                    270
+    And he was sore in pain,
+  And heavy with his armour,
+    And spent with changing blows:
+  And oft they thought him sinking,
+    But still again he rose.                                         275
+
+  Never, I ween, did swimmer,
+    In such an evil case
+  Struggle through such a raging flood
+    Safe to the landing-place:
+  But his limbs were borne up bravely                                280
+    By the brave heart within,
+  And our good Father Tiber
+    Bore bravely up his chin.
+
+  "Curse on him!" quoth false Sextus:
+    "Will not the villain drown?                                     285
+  But for this stay, ere close of day
+    We should have sacked the town!"
+  "Heaven help him!" quoth Lars Porsena,
+    "And bring him safe to shore;
+  For such a gallant feat of arms                                    290
+    Was never seen before."
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;                                         295
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+      --_Macaulay_
+
+
+  PREPARATORY.--What is the historic back-ground of the
+  ballad from which this selection is taken? Narrate
+  briefly the events as told by Macaulay in _Horatius_.
+  Where is the scene of the dramatic events here
+  portrayed? Who are the chief actors? Who are the
+  speakers?
+
+  Show whether the words and phrases repeated in the
+  following lines are accompanied by increased Emphasis or
+  whether the Emphasis is transferred: ll. 1-4, 41-46,
+  108-109, 118-121, 188-190, 198-199, 202-205, 214-217,
+  240-241, 244-245, 252, 292-295. (Introduction, pp.
+  30-32.) Give examples of Emphasis through contrast,
+  throughout the selection.
+
+  What Inflection is placed on the questions in ll. 8,
+  13-16, 23-24? Give reasons.
+
+  Compare the mental attitude of Horatius in ll. 11-16,
+  and ll. 17-24. What is the difference in Stress?
+
+  ll. 38-39. What Inflection and Emphasis on the series of
+  words? (Introduction, pp. 20 and 31.)
+
+  In what way does Imitation enter into the reading of ll.
+  72-75, 82-84, 95-100, 160-163, 218-221, 292-299? How are
+  the Time and Stress affected? How does Imitation affect
+  the Pitch in ll. 230-233, 156-157, 172-173, 238-241,
+  265-267, 284-291?
+
+  ll. 144-147. In what Quality of voice should Astur's
+  speech be read?
+
+  l. 153. What is the most important word?
+
+  ll. 178-181, 196-201. How does the derision affect the
+  Stress and the Inflection? (Introduction, pp. 21, 22,
+  and 30.)
+
+  ll. 186-187. Explain the Inflection on this negative
+  statement.
+
+  ll. 238-241, 284-291. Compare the feelings of Sextus
+  with those of Lars Porsena. How is the difference shown
+  in the Quality of voice? (Introduction, pp. 33-35.)
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF KING EDWARD VII
+
+Delivered in the British House of Commons, May 12th, 1910
+
+
+The late King, who has been suddenly taken away from us, had, at the
+time of his death, not yet completed the tenth year of his reign.
+Those years were crowded with moving and stirring events, both abroad,
+in the Empire, and here at home. In our relations with foreign
+countries they have been years of growing friendships, of new
+understandings, of stronger and surer safeguards for the peace of
+mankind. Within the Empire during the same time the sense of
+interdependence, the consciousness of common interests and common
+risks, the ever-tightening bonds of corporate unity have been
+developed and vivified as they had never been before. Here at home, as
+though it were by way of contrast, controversial issues of the gravest
+kind--economic, social, and constitutional--have ripened into a rapid
+maturity.
+
+Sir, in all these multiform manifestations of our national and
+imperial life, history will assign a part of singular dignity and
+authority to the great Ruler whom we have lost. In external affairs
+his powerful personal influence was steadily and zealously directed to
+the avoidance not only of war, but of the causes and pretexts of war,
+and he well earned the title by which he will always be remembered,
+"the Peacemaker of the World."
+
+Within the boundaries of his own Empire, by his intimate knowledge of
+its component parts, by his broad and elastic sympathy not only with
+ambitions, and aspirations, but with the sufferings and the hardships
+of his people, by his response to any and every appeal whether to the
+sense of justice or the spirit of compassion, he won a degree of
+loyalty, affection, and confidence which few Sovereigns have ever
+enjoyed. At home, we all recognize that, above the din and dust of our
+hard-fought controversies, detached from party and attached only to
+the common interests, we had in him an arbiter ripe in experience,
+judicial in temper, at once a reverent worshipper of our traditions
+and a watchful guardian of our constitutional liberties.
+
+One is tempted, indeed constrained, on such an occasion as this to ask
+what were the qualities which enabled a man called comparatively late
+in life to new duties of unexampled complexity--what were the
+qualities which in practice proved him so admirably fitted to the
+task, and have given him an enduring and illustrious record among the
+rulers and governors of the nations? I should be disposed to assign
+the first place to what sounds a commonplace--but in its persistent
+and unfailing exercise is one of the rarest of virtues--his strong,
+abiding, dominating sense of public duty.
+
+King Edward, be it remembered, was a man of many and varied interests.
+He was a sportsman in the best sense, an ardent and discriminating
+patron of the Arts, and as well equipped as any man of his time for
+the give-and-take of social intercourse; wholly free from the
+prejudices and narrowing rules of caste; at home in all companies; an
+enfranchised citizen of the world. To such a man, endowed as he was by
+nature, placed where he was by fortune and by circumstances, there
+was open, if he had chosen to enter it, an unlimited field for
+self-indulgence. But, Sir, as every one will acknowledge who was
+brought into daily contact with him in the sphere of affairs, his duty
+to the State always came first. In this great business community there
+was no better man of business, no man by whom the humdrum
+obligations--punctuality, method, preciseness, and economy of time and
+speech--were more keenly recognized or more severely practised. I
+speak with the privilege of close experience when I say that wherever
+he was, whatever may have been his apparent preoccupations, in the
+transactions of the business of the State there were never any
+arrears, there was never any trace of confusion, there was never any
+moment of avoidable delay.
+
+Next to these, Sir--I am still in the domain of practice and
+administration--I should put his singular, perhaps an unrivalled, tact
+in the management of men, and a judgment of intuitive shrewdness as to
+the best outlet from perplexed and often baffling situations. He had,
+in its highest and best development, the genius of common sense. These
+rare gifts of practical efficiency were, during the whole of his
+Kingship, yoked to the service of a great ideal. He was animated every
+day of his Sovereignty by the thought that he was at once the head and
+the chief servant of that vast complex organism which we call the
+British Empire. He recognized in the fullest degree both the powers
+and the limitations of a Constitutional Monarch. Here, at home, he
+was, though no politician, as every one knows, a keen Social Reformer.
+He loved his people at home and over the seas. Their interests were
+his interests; their fame was his fame. He had no self apart from
+them.
+
+I will not touch for more than a moment on more delicate and sacred
+ground--on his personal charm, the warmth and wealth of his humanity;
+his unfailing considerateness for all who in any capacity were
+permitted to work for him. I will only say, in this connection that no
+man in our time has been more justly beloved by his family and his
+friends, and no Ruler in our or in any time has been more sincerely
+true, more unswervingly loyal, more uniformly kind to his advisers and
+his servants. By the unsearchable counsels of the Disposer of Events
+he has been called suddenly, and without warning, to his account. We
+are still dazed under the blow which has befallen us. It is too soon,
+as yet, even to attempt to realize its full meaning, but this, at
+least, we may say at once and with full assurance, that he has left to
+his people a memory and an example which they will never forget, a
+memory of great opportunities greatly employed, and an example which
+the humblest of his subjects may treasure and strive to follow, of
+simplicity, courage, self-denial, tenacious devotion up to the last
+moment of conscious life to work, to duty, and to service.
+
+    --_The Right Honourable Herbert Henry Asquith_
+
+
+  WITHIN THE BOUNDARIES ... ENJOYED. Make an analysis of
+  this sentence with a view to Perspective. (Introduction,
+  p. 33.)
+
+  DETACHED ... INTERESTS. Note the contrasts and indicate
+  the Inflection on each.
+
+  TEMPTED, ... CONSTRAINED. What difference in Emphasis?
+  (Introduction, p. 31.) Compare SINGULAR, PERHAPS
+  UNRIVALLED; IN OUR OR IN ANY TIME.
+
+       *       *       *       *       *
+
+
+THE HEROES OF MAGERSFONTEIN
+
+Dec. 11, 1899
+
+
+1. During the night it was considered expedient that the Highland
+Brigade, 4,000 strong, under General Wauchope, should get close enough
+to the lines of the foe to make it possible to charge the heights. At
+midnight the gallant but ill-fated men moved cautiously through the
+darkness toward the kopje where the Boers were most strongly
+intrenched. They were led by a guide who was supposed to know every
+inch of the country, out into the darkness of an African night.
+
+2. So onward until three of the clock on the Monday. Then out of the
+darkness a rifle rang sharp and clear, a herald of disaster--a soldier
+had tripped in the dark over the hidden wires laid down by the enemy.
+In a second, in the twinkling of an eye, the searchlights of the Boers
+fell broad and clear as the noonday sun on the ranks of the doomed
+Highlanders, though it left the enemy concealed in the shadows of the
+frowning mass of hills behind them. For one brief moment the Scots
+seemed paralysed by the suddenness of their discovery, for they knew
+that they were huddled together like sheep within fifty yards of the
+trenches of the foes.
+
+3. Then clear above the confusion rolled the voice of the General:
+"Steady, men, steady!"--and like an echo to the veterans out came the
+crash of nearly a thousand rifles not fifty paces from them. The
+Highlanders reeled before the shock like trees before the tempest;
+their best, their bravest, fell in that wild hail of lead. General
+Wauchope was down, riddled with bullets; yet gasping, dying, bleeding
+from every vein, the Highland chief raised himself on his hands and
+knees and cheered his men forward. Men and officers fell in heaps
+together.
+
+4. The Black Watch charged, and the Gordons and the Seaforths, with a
+yell that stirred the British camp below, rushed onward to death or
+disaster. The accursed wires caught them around the legs until they
+floundered like trapped wolves, and all the time the rifles of the foe
+sang the song of death in their ears. They fell back broken and
+beaten, leaving nearly 1,300 dead and wounded, just where the broad
+breast of the grassy veldt melts into the embrace of the rugged
+African hills; and an hour later, the dawning came of the dreariest
+day that Scotland has known for a generation past.
+
+5. Of her officers, the flower of her chivalry, the pride of her
+breeding, but few remained to tell the tale--a sad tale truly, but one
+untinted with dishonour nor smirched with disgrace, for up these
+heights under similar circumstances, even a brigade of devils could
+scarce have hoped to pass. All that mortal man could do the Scots did;
+they tried, they failed, they fell, and there is nothing left us now
+but to revere their memory and give them a place of honour in the
+pages of history.
+
+6. Three hundred yards to the rear of the little township of Modder
+River, just as the sun was sinking in a blaze of African splendour, on
+the evening of Tuesday, the 12th of December, a long shallow grave lay
+exposed in the breast of the veldt. To the westward, the broad river
+fringed with trees runs murmuringly; to the eastward, the heights
+still held by the enemy, scowled menacingly; north and south the veldt
+undulated peacefully; a few paces to the northward of that grave,
+fifty dead Highlanders lay dressed as they had fallen on the field of
+battle: they had followed their chief to the field, and they were to
+follow him to the grave.
+
+7. How grim and stern these men looked as they lay face upward to the
+sky, with great hands clutched in the last agony, and brows still knit
+with the stern lust of the strife in which they had fallen. The
+plaids, dear to every Highland clan, were represented there, and out
+of the distance came the sound of pipes. It was the General coming to
+join his men. There, right under the eyes of the enemy, moved with
+slow and solemn tread all that remained of the Highland Brigade. In
+front of them walked the chaplain, with bared head, dressed in his
+robes of office; then came the pipers with their pipes, sixteen in
+all, and behind them, with arms reversed, moved the Highlanders,
+dressed in all the regalia of their regiments, and in the midst the
+dead General, borne by four of his comrades. Out swelled the pipes to
+the strains of "The Flowers of the Forest," now ringing proud and high
+until the soldier's head went back in haughty defiance--and eyes
+flashed through tears like sunlight on steel, now sinking to moaning
+wail like a woman mourning for her first-born, until the proud heads
+drooped forward till they rested on heaving chests, and tears rolled
+down the wan and scarred faces, and the choking sobs broke through the
+solemn rhythm of the march of death.
+
+8. Right up to the grave they marched, then broke away in companies,
+until the General lay in the shallow grave with a Scottish square of
+armed men around him. Only the dead man's son and a small remnant of
+his officers stood with the chaplain and the pipers, while the solemn
+service of the church was spoken.
+
+9. Then once again the pipes pealed out, and "Lochaber No More" cut
+through the stillness like a cry of pain until one could almost hear
+the widow in her Highland home mourning for the soldier she would
+welcome back no more.
+
+10. Then, as if touched with the magic of one thought, the soldiers
+turned their tear-damped eyes from the still form in the shallow grave
+toward the height where Cronje, the Lion of Africa, and his soldiers
+stood. Then every cheek flushed crimson, and strong jaws set like
+steel, and the veins on the hands that clasped the rifle handles
+swelled almost to bursting with the fervour of the grip, and that look
+from those silent, armed men spoke more eloquently than ever spoke the
+tongues of orators. For on each frowning face the spirit of vengeance
+sat, and each sparkling eye asked silently for blood.
+
+11. At the head of the grave, at the point nearest the enemy, the
+General was laid to sleep, his officers grouped around him, while in
+line behind him, his soldiers were laid in a double row wrapped in
+their blankets. No shots were fired over the dead men resting so
+peacefully, only the salute was given, and then the men marched
+campwards as the darkness of an African night rolled over the
+far-stretching breadth of the veldt.
+
+   --_From "The London Daily News" (By permission)_
+
+
+  Par. 1. Note the Grouping, Pause, and Shading in the
+  last sentence. Compare the Grouping in the preceding
+  sentence, in the last sentence of Par. 4, in the first
+  sentence of Par. 7, and in the second sentence of Par.
+  10.
+
+  Explain the Inflection and Emphasis on the phrases
+  parallel in construction, in the fifth and sixth
+  sentences of Par. 7, and the second sentence of Par. 10.
+
+       *       *       *       *       *
+
+
+THE FUNERAL OF JULIUS CAESAR
+
+From "Julius Caesar," Act III. Scene ii.
+
+The Forum. _Enter Brutus, Cassius, and a throng of Citizens._
+
+_All._ We will be satisfied; let us be satisfied.
+
+_Bru._ Then follow me, and give me audience, friends.--
+Cassius, go you into the other street,
+And part the numbers.--
+Those that will hear me speak, let them stay here;
+Those that will follow Cassius, go with him;
+And public reasons shall be rendered
+Of Caesar's death.
+
+_1 Cit._ I will hear Brutus speak.
+
+_2 Cit._ I will hear Cassius; and compare their reasons,
+When severally we hear them rendered.                                 10
+
+[_Exit Cassius, with some of the Citizens. Brutus goes
+into the rostrum._]
+
+_3 Cit._ The noble Brutus is ascended: silence!
+
+_Bru._ Be patient till the last.
+Romans, countrymen, and lovers! hear me for my cause;
+and be silent, that you may hear: believe me for mine
+honour; and have respect to mine honour, that you may
+believe: censure me in your wisdom; and awake your
+senses, that you may the better judge. If there be any
+in this assembly, any dear friend of Caesar's, to him I
+say, that Brutus' love to Caesar was no less than his. If
+then that friend demand why Brutus rose against Caesar,                20
+this is my answer.--Not that I loved Caesar less, but that
+I loved Rome more. Had you rather Caesar were living,
+and die all slaves, than that Caesar were dead, to live
+all free men? As Caesar loved me, I weep for him; as
+he was fortunate, I rejoice at it; as he was valiant, I
+honour him: but, as he was ambitious, I slew him.
+There is tears for his love; joy for his fortune; honour
+for his valour; and death for his ambition. Who is here
+so base that would be a bondman? If any, speak; for
+him have I offended. Who is here so rude that would                   30
+not be a Roman? If any, speak; for him have I offended.
+Who is here so vile that will not love his country? If
+any, speak; for him have I offended. I pause for a
+reply.
+
+_All._ None, Brutus, none.
+
+_Bru._ Then none have I offended. I have done no more
+to Caesar than you shall do to Brutus. The question of
+his death is enrolled in the Capitol; his glory not extenuated,
+wherein he was worthy; nor his offences enforced,
+for which he suffered death.                                          40
+
+[_Enter Antony and others, with Caesar's body._]
+
+Here comes his body, mourned by Mark Antony: who,
+though he had no hand in his death, shall receive the
+benefit of his dying, a place in the commonwealth; as
+which of you shall not? With this I depart,--that, as
+I slew my best lover for the good of Rome, I have the
+same dagger for myself, when it shall please my country
+to need my death.
+
+_All._ Live, Brutus, live! live!
+
+_1 Cit._ Bring him with triumph home unto his house.
+
+_2 Cit._ Give him a statue with his ancestors.                        50
+
+_3 Cit._ Let him be Caesar.
+
+_4 Cit._ Caesar's better parts
+Shall now be crown'd in Brutus.
+
+_1 Cit._ We'll bring him to his house with shouts and
+clamours.
+
+_Bru._ My countrymen,--
+
+_2 Cit._           Peace! silence! Brutus speaks.
+
+_1 Cit._ Peace, ho!
+
+_Bru._ Good countrymen, let me depart alone,
+And, for my sake, stay here with Antony:
+Do grace to Caesar's corpse, and grace his speech                      60
+Tending to Caesar 's glories; which Mark Antony,
+By our permission, is allow'd to make.
+I do entreat you, not a man depart,
+Save I alone, till Antony have spoke. [_Exit_]
+
+_1 Cit._ Stay, ho! and let us hear Mark Antony.
+
+_3 Cit._ Let him go up into the public chair;
+We'll hear him.--Noble Antony, go up.
+
+_Ant._ For Brutus' sake, I am beholding to you.
+
+[_He goes up into the rostrum._]
+
+_4 Cit._ What does he say of Brutus?
+
+_3 Cit._             He says, for Brutus' sake,                       70
+He finds himself beholding to us all.
+
+_4 Cit._ 'T were best to speak no harm of Brutus here.
+
+_1 Cit._ This Caesar was a tyrant.
+
+_3 Cit._                Nay, that's certain:
+We are blest that Rome is rid of him.
+
+_2 Cit._ Peace! let us hear what Antony can say.
+
+_Ant._ You gentle Romans,--
+
+_All._                Peace, ho! let us hear him.
+
+_Ant._ Friends, Romans, countrymen, lend me your ears;
+I come to bury Caesar, not to praise him.                              80
+The evil that men do lives after them;
+The good is oft interred with their bones;
+So let it be with Caesar. The noble Brutus
+Hath told you, Caesar was ambitious:
+If it were so, it was a grievous fault,
+And grievously hath Caesar answer'd it.
+Here, under leave of Brutus and the rest,--
+For Brutus is an honourable man;
+So are they all, all honourable men.--
+Come I to speak in Caesar's funeral.                                   90
+He was my friend, faithful and just to me:
+But Brutus says he was ambitious;
+And Brutus is an honourable man.
+He hath brought many captives home to Rome,
+Whose ransoms did the general coffers fill:
+Did this in Caesar seem ambitious?
+When that the poor have cried, Caesar hath wept:
+Ambition should be made of sterner stuff:
+Yet Brutus says he was ambitious;
+And Brutus is an honourable man.                                     100
+You all did see that on the Lupercal
+I thrice presented him a kingly crown,
+Which he did thrice refuse: was this ambition?
+Yet Brutus says he was ambitious;
+And, sure, he is an honourable man.
+I speak not to disprove what Brutus spoke,
+But here I am to speak what I do know.
+You all did love him once, not without cause:
+What cause withholds you then to mourn for him?
+O judgment, thou art fled to brutish beasts,                         110
+And men have lost their reason!--Bear with me;
+My heart is in the coffin there with Caesar,
+And I must pause till it come back to me.
+
+_1 Cit._ Methinks there is much reason in his sayings.
+
+_2 Cit._ If thou consider rightly of the matter,
+Caesar has had great wrong.
+
+_3 Cit._ Has he, masters?
+I fear there will a worse come in his place.
+
+_4 Cit._ Mark'd ye his words? He would not take the
+crown;
+Therefore 't is certain he was not ambitious.                        120
+
+_1 Cit._ If it be found so, some will dear abide it.
+
+_2 Cit._ Poor soul! his eyes are red as fire with weeping.
+
+_3 Cit._ There's not a nobler man in Rome than Antony.
+
+_4 Cit._ Now mark him, he begins again to speak.
+
+_Ant._ But yesterday the word of Caesar might
+Have stood against the world: now lies he there,
+And none so poor to do him reverence.
+O masters! if I were dispos'd to stir
+Your hearts and minds to mutiny and rage,
+I should do Brutus wrong, and Cassius wrong,                         130
+Who, you all know, are honourable men;
+I will not do them wrong; I rather choose
+To wrong the dead, to wrong myself, and you,
+Than I will wrong such honourable men.
+But here's a parchment, with the seal of Caesar;
+I found it in his closet, 'tis his will:
+Let but the commons hear this testament,--
+Which, pardon me, I do not mean to read,--
+And they would go and kiss dead Caesar's wounds,
+And dip their napkins in his sacred blood.                           140
+Yea, beg a hair of him for memory,
+And, dying, mention it within their wills,
+Bequeathing it as a rich legacy
+Unto their issue.
+
+_4 Cit._ We'll hear the will: read it, Mark Antony.
+
+_All._ The will, the will! we will hear Caesar's will.
+
+_Ant._ Have patience, gentle friends, I must not read it;
+It is not meet you know how Caesar lov'd you.
+You are not wood, you are not stones, but men;
+And, being men, hearing the will of Caesar,                           150
+It will inflame you, it will make you mad:
+'Tis good you know not that you are his heirs;
+For, if you should, O, what would come of it!
+
+_4 Cit._ Read the will; we'll hear it, Antony;
+You shall read us the will,--Caesar's will.
+
+_Ant._ Will you be patient? will you stay awhile?
+I have o'ershot myself to tell you of it.
+I fear I wrong the honourable men
+Whose daggers have stabb'd Caesar-, I do fear it.
+
+_4 Cit._ They were traitors: honourable men!                         160
+
+_All._ The will! the testament!
+
+_2 Cit._ They were villains, murderers: the will! read
+the will!
+
+_Ant._ You will compel me, then, to read the will?
+Then make a ring about the corpse of Caesar,
+And let me show you him that made the will.
+Shall I descend? and will you give me leave?
+
+_All._ Come down.
+
+_2 Cit._ Descend.
+
+_3 Cit._ You shall have leave.
+
+[_He comes down from the rostrum._]
+
+_4 Cit._ A ring; stand round.                                        170
+
+_1 Cit._ Stand from the hearse, stand from the body.
+
+_2 Cit._ Room for Antony!--most noble Antony.
+
+_Ant._ Nay, press not so upon me; stand far off.
+
+_All._ Stand back! room! bear back!
+
+_Ant._ If you have tears, prepare to shed them now.
+You all do know this mantle; I remember
+The first time ever Caesar put it on;
+'T was on a summer's evening, in his tent,
+That day he overcame the Nervii:--
+Look! in this place ran Cassius' dagger through:                     180
+See, what a rent the envious Casca made:
+Through this, the well-beloved Brutus stabb'd;
+And, as he pluck'd his cursed steel away,
+Mark how the blood of Caesar follow'd it,
+As rushing out of doors, to be resolv'd
+If Brutus so unkindly knock'd, or no;
+For Brutus, as you know, was Caesar's angel:
+Judge, O you gods, how dearly Caesar lov'd him!
+This was the most unkindest cut of all;
+For when the noble Caesar saw him stab,                               190
+Ingratitude, more strong than traitors' arms,
+Quite vanquish'd him: then burst his mighty heart;
+And, in his mantle muffling up his face,
+Even at the base of Pompey's statue,
+Which all the while ran blood, great Caesar fell.
+O, what a fall was there, my countrymen!
+Then I, and you, and all of us fell down,
+Whilst bloody treason flourish'd over us.
+O, now you weep; and I perceive, you feel
+The dint of pity: these are gracious drops.                          200
+Kind souls, what, weep you, when you but behold
+Our Caesar's vesture wounded? Look you here.
+Here is himself, marr'd, as you see, with traitors.
+
+_1 Cit._ O piteous spectacle!
+
+_2 Cit._ O noble Caesar!
+
+_3 Cit._ O woeful day!
+
+_4 Cit._ O traitors, villains!
+
+_1 Cit._ O most bloody sight!
+
+_2 Cit._ We will be revenged.
+
+_All._ Revenge! About,--seek,--burn,--fire,--kill,--slay!            210
+Let not a traitor live!
+
+_Ant._ Stay, countrymen.
+
+_1 Cit._ Peace there! Hear the noble Antony.
+
+_2 Cit._ We'll hear him, we'll follow him, we'll die with
+him.
+
+_Ant._ Good friends, sweet friends, let me not stir you up
+To such a sudden flood of mutiny.
+They that have done this deed are honourable;
+What private griefs they have, alas! I know not,
+That made them do it; they are wise and honourable,
+And will, no doubt, with reasons answer you.                         220
+I come not, friends, to steal away your hearts:
+I am no orator, as Brutus is;
+But as you know me all, a plain blunt man,
+That love my friend; and that they know full well
+That gave me public leave to speak of him.
+For I have neither wit, nor words, nor worth,
+Action, nor utterance, nor the power of speech,
+To stir men's blood: I only speak right on;
+I tell you that which you yourselves do know;
+Show you sweet Caesar's wounds, poor, poor dumb mouths,               230
+And bid them speak for me: but were I Brutus,
+And Brutus Antony, there were an Antony
+Would ruffle up your spirits, and put a tongue
+In every wound of Caesar, that should move
+The stones of Rome to rise and mutiny.
+
+_All._ We'll mutiny!
+
+_1 Cit._ We'll burn the house of Brutus!
+
+_3 Cit._ Away, then! come, seek the conspirators.
+
+_Ant._ Yet hear me, countrymen; yet hear me speak.
+
+_All._ Peace, ho! Hear Antony, most noble Antony.                    240
+
+_Ant._ Why, friends, you go to do you know not what:
+Wherein hath Caesar thus deserv'd your loves?
+Alas, you know not: I must tell you then:
+You have forgot the will I told you of.
+
+_All._ Most true;--the will!--let's stay, and hear the
+will.
+
+_Ant._ Here is the will, and under Caesar's seal.
+To every Roman citizen he gives,
+To every several man, seventy-five drachmas.
+
+_2 Cit._ Most noble Caesar!--we'll revenge his death.
+
+_3 Cit._ O royal Caesar!                                             250
+
+_Ant._ Hear me with patience.
+
+_All._ Peace, ho!
+
+_Ant._ Moreover, he hath left you all his walks,
+His private arbours, and new-planted orchards,
+On this side Tiber; he hath left them you,
+And to your heirs for ever,--common pleasures,
+To walk abroad, and recreate yourselves.
+Here was a Caesar! when comes such another?
+
+_1 Cit._ Never, never!--Come, away, away!
+We'll burn his body in the holy place,                               260
+And with the brands fire the traitors' houses.
+Take up the body.
+
+_2 Cit._ Go, fetch fire.
+
+_3 Cit._ Pluck down benches.
+
+_4 Cit._ Pluck down forms, windows, anything.
+
+[_Exeunt all, with the body._]
+
+_Ant._ Now let it work! Mischief, thou art afoot,
+Take thou what course thou wilt!
+
+    --_Shakespeare_
+
+
+  PREPARATORY.--For dramatic rendering see notes on
+  _Highland Hospitality_ pp. 153 and 154.
+
+  The long speeches of Brutus and Antony may be practised
+  by themselves as exercises in Emphasis and Inflection.
+
+  88-89. How is the parenthetical clause subordinated?
+  Give other examples from the extracts.
+
+  153-154. Select the emphatic words.
+
+  160. What Stress is placed on TRAITORS and HONOURABLE
+  respectively? Account for the difference.
+
+  210. ABOUT, ... SLAY! What is the Stress? Compare ll.
+  236-237, and ll. 259-265.
+
+       *       *       *       *       *
+
+
+THE REVENGE
+
+A Ballad of the Fleet, 1591
+
+
+  At Flores in the Azores Sir Richard Grenville lay,
+  And a pinnace, like a flutter'd bird, came flying from far away:
+  "Spanish ships of war at sea! we have sighted fifty-three!"
+  Then sware Lord Thomas Howard: "'Fore God I am no coward;
+  But I cannot meet them here, for my ships are out of gear,           5
+  And the half my men are sick. I must fly, but follow quick.
+  We are six ships of the line; can we fight with fifty-three?"
+
+  Then spake Sir Richard Grenville: "I know you are no coward;
+  You fly them for a moment to fight with them again.
+  But I've ninety men and more that are lying sick ashore.            10
+
+  I should count myself the coward if I left them, my Lord Howard,
+  To these Inquisition dogs and the devildoms of Spain."
+
+  So Lord Howard past away with five ships of war that day,
+  Till he melted like a cloud in the silent summer heaven;
+  But Sir Richard bore in hand all his sick men from the land         15
+  Very carefully and slow,
+  Men of Bideford in Devon,
+  And we laid them on the ballast down below;
+  For we brought them all aboard,
+  And they blest him in their pain, that they were not left
+    to Spain,                                                         20
+  To the thumbscrew and the stake, for the glory of the Lord.
+
+  He had only a hundred seamen to work the ship and to fight,
+  And he sailed away from Flores till the Spaniard came in sight,
+  With his huge sea-castles heaving upon the weather bow.
+  "Shall we fight or shall we fly?                                    25
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+  There'll be little of us left by the time this sun be set."
+  And Sir Richard said again: "We be all good English men.
+  Let us bang these dogs of Seville, the children of the devil,       30
+  For I never turn'd my back upon Don or devil yet."
+
+  Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so
+  The little Revenge ran on sheer into the heart of the foe,
+  With her hundred fighters on deck, and her ninety sick below;
+  For half of their fleet to the right and half to the left
+    were seen,                                                        35
+  And the little Revenge ran on thro' the long sea-lane between.
+
+  Thousands of their soldiers look'd down from their decks
+    and laugh'd,
+  Thousands of their seamen made mock at the mad little craft
+  Running on and on, till delay'd
+  By their mountain-like San Philip that, of fifteen hundred tons,    40
+  And up-shadowing high above us with her yawning tiers of guns,
+  Took the breath from our sails, and we stay'd.
+
+  And while now the great San Philip hung above us like a cloud
+  Whence the thunderbolt will fall
+  Long and loud,                                                      45
+  Four galleons drew away
+  From the Spanish fleet that day,
+  And two upon the larboard and two upon the starboard lay,
+  And the battle-thunder broke from them all.
+
+  But anon the great San Philip she bethought herself and went        50
+  Having that within her womb that had left her ill-content;
+  And the rest they came aboard us, and they fought us hand to hand,
+  For a dozen times they came with their pikes and musqueteers,
+  And a dozen times we shook 'em off as a dog that shakes his ears
+  When he leaps from the water to the land.                           55
+
+  And the sun went down, and the stars came out far over
+    the summer sea,
+  But never a moment ceased the fight of the one and the fifty-three.
+  Ship after ship, the whole night long, their high-built
+    galleons came,
+  Ship after ship, the whole night long, with their battle-thunder
+    and flame;
+  Ship after ship, the whole night long, drew back with her dead
+    and her shame:                                                    60
+  For some were sunk and many were shatter'd, and so could fight
+    us no more--
+  God of battles, was ever a battle like this in the world before?
+
+  For he said "Fight on! fight on!"
+  Tho' his vessel was all but a wreck;
+  And it chanced that, when half of the short summer night
+    was gone,                                                         65
+  With a grisly wound to be drest he had left the deck,
+
+  But a bullet struck him that was dressing it suddenly dead,
+  And himself he was wounded again in the side and the head,
+  And he said, "Fight on! fight on!"
+
+  And the night went down, and the sun smiled out far over
+    the summer sea,                                                   70
+  And the Spanish fleet with broken sides lay round us all in a ring;
+  But they dar'd not touch us again, for they fear'd that we still
+    could sting,
+  So they watch'd what the end would be.
+  And we had not fought them in vain,
+  But in perilous plight were we,                                     75
+  Seeing forty of our poor hundred were slain,
+  And half of the rest of us maim'd for life
+  In the crash of the cannonades and the desperate strife;
+  And the sick men down in the hold were most of them stark and cold,
+  And the pikes were all broken or bent, and the powder was all
+    of it spent;                                                      80
+  And the masts and the rigging were lying over the side;
+  But Sir Richard cried in his English pride,
+  "We have fought such a fight for a day and a night
+  As may never be fought again!
+  We have won great glory, my men!                                    85
+  And a day less or more
+  At sea or ashore,
+  We die--does it matter when?
+  Sink me the ship, Master Gunner--sink her, split her in twain!
+  Fall into the hands of God, not into the hands of Spain!"           90
+
+  And the gunner said "Ay, ay," but the seamen made reply:
+  "We have children, we have wives,
+  And the Lord hath spared our lives.
+  We will make the Spaniard promise, if we yield, to let us go;
+  We shall live to fight again and to strike another blow."           95
+  And the lion there lay dying, and they yielded to the foe.
+
+  And the stately Spanish men to their flagship bore him then
+  Where they laid him by the mast, old Sir Richard caught at last,
+  And they praised him to his face with their courtly foreign grace;
+  But he rose upon their decks, and he cried:                        100
+  "I have fought for Queen and Faith like a valiant man and true;
+  I have only done my duty as a man is bound to do:
+  With a joyful spirit I Sir Richard Grenville die!"
+  And he fell upon their decks, and he died.
+
+  And they stared at the dead that had been so valiant and true,     105
+  And had holden the power and glory of Spain so cheap
+  That he dared her with one little ship and his English few;
+  Was he devil or man? He was devil for aught they knew,
+  But they sank his body with honour down into the deep,
+
+  And they mann'd the Revenge with a swarthier alien crew,           110
+  And away she sail'd with her loss and long'd for her own;
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,     115
+  Till it smote on their hulls and their sails and their masts
+    and their flags,
+  And the whole sea plunged and fell on the shot-shatter'd navy
+    of Spain,
+  And the little Revenge herself went down by the island crags
+  To be lost evermore in the main.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Give a series of titles suggestive of the
+  events narrated in this ballad; describe the picture
+  that each title calls up, and tell on what part of the
+  poem it is based.
+
+  What different ideals of bravery are brought out in this
+  ballad, and by whom is each presented? Compare them with
+  those set forth in _The Private of the Buffs_ (Fourth
+  Reader), and _Horatius_.
+
+  1, 3, and 13. (Appendix A, 1 and 6.)
+
+  'FORE GOD ... sick. What Inflection prevails?
+  (Introduction, pp. 17 and 18.)
+
+  What Inflection is placed on the questions in ll. 7, 25,
+  62, 88, and 108? (Introduction, pp. 18 and 19.)
+
+  FOR THE GLORY OF THE LORD. How is the irony brought out
+  by the voice? (Introduction, pp. 21, 22, and 30.)
+
+  25-28. (Introduction, p. 18.)
+
+  Compare the speech of the men (ll. 25-28) with that of
+  Sir Richard (ll. 29-31) from the standpoint of mental
+  attitude. How is this difference indicated by Stress?
+
+  32. Which are the emphatic words? Give your reasons.
+  Select words that are emphatic because of contrast from
+  ll. 34, 35, and 91. What Inflection is placed on the
+  emphatic words in each case?
+
+  How does repetition affect the Emphasis in ll. 37-38,
+  53-54, 58-60, 63, and 89? (Introduction, pp. 31-33.)
+
+  40. With what word is THAT connected in sense? How does
+  the voice make the connection? (Introduction, p. 33.)
+
+  43-47. Analyse these lines from the standpoint of
+  Perspective.
+
+  66-67. Where do the Pauses occur? How does the Grouping
+  affect them?
+
+  68. Why is HIMSELF emphatic?
+
+  75-81. Give examples of "momentary completeness".
+
+  93. Which is the most emphatic word in this line? Give
+  your reason.
+
+  101-103. To what extent should Imitation enter into the
+  reading of this speech? (Introduction, pp. 4 and 5.)
+
+  112-117. How can the effect of this Climax be brought
+  out by the voice? (Introduction, p. 31.)
+
+  118. Note the transition in thought and feeling. By what
+  change in Time, Pitch, and Force is it accompanied?
+
+       *       *       *       *       *
+
+
+HERVE RIEL
+
+
+  On the sea and at the Hogue, sixteen hundred ninety-two,
+    Did the English fight the French,--woe to France!
+  And the thirty-first of May, helter-skelter through the blue,
+  Like a crowd of frightened porpoises a shoal of sharks pursue,
+    Came crowding ship on ship to St. Malo on the Rance,               5
+  With the English fleet in view.
+
+  'Twas the squadron that escaped, with the victor in full chase;
+    First and foremost of the drove, in his great ship, Damfreville:
+      Close on him fled, great and small,
+      Twenty-two good ships in all;                                   10
+  And they signalled to the place,
+  "Help the winners of a race!
+    Get us guidance, give us harbour, take us quick--or, quicker still,
+    Here's the English can and will!"
+
+  Then the pilots of the place put out brisk and leapt on board;      15
+    "Why, what hope or chance have ships like these to pass?"
+       laughed they:
+  "Rocks to starboard, rocks to port, all the passage scarred
+    and scored,
+  Shall the _Formidable_ here, with her twelve and eighty guns,
+    Think to make the river-mouth by the single narrow way,
+  Trust to enter where 'tis ticklish for a craft of twenty tons,      20
+      And with flow at full beside?
+      Now 'tis slackest ebb of tide.
+    Reach the mooring? Rather say,
+  While rock stands or water runs,
+    Not a ship will leave the bay!"                                   25
+
+  Then was called a council straight.
+  Brief and bitter the debate:
+  "Here's the English at our heels; would you have them take in tow
+  All that's left us of the fleet, linked together stern and bow,
+  For a prize to Plymouth Sound?                                      30
+  Better run the ships aground!"
+    (Ended Damfreville his speech.)
+  Not a minute more to wait!
+    "Let the captains all and each
+    Shove ashore, then blow up, burn the vessels on the beach!        35
+  France must undergo her fate.
+
+  Give the word!" But no such word
+  Was ever spoke or heard;
+    For up stood, for out stepped, for in struck amid all these,--
+  A Captain? a Lieutenant? a Mate--first, second, third?              40
+    No such man of mark, and meet
+    With his betters to compete!
+    But a simple Breton sailor pressed by Tourville for the fleet,
+  A poor coasting-pilot he, Herve Riel the Croisickese.
+
+  And, "What mockery or malice have we here?" cries Herve Riel:       45
+    "Are you mad, you Malouins?  Are you cowards, fools, or rogues?
+  Talk to me of rocks and shoals, me who took the soundings, tell
+  On my fingers every bank, every shallow, every swell
+    'Twist the offing here and Greve, where the river disembogues?
+  Are you bought by English gold? Is it love the lying's for?         50
+    Morn and eve, night and day,
+    Have I piloted your bay,
+  Entered free and anchored fast, at the foot of Solidor.
+    Burn the fleet and ruin France? That were worse than fifty Hogues!
+      Sirs, they know I speak the truth! Sirs, believe me there's
+        a way!                                                        55
+  Only let me lead the line,
+    Have the biggest ship to steer,
+    Get this _Formidable_ clear,
+  Make the others follow mine,
+  And I lead them, most and least, by a passage I know well,          60
+    Right to Solidor past Greve,
+      And there lay them safe and sound;
+    And if one ship misbehave--
+        Keel so much as grate the ground--
+  Why, I've nothing but my life,--here's my head!" cries
+    Herve Riel.                                                       65
+
+  Not a minute more to wait.
+  "Steer us in, then, small and great!
+    Take the helm, lead the line, save the squadron!" cried its chief.
+  Captains, give the sailor place!
+    He is Admiral, in brief.                                          70
+  Still the north wind, by God's grace!
+  See the noble fellow's face
+  As the big ship, with a bound,
+  Clears the entry like a hound.
+  Keeps the passage, as its inch of way were the wide sea's
+      profound!                                                       75
+    See, safe through shoal and rock,
+    How they follow in a flock,
+  Not a ship that misbehaves, not a keel that grates the ground,
+    Not a spar that comes to grief!
+  The peril, see, is past,                                            80
+  All are harboured to the last,
+  And just as Herve Riel hollas "Anchor!"--sure as fate,
+  Up the English come--too late.
+
+  So, the storm subsides to calm:
+    They see the green trees wave                                     85
+    On the heights o'erlooking Greve.
+  Hearts that bled are stanched with balm.
+  "Just our rapture to enhance,
+    Let the English rake the bay,
+  Gnash their teeth and glare askance                                 90
+    As they cannonade away!
+  'Neath rampired Solidor pleasant riding on the Rance!"
+  How hope succeeds despair on each captain's countenance!
+  Out burst all with one accord,
+    "This is Paradise for Hell!                                       95
+    Let France, let France's King,
+    Thank the man that did the thing!"
+  What a shout, and all one word,
+    "Herve Riel!"
+  As he stepped in front once more,                                  100
+    Not a symptom of surprise
+    In the frank, blue Breton eyes,
+  Just the same man as before.
+
+  Then said Damfreville, "My friend,
+  I must speak out at the end,                                       105
+    Though I find the speaking hard.
+  Praise is deeper than the lips:
+  You have saved the King his ships,
+    You must name your own reward.
+  'Faith, our sun was near eclipse!                                  110
+  Demand whate'er you will,
+  France remains your debtor still.
+  Ask to heart's content and have! or my name's not Damfreville."
+
+  Then a beam of fun outbroke
+  On the bearded mouth that spoke,                                   115
+  As the honest heart laughed through
+  Those frank eyes of Breton blue:
+  "Since I needs must say my say,
+    Since on board the duty's done,
+    And from Malo Roads to Croisic Point, what is it but a run?--    120
+  Since 'tis ask and have, I may--
+    Since the others go ashore--
+  Come! A good whole holiday!
+    Leave to go and see my wife, whom I call the Belle Aurore!"
+    That he asked and that he got,--nothing more.                    125
+
+  Name and deed alike are lost:
+  Not a pillar nor a post
+    In his Croisic keeps alive the feat as it befell;
+  Not a head in white and black
+  On a single fishing-smack,                                         130
+  In memory of the man but for whom had gone to wrack
+    All that France saved from the fight whence England bore the bell.
+  Go to Paris: rank on rank
+    Search the heroes flung pell-mell
+  On the Louvre, face and flank!                                     135
+    You shall look long enough ere you come to Herve Riel.
+  So, for better and for worse,
+  Herve Riel, accept my verse!
+  In my verse, Herve Riel, do thou once more
+  Save the squadron, honour France, love thy wife the Belle
+    Aurore!                                                          140
+
+    --_Robert Browning_
+         (_By permission of the owner of the copyright
+             and Smith, Elder & Co._)
+
+
+  PREPARATORY.--Narrate briefly the events of the poem and
+  describe (_a_) the council, (_b_) the scene after the
+  ships are safely anchored.
+
+  How does this poem illustrate the truth that the highest
+  motive in life is duty? From this standpoint compare
+  Herve Riel with Sir Richard Grenville in Tennyson's _The
+  Revenge_.
+
+  Give other examples to show that true nobility does not
+  depend on such externals as rank and position.
+
+  2. WOE TO FRANCE. How does the voice indicate that this
+  phrase is parenthetical?
+
+  4. What is the subject of PURSUE? Its object? How does
+  the reader make the meaning clear?
+
+  3-5. What is the Shading?
+
+  8 and 14. Supply the ellipsis in each case. How is the
+  reading affected by an ellipsis? (Introduction, p. 10.)
+
+  12-14. What is the Stress? (Introduction, pp. 27 and
+  28.)
+
+  16-25. What energy characterizes these lines? With what
+  Stress should they be read?
+
+  TWELVE AND EIGHTY GUNS, TWENTY TONS. What is the
+  difference in the Quality of voice? Compare MAN OF MARK,
+  SIMPLE BRETON SAILOR, ll. 40 and 42.
+
+  26. Where is the Pause? Why?
+
+  Note the transitions in ll. 27, 31, 32, and 33. How is
+  each one indicated?
+
+  38. STOOD, STEPPED, STRUCK. Observe the increased
+  Emphasis. Compare ll. 46 and 69.
+
+  41-43. Note the contrast. What is the Inflection on each
+  part? (Introduction, p. 20.)
+
+  45-66. What state of mind does Herve Riel's speech
+  indicate throughout? What feelings predominate when he
+  addresses (_a_) the Malouins, (_b_) the officers? What
+  Time, Pitch, Force, and Stress are the natural
+  expression?
+
+  46. COWARDS, FOOLS, ROGUES. What is the Inflection on
+  each word? (Introduction, p. 20.)
+
+  65. KEEL SO MUCH, ETC. Note the Pause and Grouping.
+
+  72, 73-76, 77-84. What is the predominant feeling in
+  each passage?
+
+  104-113. Compare the self-control of Damfreville's
+  speech with the impulsive shout of the preceding stanza.
+  What is the resulting difference in vocal expression?
+
+  114-116. Note the Pause and Grouping.
+
+  118-122. What is the Inflection? (Introduction, p. 17.)
+
+  129-132. Observe the Grouping.
+
+       *       *       *       *       *
+
+
+THE HANDWRITING ON THE WALL
+
+Daniel V
+
+
+Belshazzar the king made a great feast to a thousand of his lords, and
+drank wine before the thousand. Belshazzar, whiles he tasted the wine,
+commanded to bring the golden and silver vessels which his father
+Nebuchadnezzar had taken out of the temple which was in Jerusalem;
+that the king, and his princes, his wives, and his concubines, might
+drink therein. Then they brought the golden vessels that were taken
+out of the temple of the house of God which was in Jerusalem; and the
+king, and his princes, his wives, and his concubines, drank in them.
+They drank wine, and praised the gods of gold, and of silver, of
+brass, of iron, of wood, and of stone.
+
+In the same hour came forth fingers of a man's hand, and wrote over
+against the candlestick upon the plaister of the wall of the king's
+palace: and the king saw the part of the hand that wrote. Then the
+king's countenance was changed, and his thoughts troubled him, so that
+the joints of his loins were loosed, and his knees smote one against
+another. The king cried aloud to bring in the astrologers, the
+Chaldeans, and the soothsayers. And the king spake, and said to the
+wise men of Babylon, Whosoever shall read this writing, and shew me
+the interpretation thereof, shall be clothed with scarlet, and have a
+chain of gold about his neck, and shall be the third ruler in the
+kingdom. Then came in all the king's wise men: but they could not read
+the writing, nor make known to the king the interpretation thereof.
+Then was the king Belshazzar greatly troubled, and his countenance was
+changed in him, and his lords were astonied.
+
+Now the queen by reason of the words of the king and his lords came
+into the banquet house: and the queen spake and said, O king, live for
+ever: let not thy thoughts trouble thee, nor let thy countenance be
+changed: There is a man in thy kingdom, in whom is the spirit of the
+holy gods; and in the days of thy father light and understanding and
+wisdom, like the wisdom of the gods, was found in him; whom the king
+Nebuchadnezzar thy father, the king, I say, thy father, made master of
+the magicians, astrologers, Chaldeans, and soothsayers; Forasmuch as
+an excellent spirit and knowledge and understanding, interpreting of
+dreams, and shewing of hard sentences, and dissolving of doubts, were
+found in the same Daniel, whom the king named Belteshazzar: now let
+Daniel be called, and he will shew the interpretation.
+
+Then was Daniel brought in before the king. And the king spake and
+said unto Daniel, Art thou that Daniel, which art of the children of
+the captivity of Judah, whom the king my father brought out of Jewry?
+I have even heard of thee, that the spirit of the gods is in thee, and
+that light and understanding and excellent wisdom is found in thee.
+And now the wise men, the astrologers, have been brought in before me,
+that they should read this writing, and make known unto me the
+interpretation thereof: but they could not shew the interpretation of
+the thing: And I have heard of thee, that thou canst make
+interpretations, and dissolve doubts: now if thou canst read the
+writing, and make known to me the interpretation thereof, thou shalt
+be clothed with scarlet, and have a chain of gold about thy neck, and
+shalt be the third ruler in the kingdom.
+
+Then Daniel answered and said before the king, Let thy gifts be to
+thyself, and give thy reward to another; yet I will read the writing
+unto the king, and make known to him the interpretation. O thou king,
+the most high God gave Nebuchadnezzar thy father a kingdom, and
+majesty, and glory, and honour: And for the majesty that he gave him,
+all people, nations, and languages, trembled and feared before him:
+whom he would he slew; and whom he would he kept alive; and whom he
+would he set up; and whom he would he put down. But when his heart was
+lifted up, and his mind hardened in pride, he was deposed from his
+kingly throne, and they took his glory from him: And he was driven
+from the sons of men; and his heart was made like the beasts, and his
+dwelling was with the wild asses: they fed him with grass like oxen,
+and his body was wet with the dew of heaven; till he knew that the
+most high God ruled in the kingdom of men, and that he appointeth over
+it whomsoever he will. And thou, his son, O Belshazzar, hast not
+humbled thine heart, though thou knewest all this; But has lifted up
+thyself against the Lord of heaven; and they have brought the vessels
+of his house before thee, and thou, and thy lords, thy wives, and thy
+concubines, have drunk wine in them; and thou hast praised the gods of
+silver, of gold, of brass, iron, wood, and stone, which see not, nor
+hear, nor know: and the God in whose hand thy breath is, and whose are
+all thy ways, hast thou not glorified: Then was the part of the hand
+sent from him; and this writing was written.
+
+And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN.
+This is the interpretation of the thing: MENE; God hath numbered thy
+kingdom, and finished it. TEKEL; Thou art weighed in the balances, and
+art found wanting. PERES; Thy kingdom is divided, and given to the
+Medes and Persians. Then commanded Belshazzar, and they clothed Daniel
+with scarlet, and put a chain of gold about his neck, and made a
+proclamation concerning him, that he should be the third ruler in the
+kingdom.
+
+In that night was Belshazzar the king of the Chaldeans slain. And
+Darius the Median took the kingdom, being about threescore and two
+years old.
+
+
+  Give a dramatic form to this extract, indicating by
+  suitable titles the various scenes suggested and the
+  parts that would properly belong to the scenery, the
+  action, and the dialogue respectively. The different
+  parts may be read by different readers before one reader
+  attempts all the parts.
+
+       *       *       *       *       *
+
+
+PAUL'S DEFENCE BEFORE KING AGRIPPA
+
+Acts xxvi
+
+
+1. Then Agrippa said unto Paul, Thou art permitted to speak for
+thyself. Then Paul stretched forth the hand, and answered for himself:
+I think myself happy, King Agrippa, because I shall answer for myself
+this day before thee touching all the things whereof I am accused of
+the Jews: especially because I know thee to be expert in all customs
+and questions which are among the Jews: wherefore I beseech thee to
+hear me patiently.
+
+2. My manner of life from my youth, which was at the first among mine
+own nation at Jerusalem, know all the Jews; which knew me from the
+beginning, if they would testify, that after the most straitest sect
+of our religion I lived a Pharisee. And now I stand and am judged for
+the hope of the promise made of God unto our fathers: unto which
+promise our twelve tribes, instantly serving God day and night, hope
+to come. For which hope's sake, King Agrippa, I am accused of the
+Jews.
+
+3. Why should it be thought a thing incredible with you, that God
+should raise the dead? I verily thought with myself, that I ought to
+do many things contrary to the name of Jesus of Nazareth. Which thing
+I also did in Jerusalem: and many of the saints did I shut up in
+prison, having received authority from the chief priests; and when
+they were put to death, I gave my voice against them. And I punished
+them oft in every synagogue, and compelled them to blaspheme; and
+being exceedingly mad against them, I persecuted them even unto
+strange cities.
+
+4. Whereupon as I went to Damascus with authority and commission from
+the chief priests, at midday, O king, I saw in the way a light from
+heaven, above the brightness of the sun, shining round about me and
+them which journeyed with me. And when we were all fallen to the
+earth, I heard a voice speaking unto me, and saying in the Hebrew
+tongue, Saul, Saul, why persecutest thou me? It is hard for thee to
+kick against the pricks. And I said, Who art thou, Lord? And he said,
+I am Jesus whom thou persecutest. But rise, and stand upon thy feet:
+for I have appeared unto thee for this purpose, to make thee a
+minister and a witness both of these things which thou hast seen, and
+of those things in the which I will appear unto thee; delivering thee
+from the people, and from the Gentiles, unto whom now I send thee, to
+open their eyes, and to turn them from darkness to light, and from the
+power of Satan unto God, that they may receive forgiveness of sins,
+and inheritance among them which are sanctified by faith that is in
+me.
+
+5. Whereupon, O King Agrippa, I was not disobedient unto the heavenly
+vision: but shewed first unto them of Damascus, and at Jerusalem, and
+throughout all the coasts of Judaea, and then to the Gentiles, that
+they should repent and turn to God, and do works meet for repentance.
+For these causes the Jews caught me in the temple, and went about to
+kill me. Having therefore obtained help of God, I continue unto this
+day, witnessing both to small and great, saying none other things than
+those which the prophets and Moses did say should come: that Christ
+should suffer, and that he should be the first that should rise from
+the dead, and should shew light unto the people, and to the Gentiles.
+
+6. And as he thus spake for himself, Festus said with a loud voice,
+Paul, thou art beside thyself; much learning doth make thee mad. But
+he said, I am not mad, most noble Festus; but speak forth the words of
+truth and soberness. For the king knoweth of these things, before whom
+also I speak freely: for I am persuaded that none of these things are
+hidden from him; for this thing was not done in a corner. King
+Agrippa, believest thou the prophets? I know that thou believest.
+Then Agrippa said unto Paul, Almost thou persuadest me to be a
+Christian. And Paul said, I would to God, that not only thou, but also
+all that hear me this day, were both almost, and altogether such as I
+am, except these bonds.
+
+7. And when he had thus spoken, the king rose up, and the governor,
+and Bernice, and they that sat with them: And when they were gone
+aside, they talked between themselves, saying, This man doeth nothing
+worthy of death or of bonds. Then said Agrippa unto Festus, This man
+might have been set at liberty, if he had not appealed unto Caesar.
+
+
+  PREPARATORY.--Under what circumstances did Paul deliver
+  this defence? Picture the scene.
+
+  What attitude of mind characterizes the chief speaker?
+  How does this affect the reading?
+
+  How are the direct speeches in Pars. 1, 4, 6, and 7 made
+  to stand out from the narrative? (Introduction, p. 24.)
+
+  How do the mental and emotional states of the various
+  speakers differ? Indicate this difference by the Quality
+  of the voice. (Introduction, p. 34.)
+
+  Point out the Climax in Par. 3. How does the voice
+  express it?
+
+  IF THEY WOULD TESTIFY. What change in the voice
+  subordinates this clause? (Introduction, p. 33.) Give
+  another example from Par. 2.
+
+       *       *       *       *       *
+
+
+THE STRANDED SHIP
+
+
+  Far up the lonely strand the storm had lifted her.
+  And now along her keel the merry tides make stir
+  No more. The running waves that sparkled at her prow
+  Seethe to the chains and sing no more with laughter now.
+  No more the clean sea-furrow follows her. No more
+  To the hum of her gallant tackle the hale Nor'-westers roar.
+  No more her bulwarks journey. For the only boon they crave
+  Is the guerdon of all good ships and true, the boon of
+    a deep-sea grave.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  No more she mounts the circles from Fundy to the Horn,
+  From Cuba to the Cape runs down the tropic morn,
+  Explores the Vast Uncharted where great bergs ride in ranks,
+  Nor shouts a broad "Ahoy" to the dories on the Banks.
+  No more she races freights to Zanzibar and back,
+  Nor creeps where the fog lies blind along the liner's track,
+  No more she dares the cyclone's disastrous core of calm
+  To greet across the dropping wave the amber isles of palm.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Amid her trafficking peers, the wind-wise, journeyed ships,
+  At the black wharves no more, nor at the weedy slips,
+  She comes to port with cargo from many a storied clime.
+  No more to the rough-throat chantey her windlass creaks in time.
+  No more she loads for London with spices from Ceylon,--
+  With white spruce deals and wheat and apples from St. John.
+  No more from Pernambuco with cotton-bales,--no more
+  With hides from Buenos Ayres she clears for Baltimore.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Wan with the slow vicissitudes of wind and rain and sun
+  How grieves her deck for the sailors whose hearty brawls are done!
+  Only the wandering gull brings word of the open wave,
+  With shrill scream at her taffrail deriding her alien grave.
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  And when the winds are low, and when the tides are still,
+  And the round moon rises inland over the naked hill,
+  And o'er her parching seams the dry cloud-shadows pass,
+  And dry along the land-rim lie the shadows of thin grass,
+  Then aches her soul with longing to launch and sink away
+  Where the fine silts lift and settle, and sea-things drift
+    and stray,
+  To make the port of Last Desire, and slumber with her peers
+  In the tide-wash rocking softly through the unnumbered years.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+      --_Charles G. D. Roberts (By arrangement)_
+
+
+  PREPARATORY.--What is the fundamental idea of the first
+  three stanzas? Of the fourth stanza? Of the last stanza?
+  Of the refrain? Apply these ideas to human life? What
+  feelings do they arouse? Show that these feelings grow
+  stronger as the poem advances.
+
+  What Time, Pitch, and Stress are the natural expression
+  of the atmosphere pervading the poem? Where are they
+  most marked?
+
+  What effect has the atmosphere of the last stanza on the
+  Quality of the voice?
+
+  HER, STIR. (Appendix A, 10.)
+
+  STRAND, FAR, CALM, BRAWLS. Distinguish the sound of _a_
+  in these words, and select other words from the poem
+  with the same sound. (Appendix A, 1.)
+
+  What is the Inflection on the negative statements in the
+  first three stanzas? On the entreaty in the refrain?
+  (Introduction, p. 18.)
+
+  What effect do the falling Inflection, and the marked
+  Pause after MORE, l. 3, stanza 1 produce?
+
+  AND WHEN THE WINDS ... GRASS. What is the Inflection?
+  What is the Shading when compared with the next line?
+
+       *       *       *       *       *
+
+
+SIR PATRICK SPENS
+
+
+  The king sits, in Dunfermline toun,
+  Drinking the blude-red wine;
+  "O whare will I get a skeely skipper,
+  To sail this new ship o' mine?"
+
+  O up and spake an eldern knight,
+  Sat at the king's right knee,--
+  "Sir Patrick Spens is the best sailor,
+  That ever sailed the sea."
+
+  The king has written a braid letter,
+  And sealed it wi' his hand,
+  And sent it to Sir Patrick Spens,
+  Was walking on the strand.
+
+  "To Noroway, to Noroway,
+  To Noroway o'er the faem;
+  The king's daughter of Noroway,
+  'Tis thou maun bring her hame."
+
+  The first word that Sir Patrick read,
+  Sae loud, loud laughed he;
+  The neist word that Sir Patrick read,
+  The tear blindit his e'e.
+
+  "O wha is this has done this deed,
+  And tauld the king o'me,
+  To send us out, this time o' the year,
+  To sail upon the sea?
+
+  Be't wind, be't weet, be't hail, be't sleet,
+  Our ship must sail the faem;
+  The king's daughter of Noroway,
+  'Tis we must fetch her hame."
+
+  They hoysed their sails on Monenday morn,
+  Wi' a' the speed they may;
+  They hae landed in Noroway,
+  Upon a Wodensday.
+
+  They hadna been a week, a week,
+  In Noroway, but twae,
+  When that the lords o' Noroway
+  Began aloud to say,--
+
+  "Ye Scottishmen spend a' our king's goud,
+  And a' our queenis fee."
+  "Ye lee, ye lee, ye lears loud!
+  Fu' loud I hear ye lee!
+
+  For I brought as mickle white monie,
+  As gane my men and me,
+  And I brought a half-fou o' gude red goud,
+  Out o'er the sea wi' me.
+
+  Mak' ready, mak' ready, my merry men a'!
+  Our gude ship sails the morn."
+  "Now, ever alake, my master dear,
+  I fear a deadly storm!
+
+  I saw the new moon, late yestreen,
+  Wi' the auld moon in her arm!
+  And, if we gang to sea, master,
+  I fear we'll come to harm."
+
+  They hadna sailed a league, a league,
+  A league, but barely three,
+  When the lift grew dark, and the wind blew loud,
+  And gurly grew the sea.
+
+  The ankers brak, and the topmasts lap,
+  It was sic a deadly storm;
+  And the waves cam' o'er the broken ship,
+  Till a' her sides were torn.
+
+  "O whare will I get a gude sailor,
+  To tak' my helm in hand,
+  Till I gae up to the tall topmast,
+  To see if I spy land?"
+
+  "O here am I, a sailor gude,
+  To tak' the helm in hand,
+  Till you gae up to the tall topmast;
+  But I fear ye'll ne'er spy land."
+
+  He hadna gane a step, a step,
+  A step, but barely ane,
+  When a bolt flew out o' our goodly ship,
+  And the salt sea it cam' in.
+
+  "Gae fetch a web o' the silken claith,
+  Anither o' the twine,
+  And wap them into our ship's side,
+  And letna the sea come in."
+
+  They fetched a web o' the silken claith,
+  Anither o' the twine,
+  And they wapped them roun' that gude ship's side,
+  But still the sea cam' in.
+
+  O laith, laith were our gude Scots lords,
+  To weet their cork-heeled shoon!
+  But lang or a' the play was played,
+  They wat their hats aboon.
+
+  And mony was the feather-bed,
+  That floated o'er the faem;
+  And mony was the gude lord's son,
+  That never mair cam' hame.
+
+  The ladyes wrang their fingers white,
+  The maidens tore their hair,
+  A' for the sake of their true loves;
+  For them they'll see na mair.
+
+  O lang, lang may the ladyes sit,
+  Wi' their fans into their hand,
+  Before they see Sir Patrick Spens
+  Come sailing to the strand!
+
+  And lang, lang may the maidens sit,
+  Wi' their goud kaims in their hair,
+  A' waiting for their ain dear loves!
+  For them they'll see na mair.
+
+  Half ower, half ower to Aberdour,
+  'Tis fifty fathoms deep,
+  And there lies gude Sir Patrick Spens,
+  Wi' the Scots lords at his feet.
+
+     --_Old Ballad_
+
+
+  Into how many different scenes does this drama fall?
+  Where is each one laid? How can each one be made to
+  stand out by itself? (Introduction, p. 10.)
+
+       *       *       *       *       *
+
+
+KING JOHN AND THE ABBOT OF CANTERBURY
+
+
+  An ancient story Ile tell you anon.
+  Of a notable prince, that was called king John;
+  And he ruled England with maine and with might,
+  For he did great wrong, and maintein'd little right.
+
+  And Ile tell you a story, a story so merrye,
+  Concerning the Abbot of Canterburye;
+  How for his house-keeping, and high renowne,
+  They rode poste for him to fair London towne.
+
+  An hundred men, the king did heare say,
+  The abbot kept in his house every day;
+  And fifty golde chaynes, without any doubt,
+  In velvet coates waited the abbot about.
+
+  "How now, father abbot, I heare it of thee,
+  Thou keepest a farre better house than mee,
+  And for thy house-keeping and high renowne,
+  I feare thou work'st treason against my crown."
+
+  "My liege," quo' the abbot, "I would it were knowne,
+  I never spend nothing, but what is my owne;
+  And I trust, your grace will doe me no deere,
+  For spending of my owne true-gotten geere."
+
+  "Yes, yes, father abbot, thy fault it is highe,
+  And now for the same thou needest must dye;
+  For except thou canst answer me questions three,
+  Thy head shall be smitten from thy bodie.
+
+  And first," quo' the king, "when I'm in this stead,
+  With my crowne of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Thou must tell me to one penny what I am worthe.
+
+  Secondlye, tell me, without any doubt,
+  How soone I may ride the whole world about.
+  And at the third question thou must not shrink,
+  But tell me here truly what do I think."
+
+  "O, these are hard questions for my shallow witt,
+  Nor I cannot answer your grace as yet:
+  But if you will give me but three weekes space,
+  Ile do my endeavour to answer your grace."
+
+  "Now three weeks space to thee will I give,
+  And that is the longest time thou hast to live;
+  For if thou dost not answer my questions three,
+  Thy lands and thy livings are forfeit to mee."
+
+  Away rode the abbot all sad at that word,
+  And he rode to Cambridge, and Oxenford;
+  But never a doctor there was so wise,
+  That could with his learning an answer devise.
+
+  Then home rode the abbot of comfort so cold,
+  And he mett his shepheard a going to fold:
+  "How now, my lord abbot, you are welcome home;
+  What newes do you bring us from good king John?"
+
+  "Sad newes, sad newes, shepheard, I must give;
+  That I have but three days more to live:
+  For if I do not answer him questions three,
+  My head will be smitten from my bodie.
+
+  The first is to tell him, there in that stead,
+  With his crowne of golde so fair on his head,
+  Among all his liege-men so noble of birth,
+  To within one penny of what he is worth.
+
+  The seconde, to tell him, without any doubt,
+  How soon he may ride this whole world about:
+  And at the third question I must not shrinke,
+  But tell him there truly what he does thinke."
+
+  "Now cheare up, sire abbot, did you never hear yet,
+  That a fool he may learn a wise man witt?
+  Lend me horse, and serving-men, and your apparel,
+  And I'll ride to London to answere your quarrel.
+
+  Nay frowne not, if it hath bin told unto mee,
+  I am like your lordship, as ever may bee:
+  And if you will but lend me your gowne,
+  There is none shall knowe us at fair London towne."
+
+  "Now horses, and serving-men thou shalt have,
+  With sumptuous array most gallant and brave;
+  With crozier, and miter, and rochet, and cope,
+  Fit to appeare 'fore our fader the pope."
+
+  "Now welcome, sire abbot," the king he did say,
+  "Tis well thou'rt come back to keepe thy day;
+  For and if thou canst answer my questions three,
+  Thy life and thy living both saved shall bee.
+
+  And first, when thou seest me here in this stead,
+  With my crown of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Tell me to one penny what I am worth."
+
+  "For thirty pence our Saviour was sold
+  Amonge the false Jewes, as I have bin told;
+  And twenty-nine is the worth of thee,
+  For I thinke, thou art one penny worser than hee."
+
+  The king he laughed, and swore by St. Bittel,
+  "I did not thinke I had been worth so littel!
+  --Now secondly tell me, without any doubt,
+  How soone I may ride this whole world about."
+
+  "You must rise with the sun, and ride with the same,
+  Until the next morning he riseth againe;
+  And then your grace need not make any doubt,
+  But in twenty-four hours you'll ride it about."
+
+  The king he laughed, and swore by St. Jone,
+  "I did not think, it could be gone so soone!
+  --Now from the third question thou must not shrinke,
+  But tell me here truly what I do thinke."
+
+  "Yea, that shall I do, and make your grace merry:
+  You thinke I'm the Abbot of Canterbury;
+  But I'm his poor shepheard, as plain you may see,
+  That am come to beg pardon for him and for mee."
+
+  The king he laughed, and swore "by the masse,
+  He make thee lord abbot this day in his place!"
+  "Now naye, my liege, be not in such speede,
+  For alacke I can neither write ne reade."
+
+  "Four nobles a weeke, then, I will give thee,
+  For this merry jest thou hast showne unto mee;
+  And tell the old abbot when thou comest home,
+  Thou hast brought him a pardon from good king John."
+
+      --_Old Ballad_
+
+
+  PREPARATORY.--Divide this poem into three dramatic
+  scenes. Who are the actors in each scene?
+
+  What is the king's attitude toward the abbot in the
+  first scene? Toward the supposed abbot in the third
+  scene? Where does this attitude suddenly change? Show at
+  what points this changed attitude gradually increases in
+  strength and where it reaches its climax. Indicate these
+  changes by means of the voice.
+
+  What is the abbot's attitude toward the king in the
+  first scene? How does it differ from his attitude toward
+  the shepherd? What is the difference in vocal
+  expression?
+
+  Where does the shepherd's attitude toward the king
+  change? How does the voice indicate this change?
+
+       *       *       *       *       *
+
+
+THE KEY TO HUMAN HAPPINESS
+
+From "The Mill on the Floss"
+
+
+1. At last Maggie's eyes glanced down on the books that lay on the
+window-shelf, and she half forsook her reverie to turn over listlessly
+the leaves of the "Portrait Gallery"; but she soon pushed this aside
+to examine the little row of books tied together with, string.
+"Beauties of the Spectator", "Rasselas", "Economy of Human Life",
+"Gregory's Letters",--she knew the sort of matter that was inside all
+these; the "Christian Year"--that seemed to be a hymn-book, and she
+laid it down again; but "Thomas a Kempis"--the name had come across
+her in her reading, and she felt the satisfaction, which every one
+knows, of getting some ideas to attach to a name that strays solitary
+in the memory. She took up the little, old, clumsy book with some
+curiosity; it had the corners turned down in many places, and some
+hand, now for ever quiet, had made at certain passages strong
+pen-and-ink marks, long since browned by time. Maggie turned from leaf
+to leaf, and read where the quiet hand pointed ... "Know that the love
+of thyself doth hurt thee more than anything in the world.... If thou
+seekest this or that, and would'st be here or there to enjoy thy own
+will and pleasure, thou shalt never be quiet nor free from care; for
+in everything somewhat will be wanting, and in every place there will
+be some that will cross thee.... Both above and below, which way
+soever thou dost turn thee, everywhere thou shalt find the Cross; and
+everywhere of necessity thou must have patience, if thou wilt have
+inward peace, and enjoy an everlasting crown.... It is but little thou
+sufferest in comparison of them that have suffered so much, were so
+strongly tempted, so grievously afflicted, so many ways tried and
+exercised. Thou oughtest therefore to call to mind the more heavy
+sufferings of others, that thou mayest the easier bear thy little
+adversities. And if they seem not little unto thee, beware lest thy
+impatience be the cause thereof.... Blessed are those ears that
+receive the whispers of the divine voice, and listen not to the
+whisperings of the world. Blessed are those ears which hearken not
+unto the voice which soundeth outwardly, but unto the Truth which
+teacheth inwardly...."
+
+2. A strange thrill of awe passed through Maggie while she read, as if
+she had been awakened in the night by a strain of solemn music,
+telling of beings whose souls had been astir while hers was in stupor.
+She went on from one brown mark to another, where the quiet hand
+seemed to point, hardly conscious that she was reading--seeming rather
+to listen while a low voice said:--
+
+3. "Why dost thou here gaze about, since this is not the place of thy
+rest? In heaven ought to be thy dwelling, and all earthly things are
+to be looked on as they forward thy journey thither. All things pass
+away, and thou together with them. Beware thou cleave not unto them,
+lest thou be entangled and perish.... If a man should give all his
+substance yet it is as nothing. And, if he should do great penances,
+yet they are but little. And if he should attain to all knowledge, he
+is yet far off. And if he should be of great virtue, and very fervent
+devotion, yet is there much wanting--to wit, one thing, which is most
+necessary for him. What is that? That having left all, he leave
+himself, and go wholly out of himself, and retain nothing of
+self-love.... I have often said unto thee, and now again I say the
+same: Forsake thyself, resign thyself, and thou shalt enjoy much
+inward peace.... Then shall all vain imaginations, evil perturbations,
+and superfluous cares fly away; then shall immoderate fear leave thee,
+and inordinate love shall die."
+
+4. Maggie drew a long breath and pushed her heavy hair back as if to
+see a sudden vision more clearly. Here, then, was a secret of life
+that would enable her to renounce all other secrets; here was a
+sublime height to be reached without the help of outward things; here
+was insight, and strength and conquest, to be won by means entirely
+within her own soul, where a supreme Teacher was waiting to be heard.
+It flashed through her, like the suddenly apprehended solution of a
+problem, that all the miseries of her young life had come from fixing
+her heart on her own pleasure, as if that were the central necessity
+of the universe; and for the first time she saw the possibility of
+shifting the position from which she looked at the gratification of
+her own desires, of taking her stand out of herself, and looking at
+her own life as an insignificant part of a divinely-guided whole. She
+read on and on in the old book, devouring eagerly the dialogues with
+the invisible Teacher, the pattern of sorrow, the source of all
+strength, returning to it after she had been called away, and reading
+till the sun went down behind the willows. With all the hurry of an
+imagination that could never rest in the present, she sat in the
+deepening twilight forming plans of self-humiliation and entire
+devotedness; and, in the ardour of first discovery, renunciation
+seemed to her the entrance into that satisfaction which she had so
+long been craving in vain. She had not perceived--how could she until
+she had lived longer?--the inmost truth of the old monk's outpourings,
+that renunciation remains sorrow, though a sorrow borne willingly.
+Maggie was still panting for happiness, and was in ecstasy because she
+had found the key to it. She knew nothing of doctrines and systems--of
+mysticism or quietism; but this voice out of the far-off Middle Ages
+was the direct communication of a human soul's belief and experience,
+and came to Maggie as an unquestioned message.
+
+5. I suppose that is the reason why the small, old-fashioned book, for
+which you need pay only sixpence at a book-stall, works miracles to
+this day, turning bitter waters into sweetness; while expensive
+sermons and treatises, newly issued, leave all things as they were
+before. It was written down by a hand that waited for the heart's
+prompting; it is the chronicle of a solitary hidden anguish, struggle,
+trust, and triumph--not written on velvet cushions to teach endurance
+to those who are treading with bleeding feet on the stones. And so it
+remains to all time a lasting record of human needs and human
+consolations--the voice of a brother who, ages ago, felt and suffered
+and renounced in the cloister, perhaps, with serge gown and tonsured
+head, with much chanting and long fasts, and with a fashion of speech
+different from ours, but under the same silent far-off heavens, and
+with the same passionate desires, the same strivings, the same
+failures, the same weariness.
+
+     --_George Eliot_
+
+
+  Par. 1. IF THOU SEEKEST ... PLEASURE. What principle of
+  Inflection does this clause illustrate? Give similar
+  examples from Par. 3.
+
+  BOTH ABOVE AND BELOW ... EVERYWHERE. Which phrase in
+  this series has the strongest Emphasis?
+
+  THOU SUFFEREST. Which word is emphatic? (Introduction,
+  p. 30.) What phrases are contrasted with it?
+
+  Account for the Inflection used in the last two
+  sentences. (Introduction, p. 20.)
+
+  Par. 4. Indicate the Grouping in sentences 3 and 5.
+
+  HOW COULD SHE, ETC. What is the Inflection and Shading?
+  (Introduction, pp. 24 and 25.)
+
+  Par. 5. What is the Inflection on NOT WRITTEN ...
+  STONES? (Introduction p. 18.)
+
+       *       *       *       *       *
+
+
+THE VISION OF SIR LAUNFAL
+
+PART FIRST
+
+
+  "My golden spurs now bring to me,
+    And bring to me my richest mail,
+  For to-morrow I go over land and sea
+    In search of the Holy Grail;
+  Shall never a bed for me be spread,                                  5
+  Nor shall a pillow be under my head,
+  Till I begin my vow to keep;
+  Here on the rushes will I sleep,
+  And perchance there may come a vision true
+  Ere day create the world anew."                                     10
+    Slowly Sir Launfal's eyes grew dim,
+    Slumber fell like a cloud on him,
+  And into his soul the vision flew.
+
+  The crows flapped over by twos and threes,
+  In the pool drowsed the cattle up to their knees,                   15
+    The little birds sang as if it were
+    The one day of summer in all the year,
+  And the very leaves seemed to sing on the trees.
+  The castle alone in the landscape lay
+  Like an outpost of winter, dull and gray:                           20
+
+  'Twas the proudest hall in the North Countree,
+  And never its gates might opened be,
+  Save to lord or lady of high degree;
+  Summer besieged it on every side,
+  But the churlish stone her assaults defied;                         25
+  She could not scale the chilly wall,
+  Though round it for leagues her pavilions tall
+  Stretched left and right,
+  Over the hills and out of sight;
+    Green and broad was every tent,                                   30
+    And out of each a murmur went
+  Till the breeze fell off at night.
+  The drawbridge dropped with a surly clang,
+  And through the dark arch a charger sprang,
+  Bearing Sir Launfal, the maiden knight,                             35
+  In his gilded mail that flamed so bright
+  It seemed the dark castle had gathered all
+  Those shafts the fierce sun had shot over its wall
+    In his siege of three hundred summers long,
+  And, binding them all in one blazing sheaf,                         40
+    Had cast them forth: so, young and strong,
+  And lightsome as a locust leaf,
+  Sir Launfal flashed forth in his unscarred mail,
+  To seek in all climes for the Holy Grail.
+
+  It was morning on hill and stream and tree                          45
+    And morning in the young knight's heart;
+  Only the castle moodily
+  Rebuffed the gift of the sunshine free,
+    And gloomed by itself apart;
+  The season brimmed all other things up                              50
+  Full as the rain fills the pitcher-plant's cup.
+
+  As Sir Launfal made morn through the darksome gate
+    He was 'ware of a leper, crouched by the same,
+  Who begged with his hand and moaned as he sate;
+    And a loathing over Sir Launfal came;                             55
+  The sunshine went out of his soul with a thrill,
+    The flesh 'neath his armour 'gan shrink and crawl,
+  And midway its leap his heart stood still
+    Like a frozen waterfall;
+  For this man, so foul and bent of stature,                          60
+  Rasped harshly against his dainty nature,
+  And seemed the one blot on the summer morn,--
+  So he tossed him a piece of gold in scorn.
+
+  The leper raised not the gold from the dust:
+  "Better to me the poor man's crust,                                 65
+  Better the blessing of the poor,
+  Though I turn me empty from his door;
+  That is no true alms which the hand can hold;
+  He gives nothing but worthless gold
+    Who gives from a sense of duty;                                   70
+  But he who gives a slender mite,
+  And gives to that which is out of sight,
+    That thread of the all-sustaining Beauty
+  Which runs through all and doth all unite,--
+  The hand cannot clasp the whole of his alms,                        75
+  The heart outstretches its eager palms,
+  For a god goes with it and makes it store
+  To the soul that was starving in darkness before."
+
+
+PART SECOND
+
+  There was never a leaf on bush or tree,
+  The bare boughs rattled shudderingly;                               80
+  The river was numb and could not speak,
+    For the weaver Winter its shroud had spun;
+  A single crow on the tree-top bleak
+    From his shining feathers shed off the cold sun;
+  Again it was morning, but shrunk and cold                           85
+  As if her veins were sapless and old,
+  And she rose up decrepitly
+  For a last dim look at earth and sea.
+
+  Sir Launfal turned from his own hard gate,
+  For another heir in his earldom sate;                               90
+  An old, bent man, worn out and frail,
+  He came back from seeking the Holy Grail;
+  Little he recked of his earldom's loss,
+  No more on his surcoat was blazoned the cross,
+  But deep in his soul the sign he wore,                              95
+  The badge of the suffering and the poor.
+
+  Sir Launfal's raiment thin and spare
+  Was idle mail 'gainst the barbed air,
+  For it was just at the Christmas time;
+  So he mused, as he sat, of a sunnier clime,                        100
+  And sought for a shelter from cold and snow
+  In the light and warmth of long-ago:
+  He sees the snake-like caravan crawl
+  O'er the edge of the desert, black and small.
+  Then nearer and nearer, till, one by one,                          105
+  He can count the camels in the sun,
+  As over the red-hot sands they pass
+  To where, in its slender necklace of grass,
+  The little spring laughed and leapt in the shade,
+  And with its own self like an infant played,                       110
+  And waved its signal of palms.
+  "For Christ's sweet sake I beg an alms;"--
+  The happy camels may reach the spring,
+  But Sir Launfal sees only the grewsome thing,
+  The leper, lank as the rain-blanched bone,                         115
+  That cowers beside him, a thing as lone
+  And white as the ice-isles of Northern seas
+  In the desolate horror of his disease.
+
+  And Sir Launfal said, "I behold in thee
+  An image of Him who died on the tree;                              120
+  Thou also hast had thy crown of thorns,
+  Thou also hast had the world's buffets and scorns,
+  And to thy life were not denied
+  The wounds in the hands and feet and side:
+  Mild Mary's Son, acknowledge me;                                   125
+  Behold, through him, I give to thee!"
+
+  Then the soul of the leper stood up in his eyes
+    And looked at Sir Launfal, and straightway he
+  Remembered in what a haughtier guise
+    He had flung an alms to leprosie,                                130
+  When he girt his young life up in gilded mail
+  And set forth in search of the Holy Grail.
+  The heart within him was ashes and dust;
+  He parted in twain his single crust,
+  He broke the ice on the streamlet's brink,                         135
+  And gave the leper to eat and drink:
+  'Twas a mouldy crust of coarse brown bread,
+    'Twas water out of a wooden bowl,--
+  Yet with fine wheaten bread was the leper fed,
+    And 'twas red wine he drank with his thirsty soul.               140
+
+  As Sir Launfal mused with a downcast face,
+  A light shone round about the place;
+  The leper no longer crouched at his side,
+  But stood before him glorified,
+  Shining and tall and fair and straight                             145
+  As the pillar that stood by the Beautiful Gate,--
+  Himself the Gate whereby men can
+  Enter the temple of God in Man.
+
+  His words were shed softer than leaves from the pine,
+  And they fell on Sir Launfal as snows on the brine,                150
+  Which mingle their softness and quiet in one
+  With the shaggy unrest they float down upon:
+  And the voice that was calmer than silence said:
+  "Lo it is I, be not afraid!
+  In many climes, without avail,                                     155
+  Thou has spent thy life for the Holy Grail;
+  Behold it is here,--this cup which thou
+  Didst fill at the streamlet for me but now;
+  This crust is my body broken for thee,
+  This water His blood that died on the tree;                        160
+  The Holy Supper is kept, indeed,
+  In whatso we share with another's need;
+  Not what we give, but what we share,--
+  For the gift without the giver is bare;
+  Who gives himself with his alms feeds three,--                     165
+  Himself, his hungering neighbour, and me."
+
+  Sir Launfal awoke as from a swound:--
+  "The Grail in my castle here is found!
+  Hang my idle armour up on the wall,
+  Let it be the spider's banquet-hall;                               170
+  He must be fenced with stronger mail
+  Who would seek and find the Holy Grail."
+
+  The castle gate stands open now,
+    And the wanderer is welcome to the hall
+  As the hangbird is to the elm-tree bough;                          175
+    No longer scowl the turrets tall,
+  The Summer's long siege at last is o'er;
+  When the first poor outcast went in at the door,
+  She entered with him in disguise,
+  And mastered the fortress by surprise;                             180
+  There is no spot she loves so well on ground,
+  She lingers and smiles there the whole year round.
+  The meanest serf on Sir Launfal's land
+  Has hall and bower at his command;
+  And there's no poor man in the North Countree                      185
+  But is lord of the earldom as much as he.
+
+      --_James Russell Lowell_
+
+
+  PREPARATORY.--Read Tennyson's _The Holy Grail_.
+
+  Compare the mode in which Tennyson treats the pursuit of
+  the Holy Grail, in _Sir Galahad_, with that adopted by
+  Lowell in this poem.
+
+  Show the connection between the fundamental ideas in
+  this poem, and those in Longfellow's _King Robert of
+  Sicily_ and _The Legend Beautiful_.
+
+  Point out the various contrasts (_a_) of scene, (_b_) of
+  thought, (_c_) of emotion, and show a corresponding
+  contrast in vocal expression.
+
+  Articulation. (Appendix A, 1 and 11.)
+
+  5 and 6. What is the Inflection?
+
+  11. What changes of vocal expression accompany the
+  transition?
+
+  14-20. Note the word-pictures and the effect of the
+  Imaging process on the Time.
+
+  22. What is the Inflection on BE?
+
+  27-29 and 37-39. Observe the Grouping, Pause, and
+  Inflection.
+
+  41. HAD CAST THEM FORTH. With what phrase is this
+  parallel? How does the voice express the parallelism?
+
+  42-44. Which line expresses the main thought? How is it
+  made prominent? (Introduction, p. 33.)
+
+  51. Where is the Pause?
+
+  65-67. Show the relative importance of the emphatic
+  words and phrases. (Introduction, pp. 30 and 31.)
+
+  69-78. Read these lines with a view to (_a_)
+  Perspective, (_b_) Inflection.
+
+  91. OLD, BENT. Account for the pause between these two
+  adjectives. (Introduction, pp. 7 and 8.)
+
+  95. What is the emphatic word? Why?
+
+  107-111. Note the difference in the sound of the letter
+  _a_ in the various words.
+
+  119-126. What feeling predominates? How are the Force,
+  Pitch, and Time affected?
+
+  137-140. How does the voice indicate the contrast
+  between the meagre and the sumptuous? (Introduction, pp.
+  34 and 35.)
+
+  141-142. Note the transition from the subjective to the
+  objective. How is it indicated in reading?
+
+  154-166. What atmosphere pervades this speech? What
+  Quality of voice suggests it? (Introduction, p. 35.)
+
+  167. Note the transition. What movement is suggested?
+  What is the Stress and Quality of voice?
+
+  168-172. What state of mind does this speech suggest?
+  What is the change in Stress and Quality?
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF GLADSTONE
+
+Delivered in the Canadian House of Commons, May 26, 1898
+
+
+England has lost the most illustrious of her sons; but the loss is not
+England's alone, nor is it confined to the great empire which
+acknowledges England's suzerainty, nor even to the proud race which
+can claim kinship with the people of England. The loss is the loss of
+mankind. Mr. Gladstone gave his whole life to his country; but the
+work which he did for his country, was conceived and carried out, on
+principles of such high elevation, for purposes so noble, and aims so
+lofty, that not his country alone, but the whole of mankind, benefited
+by his work. It is no exaggeration to say that he has raised the
+standard of civilization, and the world to-day is undoubtedly better
+for both the precept and the example of his life.
+
+His death is mourned not only by England, the land of his birth, not
+only by Scotland, the land of his ancestors, not only by Ireland for
+whom he did so much, and attempted so much more; but also by the
+people of the two Sicilies, for whose outraged rights he once aroused
+the conscience of Europe, by the people of the Ionian Islands, whose
+independence he secured, and by the people of Bulgaria and the
+Danubian Provinces, in whose cause he enlisted the sympathy of his own
+native country. Indeed, since the days of Napoleon, no man has lived
+whose name has travelled so far and so wide, over the surface of the
+earth; no man has lived whose name alone so deeply moved the hearts of
+so many millions of men. Whereas Napoleon impressed his tremendous
+personality upon peoples far and near, by the strange fascination
+which the genius of war has always exercised over the imagination of
+men in all lands and in all ages, the name of Gladstone had come to be
+in the minds of all civilized nations, the living incarnation of right
+against might--the champion, the dauntless, tireless champion, of the
+oppressed against the oppressor. It is, I believe, equally true to say
+that he was the most marvellous mental organization which the world
+has seen since Napoleon--certainly the most compact, the most active
+and the most universal.
+
+This last half century in which we live, has produced many able and
+strong men who, in different walks of life, have attracted the
+attention of the world at large; and of the men who have illustrated
+this age, it seems to me that in the eyes of posterity four will
+outlive and outshine all others--Cavour, Lincoln, Bismarck, and
+Gladstone. If we look simply at the magnitude of the results obtained,
+compared with the exiguity of the resources at command,--if we
+remember that out of the small Kingdom of Sardinia grew united Italy,
+we must come to the conclusion that Count Cavour was undoubtedly a
+statesman of marvellous skill and prescience. Abraham Lincoln, unknown
+to fame when he was elected to the presidency, exhibited a power for
+the government of men which has scarcely been surpassed in any age. He
+saved the American Union, he enfranchised the black race, and for the
+task he had to perform he was endowed in some respects almost
+miraculously. No man ever displayed a greater insight into the
+motives, the complex motives, which shape the public opinion of a free
+country, and he possessed almost to the degree of an instinct, the
+supreme quality in a statesman of taking the right decision, taking it
+at the right moment and expressing it in language of incomparable
+felicity. Prince Bismarck was the embodiment of resolute common sense,
+unflinching determination, relentless strength, moving onward to his
+end, and crushing everything in his way as unconcerned as fate itself.
+Mr. Gladstone undoubtedly excelled every one of these men. He had in
+his person a combination of varied powers of the human intellect,
+rarely to be found in one single individual. He had the imaginative
+fancy, the poetic conception of things, in which Count Cavour was
+deficient. He had the aptitude for business, the financial ability
+which Lincoln never exhibited. He had the lofty impulses, the generous
+inspirations which Prince Bismarck always discarded, even if he did
+not treat them with scorn. He was at once an orator, a statesman, a
+poet, and a man of business. As an orator he stands certainly in the
+very front rank of orators of his country or any country of his age or
+any age. I remember when Louis Blanc was in England, in the days of
+the Second Empire, he used to write to the press of Paris, and in one
+of his letters to "Le Temps" he stated that Mr. Gladstone would
+undoubtedly have been the foremost orator of England, if it were not
+for the existence of Mr. Bright. It may be admitted, and I think it is
+admitted generally, that on some occasions Mr. Bright reached heights
+of grandeur and pathos which even Mr. Gladstone did not attain. But
+Mr. Gladstone had an ability, a vigour, a fluency which no man in his
+age or any age ever rivalled or even approached. That is not all. To
+his marvellous mental powers he added no less marvellous physical
+gifts. He had the eye of a god, the voice of a silver bell; and the
+very fire of his eye, the very music of his voice swept the hearts of
+men even before they had been dazzled by the torrents of his
+eloquence.
+
+As a statesman, it was the good fortune of Mr. Gladstone that his
+career was not associated with war. The reforms which he effected, the
+triumphs which he achieved, were not won by the supreme arbitrament of
+the sword. The reforms which he effected and the triumphs which he
+achieved were the result of his power of persuasion over his
+fellow-men. The reforms which he achieved in many ways amounted to a
+revolution. They changed, in many particulars, the face of the realm.
+After Sir Robert Peel had adopted the great principle which eventually
+carried England from protection to free trade, it was Mr. Gladstone
+who created the financial system which has been admitted ever since by
+all students of finance, as the secret of Great Britain's commercial
+success. He enforced the extension of the suffrage to the masses of
+the nation, and practically thereby made the government of monarchical
+England as democratic as that of any republic. He disestablished the
+Irish church, he introduced reform into the land tenure and brought
+hope into the breasts of those tillers of the soil in Ireland who had
+for so many generations laboured in despair. And all this he did, not
+by force or violence, but simply by the power of his eloquence and the
+strength of his personality.
+
+Great, however, as were the acts of the man, after all he was of the
+human flesh, and for him, as for everybody else, there were trivial
+and low duties to be performed. It is no exaggeration to say that even
+in those low and trivial duties he was great. He ennobled the common
+realities of life. His was above all things a religious
+mind--essentially religious in the highest sense of the term. And the
+religious sentiment which dominated his public life and his speeches,
+that same sentiment, according to the testimony of those who knew him
+best, also permeated all his actions from the highest to the humblest.
+He was a man of strong and pure affections, of long and lasting
+friendship, and to describe the beauty of his domestic life, no words
+of praise can be adequate. It was simply ideally beautiful, and in the
+later years of his life, as touching as it was beautiful. May I be
+permitted, without any impropriety, to recall that it was my privilege
+to experience and to appreciate that courtesy, made up of dignity and
+grace, which was famous all the world over, but of which no one could
+have an appropriate opinion, unless he had been the recipient of it.
+In a character so complex and diversified, one may ask what was the
+dominant feature, what was the supreme quality, the one characteristic
+which marked the nature of the man. Was it his incomparable genius for
+finance? Was it his splendid oratorical powers? Was it his marvellous
+fecundity of mind? In my estimation it was not any one of these
+qualities. Great as they were, there was one still more marked, and if
+I have to give my own impression, I would say that the one trait which
+was dominant in his nature, which marked the man more distinctly than
+any other, was his intense humanity, his paramount sense of right, his
+abhorrence of injustice, wrong, and oppression wherever to be found or
+in whatever shape they might show themselves. Injustice, wrong,
+oppression acted upon him, as it were, mechanically, and aroused every
+fibre of his being, and from that moment to the repairing of the
+injustice, the undoing of the wrong, and the destruction of the
+oppression, he gave his mind, his heart, his soul, his whole life with
+an energy, with an intensity, with a vigour paralleled in no man
+unless it be the first Napoleon. There are many evidences of this in
+his life. When he was travelling in Southern Italy, as a tourist, for
+pleasure and for the benefit of the health of his family, he became
+aware of the abominable system which was there prevailing under the
+name of Constitutional Government. He left everything aside, even the
+object which had brought him to Italy, and applied himself to
+investigate and to collect evidence, and then denounced the abominable
+system in a trumpet blast of such power that it shook to its very
+foundations the throne of King Ferdinand and sent it tottering to its
+fall. Again, when he was sent as High Commissioner to the Ionian
+Islands, the injustice of keeping this Hellenic population separated
+from the rest of Greece, separated from the kingdom to which they were
+adjacent, and toward which all their aspirations were raised, struck
+his generous soul with such force that he became practically their
+advocate, and secured their independence. Again, when he had
+withdrawn from public life, and when, in the language of Thiers, under
+somewhat similar circumstances, he had returned to "ses cheres
+etudes," the atrocities perpetrated by the Turks on the people of
+Roumania brought him back to public life with a vehemence, an
+impetuosity, and a torrent of fierce indignation that swept everything
+before it. If this be, as I think it is, the one distinctive feature
+of his character, it seems to explain away what are called the
+inconsistencies of his life. Inconsistencies there were none in his
+life. He had been brought up in the most unbending school of Toryism.
+He became the most active reformer of our times. But whilst he became
+the leader of the Liberal party and an active reformer, it is only due
+to him to say that in his complex mind there was a vast space for what
+is known as conservatism. His mind was not only liberal but
+conservative as well, and he clung to the affections of his youth
+until, in questions of practical moment, he found them clashing with
+that sense of right and abhorrence of injustice of which I have
+spoken. But the moment he found his conservative affections clash with
+what he thought right and just, he did not hesitate to abandon his
+former convictions and go the whole length of the reforms demanded.
+Thus he was always devotedly, filially, lovingly attached to the
+Church of England. He loved it, as he often declared. He adhered to it
+as an establishment in England, but the very reasons and arguments
+which, in his mind, justified the establishment of the Church in
+England, compelled him to a different course as far as that church was
+concerned in Ireland. In England the Church was the church of the
+majority, of almost the unanimity of the nation. In Ireland it was
+the church of the minority, and, therefore, he did not hesitate. His
+course was clear: he removed the one church and maintained the other.
+So it was with Home Rule. But coming to the subject of Home Rule,
+though there may be much to say, perhaps this is neither the occasion
+nor the place to say it. The Irish problem is dormant, not solved; but
+the policy proposed by Mr. Gladstone for the solution of this question
+has provoked too much bitterness, too deep division, even on the floor
+of this House, to make it advisable to say anything about it on this
+occasion.
+
+I notice it, however, simply because it is the last and everlasting
+monument of that high sense of justice which, above all things,
+characterized him. When he became convinced that Home Rule was the
+only method whereby the long-open wound could be healed, he did not
+hesitate one moment, even though he were to sacrifice friends, power,
+popularity. And he sacrificed friends, power, popularity, in order to
+give that supreme measure of justice to a long-suffering people.
+Whatever may be the views which men entertain upon the policy of Home
+Rule, whether they favour that policy or whether they oppose it,
+whether they believe in it or whether they do not believe in it, every
+man, whether friend or foe of that measure, must say that it was not
+only a bold, but it was a noble thought, that of attempting to cure
+discontent in Ireland by trusting to Irish honour and Irish
+generosity.
+
+Now, Sir, he is no more. England is to-day in tears, but fortunate is
+the nation which has produced such a man. His years are over; but his
+work is not closed; his work is still going on. The example which he
+gave to the world shall live for ever, and the seed which he has sown
+with such a copious hand shall still germinate and bear fruit under
+the full light of heaven.
+
+      --_Sir Wilfrid Laurier (By permission)_
+
+
+  In reading this speech, apply the principles of Pause,
+  Inflection, Grouping, Emphasis, and Perspective
+  illustrated in the preceding lessons.
+
+       *       *       *       *       *
+
+
+THE DOWNFALL OF WOLSEY
+
+From "King Henry VIII" Act III. Scene ii.
+
+
+  Farewell! a long farewell, to all my greatness!
+  This is the state of man: to-day he puts forth
+  The tender leaves of hope; to-morrow blossoms,
+  And bears his blushing honours thick upon him;
+  The third day comes a frost, a killing frost,                        5
+  And,--when he thinks, good easy man, full surely
+  His greatness is a-ripening,--nips his root,
+  And then he falls, as I do. I have ventured,
+  Like little wanton boys that swim on bladders,
+  This many summers in a sea of glory,                                10
+  But far beyond my depth: my high-blown pride
+  At length broke under me; and now has left me,
+  Weary, and old with service, to the mercy
+  Of a rude stream, that must for ever hide me.
+  Vain pomp and glory of this world, I hate ye:                       15
+  I feel my heart new open'd. O, how wretched
+  Is that poor man that hangs on princes' favours!
+  There is, betwixt that smile we would aspire to,
+  That sweet aspect of princes, and their ruin,
+  More pangs and fears than wars or women have;                       20
+  And when he falls, he falls like Lucifer,
+  Never to hope again.--
+
+[_Enter Cromwell, and stands amazed_]
+
+    Why, how now, Cromwell!
+
+  _Crom._ I have no power to speak, sir.
+
+  _Wol._ What! amaz'd
+  At my misfortunes? can thy spirit wonder
+  A great man should decline? Nay, an you weep,                       25
+  I am fall'n indeed.
+
+  _Crom._ How does your grace?
+
+  _Wol._ Why, well;
+  Never so truly happy, my good Cromwell.
+  I know myself now; and I feel within me
+  A peace above all earthly dignities,
+  A still and quiet conscience. The king has cur'd me,                30
+  I humbly thank his grace; and from these shoulders,
+  These ruin'd pillars, out of pity, taken
+  A load would sink a navy,--too much honour:
+  O, 't is a burden, Cromwell, 't is a burden,
+  Too heavy for a man that hopes for heaven!                          35
+
+  _Crom._ I am glad your grace has made that right
+  use of it.
+
+  _Wol._ I hope I have: I am able now, methinks,--
+  Out of a fortitude of soul I feel--
+  To endure more miseries, and greater far,
+  Than my weak-hearted enemies dare offer.                            40
+  What news abroad?
+
+  _Crom._ The heaviest, and the worst
+  Is your displeasure with the king.
+
+  _Wol._ God bless him!
+
+  _Crom._ The next is, that Sir Thomas More is chosen
+  Lord chancellor in your place.
+
+  _Wol._ That's somewhat sudden:
+  But he's a learned man. May he continue                             45
+  Long in his highness' favour, and do justice
+  For truth's sake, and his conscience; that his bones,
+  When he has run his course and sleeps in blessings,
+  May have a tomb of orphans' tears wept on 'em!--
+  What more?                                                          50
+
+  _Crom._ That Cranmer is return'd with welcome,
+  Install'd Lord Archbishop of Canterbury.
+
+  _Wol._ That's news indeed.
+
+  _Crom._                    Last, that the Lady Anne,
+  Whom the king hath in secrecy long married,
+  This day was view'd in open, as his queen,                          55
+  Going to chapel; and the voice is now
+  Only about her coronation.
+
+  _Wol._ There was the weight that pull'd me down.
+      O Cromwell,
+  The king has gone beyond me: all my glories
+  In that one woman I have lost for ever.                             60
+  No sun shall ever usher forth mine honours,
+  Or gild again the noble troops that waited
+  Upon my smiles. Go, get thee from me, Cromwell;
+  I am a poor fall'n man, unworthy now
+  To be thy lord and master. Seek the king;                           65
+  That sun, I pray, may never set! I have told him
+  What and how true thou art: he will advance thee;
+  Some little memory of me will stir him--
+  I know his noble nature--not to let
+  Thy hopeful service perish too. Good Cromwell,                      70
+  Neglect him not; make use now, and provide
+  For thine own future safety.
+
+  _Crom._                  O my lord,
+  Must I, then, leave you? must I needs forego
+  So good, so noble, and so true a master?
+  Bear witness, all that have not hearts of iron,                     75
+  With what a sorrow Cromwell leaves his lord.
+  The king shall have my service; but my prayers,
+  For ever and for ever, shall be yours.
+
+  _Wol._ Cromwell, I did not think to shed a tear
+  In all my miseries; but thou hast forced me,                        80
+  Out of thy honest truth, to play the woman.
+  Let's dry our eyes; and thus far hear me, Cromwell:
+  And--when I am forgotten, as I shall be,
+  And sleep in dull cold marble, where no mention
+  Of me more must be heard of--say, I taught thee,                    85
+  Say, Wolsey, that once trod the ways of glory,
+  And sounded all the depths and shoals of honour,
+  Found thee a way, out of his wrack, to rise in;
+  A sure and safe one, though thy master miss'd it.
+  Mark but my fall, and that that ruin'd me.                          90
+  Cromwell, I charge thee, fling away ambition:
+  By that sin fell the angels; how can man, then,
+  The image of his Maker, hope to win by 't?
+  Love thyself last; cherish those hearts that hate thee;
+  Corruption wins not more than honesty.                              95
+  Still in thy right hand carry gentle peace,
+  To silence envious tongues. Be just, and fear not:
+  Let all the ends thou aim'st at be thy country's,
+  Thy God's, and truth's: then if thou fall'st, O Cromwell,
+  Thou fall'st a blessed martyr. Serve the king;                     100
+  And--pr'ythee lead me in:
+  There take an inventory of all I have,
+  To the last penny; 't is the king's: my robe,
+  And my integrity to Heaven, is all
+  I dare now call my own. O Cromwell, Cromwell!                      105
+  Had I but served my God with half the zeal
+  I served my king, He would not in mine age
+  Have left me naked to mine enemies.
+
+  _Crom._ Good sir, have patience.
+
+  _Wol._                  So I have. Farewell                        110
+  The hopes of court! my hopes in heaven do dwell.
+
+        --_Shakespeare_
+
+
+  Compare the last words of Wolsey with those of Socrates
+  as found in Jowett's translation of _The Apology_, (p.
+  145.)
+
+  BE JUST ... MARTYR. Show that the life and death of
+  Socrates illustrates this ideal.
+
+  Compare the Pitch in which Wolsey utters his monologue
+  with that in which he addresses Cromwell. (Introduction,
+  p. 23.)
+
+  How is the parenthetical clause in ll. 6 and 7 kept in
+  the back-ground? (Introduction, p. 24.) Select similar
+  examples from Wolsey's speeches.
+
+  AND FROM THESE SHOULDERS ... NAVY. Supply the ellipses.
+
+  BY THAT SIN ... WIN BY 'T? Select the emphatic words and
+  account for the Emphasis in each case. (Introduction, p.
+  30.)
+
+       *       *       *       *       *
+
+
+THE ITALIAN IN ENGLAND
+
+
+  That second time they hunted me
+  From hill to plain, from shore to sea,
+  And Austria, hounding far and wide
+  Her blood-hounds thro' the country-side,
+  Breathed hot and instant on my trace.--                              5
+  I made, six days, a hiding-place
+  Of that dry green old aqueduct
+  Where I and Charles, when boys, have plucked
+  The fireflies from the roof above,
+  Bright creeping thro' the moss they love:                           10
+  --How long it seems since Charles was lost!
+  Six days the soldiers crossed and crossed
+  The country in my very sight;
+  And when that peril ceased at night,
+  The sky broke out in red dismay                                     15
+  With signal-fires. Well, there I lay
+  Close covered o'er in my recess,
+  Up to the neck in ferns and cress,
+  Thinking on Metternich our friend,
+  And Charles's miserable end,                                        20
+  And much beside, two days; the third,
+  Hunger o'ercame me when I heard
+  The peasants from the village go
+  To work among the maize: you know,
+  With us in Lombardy, they bring                                     25
+  Provisions packed on mules, a string
+  With little bells that cheer their task,
+  And casks, and boughs on every cask
+  To keep the sun's heat from the wine;
+  These I let pass in jingling line,                                  30
+  And, close on them, dear noisy crew,
+  The peasants from the village, too;
+  For at the very rear would troop
+  Their wives and sisters in a group
+  To help, I knew. When these had passed,                             35
+  I threw my glove to strike the last,
+  Taking the chance: she did not start,
+  Much less cry out, but stooped apart,
+  One instant rapidly glanced round,
+  And saw me beckon from the ground;                                  40
+  A wild bush grows and hides my crypt,
+  She picked my glove up while she stripped
+  A branch off, then rejoined the rest
+  With that; my glove lay in her breast:
+  Then I drew breath; they disappeared:                               45
+  It was for Italy I feared.
+
+  An hour, and she returned alone
+  Exactly where my glove was thrown.
+  Meanwhile came many thoughts; on me
+  Rested the hopes of Italy;                                          50
+  I had devised a certain tale
+  Which, when 't was told her, could not fail
+  Persuade a peasant of its truth;
+  I meant to call a freak of youth
+  This hiding, and give hopes of pay,                                 55
+  And no temptation to betray.
+  But when I saw that woman's face,
+  It's calm simplicity of grace,
+  Our Italy's own attitude
+  In which she walked thus far, and stood,                            60
+  Planting each naked foot so firm,
+  To crush the snake and spare the worm--
+  At first sight of her eyes, I said,
+  "I am that man upon whose head
+  They fix the price, because I hate                                  65
+  The Austrians over us; the State
+  Will give you gold--oh, gold so much!--
+  If you betray me to their clutch,
+  And be your death, for aught I know,
+  If once they find you saved their foe.                              70
+  Now, you must bring me food and drink,
+  And also paper, pen and ink,
+  And carry safe what I shall write
+  To Padua, which you'll reach at night
+  Before the duomo shuts; go in,                                      75
+  And wait till Tenebrae begin;
+  Walk to the third confessional,
+  Between the pillar and the wall,
+  And kneeling whisper, _Whence comes peace?_
+  Say it a second time, then cease;                                   80
+  And if the voice inside returns,
+  _From Christ and Freedom; what concerns
+  The cause of Peace?_--for answer, slip
+  My letter where you placed your lip;
+  Then come back happy we have done                                   85
+  Our mother service--I, the son,
+  As you the daughter of our land!"
+
+    Three mornings more, she took her stand
+  In the same place, with the same eyes:
+  I was no surer of sunrise                                           90
+  Than of her coming: we conferred
+  Of her own prospects, and I heard
+  She had a lover--stout and tall,
+  She said--then let her eyelids fall,
+  "He could do much"--as if some doubt                                95
+  Entered her heart,--then, passing out,
+  "She could not speak for others, who
+  Had other thoughts; herself she knew":
+  And so she brought me drink and food.
+  After four days, the scouts pursued                                100
+  Another path; at last arrived
+  The help my Paduan friends contrived
+  To furnish me: she brought the news.
+  For the first time I could not choose
+  But kiss her hand, and lay my own                                  105
+  Upon her head--"This faith was shown
+  To Italy, our mother; she
+  Uses my hand and blesses thee."
+  She followed down to the sea-shore;
+  I left and never saw her more.                                     110
+
+    How very long since I have thought
+  Concerning--much less wished for--aught
+  Beside the good of Italy,
+  For which I live and mean to die!
+  I never was in love; and since                                     115
+  Charles proved false, what shall now convince
+  My inmost heart I have a friend?
+  However, if I pleased to spend
+  Real wishes on myself--say, three--
+  I know at least what one should be.                                120
+  I would grasp Metternich until
+  I felt his red wet throat distil
+  In blood thro' these two hands. And next,
+  --Nor much for that am I perplexed--
+  Charles, perjured traitor, for his part,                           125
+  Should die slow of a broken heart
+  Under his new employers. Last,
+  --Ah, there, what should I wish? For fast
+  Do I grow old and out of strength.
+  If I resolved to seek at length                                    130
+  My father's house again, how scared
+  They all would look, and unprepared!
+  My brothers live in Austria's pay
+  --Disowned me long ago, men say;
+  And all my early mates who used                                    135
+  To praise me so--perhaps induced
+  More than one early step of mine--
+  Are turning wise: while some opine
+  "Freedom grows license", some suspect
+  "Haste breeds delay", and recollect                                140
+  They always said, such premature
+  Beginnings never could endure!
+  So, with a sullen "All's for best",
+  The land seems settling to its rest.
+  I think then, I should wish to stand                               145
+  This evening in that dear, lost land,
+  Over the sea the thousand miles,
+  And know if yet that woman smiles
+  With the calm smile; some little farm
+  She lives in there, no doubt: what harm                            150
+  If I sat on the door-side bench,
+  And, while her spindle made a trench
+  Fantastically in the dust,
+  Inquired of all her fortunes--just
+  Her children's ages and their names,                               155
+  And what may be the husband's aims
+  For each of them. I'd talk this out,
+  And sit there, for an hour about,
+  Then kiss her hand once more, and lay
+  Mine on her head, and go my way.                                   160
+
+  So much for idle wishing--how
+  It steals the time! To business now.
+
+      --_Robert Browning (By permission)_
+
+
+  PREPARATORY.--What is the historical back-ground of this
+  poem? Suggest the possible details of the exiled
+  patriot's life in England, his surroundings and frame of
+  mind at the moment of speaking.
+
+  Reconstruct for yourself the three scenes of which the
+  peasant woman is the centre.
+
+  What qualities did the Italian at once recognize in the
+  peasant woman which led him to intrust his safety to
+  her?
+
+  79. WHENCE COMES PEACE? In what Quality of voice is this
+  read? Give your reason. (Introduction, p. 34.)
+
+  95. HE COULD DO MUCH. How is the doubt in this speech
+  and in the one following indicated by the Inflection?
+  (Introduction, p. 18.)
+
+  111-112. With what is THOUGHT CONCERNING connected? How?
+
+  120-123. I KNOW AT LEAST ... HANDS. What Quality of
+  voice expresses the feeling here? What succeeding lines
+  have the same Quality? (Introduction, p. 35.) With what
+  is NEXT connected? How?
+
+  139-142. FREEDOM GROWS LICENSE ... ENDURE. How is the
+  irony of these lines indicated? (Introduction, pp. 21
+  and 30.)
+
+  How does the mood of the last two lines differ from the
+  preceding? What is the difference in vocal expression?
+
+       *       *       *       *       *
+
+
+ADVANTAGES OF IMPERIAL FEDERATION
+
+From an address delivered in Toronto, January 30th, 1891, under the
+auspices of the Imperial Federation League
+
+
+I now go on to mention another and greater advantage of Imperial
+Federation than the one which we have just been considering; an
+advantage too that is so connected with that of improved trade that
+the two must be considered together. In fact, in my opinion, the first
+is not likely to be obtained without the second. We cannot expect
+Britain to concede preferential trade to us, on the ground that we are
+part of the Empire, unless we are willing to share the
+responsibilities of the Empire. I say then, secondly, that only by
+some form of Imperial Federation can the independence of Canada be
+preserved, with due regard to self-respect.
+
+If this is true, if Imperial Federation can do this, and if it can be
+done in no other way, then the necessity for Imperial Federation is
+proved; for national independence is an advantage so great that no
+price can be named that is too great to give in payment. It is the
+same with a country as with a man. Independent he must be, or he
+ceases to be a man. Burns advises his young friend to "gather gear" in
+every honourable way, and what for?
+
+  Not for to hoard it in a dyke,
+    Not for a train attendant;
+  But for the glorious privilege
+    Of being independent.
+
+And that which is the supreme dignity of manhood is even more
+essential in the case of a nation.
+
+What do we mean when we speak of the independence of the country? We
+mean something beyond price, something that is the indispensable
+condition of true manhood in any country, something without which a
+country is poor in the present and a butt for the world's scorn in the
+future. There are men, or things that look like men, who say that as
+long as we put money in our purse, nothing else counts. How that class
+of men must have laughed some centuries ago at a fool called William
+Wallace! How clearly they could point out that it was much better to
+be part of the richer country to the south. When they heard of the
+fate of the patriot, did they not serenely say: "We told you so?" Did
+they not in their hearts envy the false Menteath the price he got for
+betraying the man who acted as true sentiment bade? But, give it time,
+and the judgment of the world is just. Even the blind can now see
+whether the patriot or the so-called "practical man" did most for
+Scotland's advantage. Now
+
+  At Wallace' name, what Scottish blood
+  But boils up in a springtime flood!
+  Oft have our fearless fathers strode
+        By Wallace' side,
+  Still pressing onward, red-wat shod,
+        Or glorious died.
+
+What has his memory been worth to Scotland! Would you estimate it in
+millions? Superior persons will tell me that Wallace is an
+anachronism. In form, yes; in spirit, never. It may be said that in
+the end Scotland did unite with England. Yes, but first, what a curse
+the union would have been if unaccompanied, as in the case of Ireland,
+with national self-respect! And, secondly, Canada is ready for union
+with the States any day on the same terms as those which Scotland got:
+(1) That the States accept our Queen or King as their head. (2) That
+we keep our own civil and criminal law and parliamentary constitution,
+as Scotland did. (3) That the whole Empire be included in the
+arrangement, as the whole of Scotland was in the union. Surely the men
+who are never tired of citing the case of Scotland and England as
+parallel to ours must admit that this is fair.
+
+But, here comes a question that must be faced. Is it worth while
+preserving the independence, the unity, and dignity of Canada? There
+are men who, for one reason or another, doubt whether it is. They have
+lost faith in the country, or rather they never had any faith to lose.
+It is this absence of faith that is at the bottom of all their
+arguments and all their unrest. Now, I do not wonder that there should
+be men who do not share our faith. Men who were brought up in England,
+and who have seen and tasted the best of it; who are proud of that
+"dear, dear land", as Shakespeare called it, proud of its history, its
+roll of saints, statesmen, heroes; of its cathedrals, colleges,
+castles; of its present might as well as its ancient renown; and who
+have then come to live in Canada,--well, they naturally look with
+amused contempt at our raw, rough ways, our homespun legislators and
+log colleges, combined with lofty ambitions expressed sometimes--it
+must be admitted--in bunkum. I do not wonder, either, that men who
+have been citizens of the United States, who exult in its vast
+population, its vast wealth, and its boundless energy, should think it
+madness on our part that we are not knocking untiringly at their door
+for admission, and that the only explanation of our attitude that they
+can give is that we are "swelled heads", or "the rank and file of
+jingoism." But, after all, they must know that this question is not to
+be settled by them. It must be settled by genuine Canadians. We, like
+Cartier, are Canadians _avant tout_. Most of us have been born in the
+land, have buried our fathers and mothers, and some of us our
+children, too, in the natal soil, and above the sacred dust we have
+pledged ourselves to be true to their memories and to the country they
+loved, and to those principles of honour that are eternal! God
+helping, we will do so, whether strangers help or hinder! We do not
+think so meanly of our country that we are willing to sell it for a
+mess of pottage. I know Canada well, from ocean to ocean; from the
+rich sea pastures on the Atlantic all the way across to Vancouver and
+Victoria. Every province and every territory of it, I know well. I
+know the people, too, a people thoroughly democratic and honest to the
+core. I would now plainly warn those who think that there is no such
+thing as Canadian sentiment that they are completely mistaken. They
+had better not reckon without their host. The silent vote is that
+which tells, and though it will not talk, it will vote solid all the
+time for those who represent national sentiment when the national life
+is threatened. I am not a party man. In my day, I have voted about
+evenly on both sides, for when I do vote, it is after consideration of
+the actual issues involved at the time. Both sides therefore rightly
+consider me unreliable, but, perhaps, both will listen when I point
+out that the independent vote is increasing, and that it is the only
+vote worth cultivating. The true Grit or Tory will vote with his
+party, right or wrong. No time, therefore, need be given to him. Let
+the wise candidate win the men who believe that the country is higher
+than party, and there is, I think, only one thing that these men will
+not forgive--lack of faith in the country. They have no doubt that it
+is worth while to preserve the unity, dignity, and independence of
+Canada.
+
+We are quite sure of this. Are we as sure that it is our duty to pay
+the price? The United States are paying three or four times our whole
+revenue in pensions to those who fought to keep the country united.
+They do not grudge this enormous price. They have besides a
+respectable army, and a fleet that will soon be formidable. What means
+do we find it necessary to use? In any trouble we simply call on the
+Mother Country. The present system is cheap. No! it is dear and nasty,
+and cannot last.
+
+What should we do? First, let us remember what Britain has dared for
+us within the last two or three years. Britain would fight the rest of
+the world rather than the United States,--not because the Republic
+could hurt her seriously, not because her trade with it is five times
+as much as with us, but because she is proud of her own eldest child
+and knows that a war between mother and daughter would be a blow
+struck at the world's heart. Yet, for us she spoke the decisive word
+from which there was no drawing back. For us, once and again, because
+we were in the right, she dared a risk which she hated with her whole
+soul.
+
+Let us show that we appreciate her attitude. Let us, at any rate, do
+what Australia has done--enter into a treaty, according to which we
+shall pay so much a year for a certain number of ships, to be on our
+own coasts in peace, and in war at the disposal of the Empire. That
+would be tantamount to saying: "You have shared our risks, we will
+share yours; we will pay part of the insurance that is necessary to
+guarantee peace; we are educating officers for the army, and we are
+willing to give a much needed addition to the fleet". That would be a
+first step toward the attainment of full citizenship. What would be
+the next? We could ask that our voice should be heard in some
+constitutional way before any war was decided on. And we would have
+the right standing ground from which to urge a wise system of
+preferential trade in the common interest. These three things are, in
+my opinion, connected, and I have ventured to indicate the order in
+which they should be taken.
+
+Would it pay? The experience of the world proves that nothing pays in
+the long run but duty-doing. How can a country grow great men if it is
+content to be in leading-strings, and to give plausible excuses to
+show that that state of things is quite satisfactory?
+
+Only by some form of Imperial Federation can the unity of the Empire
+be preserved.
+
+The previous advantages to which I referred concerned Canada directly.
+This one may appear, to some persons, far away from us, but it is not.
+In another speech I may enlarge on this advantage, but suffice it to
+say now, that we cannot isolate ourselves from humanity. Canada ought
+to be dearer to us than any other part of the Empire, but none the
+less we must admit that the Empire is more important to the world than
+any of its parts, and every true man is a citizen of the world.
+
+I will not speak to-night of what the Empire has done for us in the
+past, of the rich inheritance into which we have entered, and of the
+shame that falls on children who value lightly the honour of their
+family and race. Consider only the present position of affairs. The
+European nations are busy watching each other. Britain is detaching
+herself from them, understanding that she is an oceanic, colonizing,
+and world power, much more than a European state. The United States
+and Britain are the two Powers, one in essence, cradled in freedom,
+that have a great future before them. According to the last census,
+the first has a population of some fifty-four millions of whites. The
+census of next April will show that the other has nearly forty
+millions in the home islands and ten millions in the self-governing
+Colonies. The two Powers have thus about the same population of white
+men, and the two are likely to grow at the same rate.
+
+In Britain the rate of increase will be less, but in the Colonies it
+will be greater than in the States during the next half century. The
+States will keep united. They have stamped out disunion. We have to
+prove that we intend to keep the Empire united; but that can be done
+only by giving the ten millions a gradually increasing share in common
+privileges and responsibilities. Surely such a work is not beyond the
+resources of statesmanship. For a long time decentralization was
+needed. Now, all the signs of the times indicate the necessity to
+centralize. The days of small powers are over, and modern inventions
+make communication easy between east and west, as well as between
+north and south.
+
+If this is not done, what will certainly happen? Separation, first of
+one part then of another; weakness of each part and weakness all
+round. Think of the impetus that this would give to every force that
+makes for chaos among the three hundred millions over whom God in His
+providence has placed us. The work that the British Empire has in hand
+is far grander than the comparatively parochial duties with which the
+States are content to deal. Its problems are wider and more inspiring;
+yet, at the same time, the white race that alone, so far, has proved
+itself fit for self-government, lives by itself, instead of being
+commingled with a coloured race to which only nominal freedom is
+allowed. Any one who has lived either in South Africa or in the
+Southern States will understand what a free hand and what an
+unspeakable leverage this gives us. We need no Force Bill to ensure a
+free ballot in Britain, Canada, Australia, or New Zealand. Already our
+sons are taking their part in introducing civilization into Africa,
+under the aegis of the flag, and in preserving the _Pax Britannica_
+among the teeming millions of India and southeastern Asia, those
+peoples kindred to ourselves, who for centuries before had been the
+prey of successive spoilers. Think of the horizon that this opens up,
+and remember that in building a state we must think not of the present
+but of the future.
+
+In a generation all the best land on this continent will have been
+taken up. But, thanks to the far-reaching wisdom of our fathers, the
+greater part of the world will be open to the trade, to the
+colonizing, and to the enterprise of our children. We shall not be
+confined to a frozen north or to a single continent. We shall take
+part in work that is of world-wide significance, and shall act out our
+belief that God loves not North America only, but the whole world.
+Only on conditions of the British Empire standing, can this be done.
+This is the ideal that we should set before us, and remember that no
+people has ever been a great or permanent factor in the world that was
+without high ideals. I know that this advantage to which I am
+referring is not one that can be calculated in dollars, any more than
+the work of a Wallace or the poems of a Shakespeare, the life of
+Sydney or the death of Gordon; but it is an advantage none the less
+for which many of us are content to struggle and, if need be, to
+suffer. What are we in this world for? Surely for something higher
+than to still the daily craving of appetite. Surely for something
+higher than to accumulate money, though it should be to the extent of
+adding million to million. Surely we are in the world for something
+better! Yes, we are here to think great thoughts, to do great things,
+to promote great ideals. This can be done only through faithfulness to
+the best spirit of our fathers. Society is an organism, and must
+preserve its continuity. It must work, too, through instruments; and
+the most potent, keenest, best-tried instrument on earth for
+preserving peace, order, liberty and righteousness, is the Empire of
+which we are citizens. Shall we throw away that citizenship, or shall
+we maintain and strengthen that Empire?
+
+      --_George Monro Grant (By permission)_
+
+
+  Apply the principles of Emphasis, Inflection, Grouping,
+  and Perspective in reading this address. Give specific
+  illustrations of each.
+
+       *       *       *       *       *
+
+
+COLLECT FOR DOMINION DAY
+
+
+  Father of nations! Help of the feeble hand!
+    Strength of the strong! to whom the nations kneel!
+  Stay and destroyer, at whose just command
+    Earth's kingdoms tremble and her empires reel!
+  Who dost the low uplift, the small make great,                       5
+    And dost abase the ignorantly proud,
+  Of our scant people mould a mighty state,
+    To the strong, stern,--to Thee in meekness bowed!
+  Father of unity, make this people one!
+    Weld, interfuse them in the patriot's flame,--                    10
+  Whose forging on Thine anvil was begun
+    In blood late shed to purge the common shame;
+  That so our hearts, the fever of faction done,
+    Banish old feud in our young nation's name.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+       *       *       *       *       *
+
+
+ENGLAND
+
+
+  This royal throne of kings, this scepter'd isle,
+  This earth of majesty, this seat of Mars,
+  This other Eden, demi-paradise,
+  This fortress, built by Nature for herself
+  Against infection and the hand of war,
+  This happy breed of men, this little world,
+  This precious stone set in the silver sea.
+
+       *       *       *       *       *
+
+
+
+
+APPENDIX
+
+
+A
+
+EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION
+
+
+1. [=a] as in ate, fate, cave, made, glade, pale.
+
+   a as in air, fair, chair, hair, lair, pair, care, dare, bare,
+     share, bear, fairy, compare, parent, prayer, garish, there, heir.
+
+   [)a] as in at, that, and, damp, glad, bade, castle, baron, barrel.
+
+   ae as in far, arm, hark, charm, march, bard, calm, palm, psalm,
+     balm, half, alms, father, dark, wrath, path, marsh, laugh.
+
+   [.a] as in ask, grasp, fast, last, pass, past, branch, chance, dance,
+     mast, vast, gasp, quaff, craft, staff, chant, grass, mass.
+
+   [a:] as in all, talk, squall, dawn, warp, hawk, laurel, haughty, halt.
+
+   a obscure, in final medial syllables, unaccented, and closed by n,
+     l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan,
+     vacancy, mortal, loyal, valiant, guidance, husband, breakfast,
+     gallant, ballad, etc.
+
+   [=e] as in me, seem, reap, weed, lean, evil, redeem.
+
+   [)e] as in met, end, spell, debt, text, jest, when, merry, America,
+     ceremony.
+
+   [~e] (coalescent) as in her, fern, earth, mercy, verse, stern, earl,
+     pearl, term, verge, prefer, serge, earn, early.
+
+   [=i] as in time, tide, mile, wine, high, size.
+
+   [)i] as in pin, grim, king, gift, this, grip.
+
+   [=i] (coalescent) as in bird, girl, fir, stir, girdle, circle, virgin,
+     first.
+
+   [=o] as in note, old, spoke, pole, wrote, joke.
+
+   [)o] as in not, shot, top, odd, honest, comic, on, gone, off, often,
+     dog, (not "dawg"), God, soft, long, song, strong, coral, orange,
+     foreign, torrid, coronet, corridor, correlate.
+
+   o as in corn, lord, stork, orb, form, forlorn, morn, short, adorn.
+
+   o as in word, work, worm, worry.
+
+   [.o] as in love, done, some, cover, brother, another, month, company,
+     Monday, front, covet, wonder, sponge, smother.
+
+   oe as in do, move, who, whose, lose, prove, too, bosom.
+
+   [=u] as in use, pure, duke, tune, tube, blue, duty, flew, new,
+     student, subdue, pursue, absolute, illumine, tumult, suit, during,
+     pursuit, presume, lunacy, Tuesday, numeral.
+
+   [)u] as in us, up, but, drum, dusk, trust.
+
+   [u:] as in rude, brute, fruit, sure, true, construe, recruit.
+
+   [u.] as in full, pull, put, push, cushion, bushel, pulpit, bullet.
+
+   u as in hurt, burr, cur, fur, furl, burst, purr, recur, curfew,
+     furlong, surge, urn.
+
+Note that ae in far and [.a] in ask are called long Italian _a_ and short
+Italian _a_ respectively. The quality of the sound is the same in each,
+but they differ in quantity, the latter being shorter.
+
+The following vowels have the same sound:
+
+   [~e] (coalescent) and [~i] (coalescent);
+
+   oe as in do, [u:] as in rude, and [oo=] as in food;
+
+   o as in word and u as in hurt;
+
+   [.o] as in love and u as in us.
+
+After marking the vowels diacritically read the following passages,
+paying special attention to the vowel sounds:
+
+
+  So Lord Howard passed away with five ships of war that day.
+
+  That desperate grasp thy frame might feel
+  Through bars of brass and triple steel.
+
+  The guide, abating of his pace,
+  Led slowly through the pass's jaws,
+  And asked Fitz-James by what strange cause
+  He sought these wilds, traversed by few
+  Without a pass from Roderick Dhu.
+
+  The hand cannot clasp the whole of his alms,
+  The heart outstretches its eager palms.
+
+  O listen, ladies, ladies gay!
+  No haughty feat of arms I tell;
+  Soft is the note, and sad the lay
+  That mourns the lovely Rosabelle.
+
+  And when the Angel met him on his way,
+  And half in earnest, half in jest, would say,
+  Sternly, though tenderly, that he might feel
+  The velvet scabbard held a sword of steel,
+  "Art thou the King?" the passion of his woe
+  Burst from him in resistless overflow,
+  And, lifting high his forehead, he would fling
+  The haughty answer back, "I am, I am the King!"
+
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward,
+  Till past Clan-Alpine's outmost guard,
+  'As far as Coilantogle's ford;
+  From thence thy warrant is thy sword.
+
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+
+2. Distinguish the sound of _[=u]_ in use, pure, duke, etc.,
+
+  from the sound of _oo_ in
+    food, hoof, mood, rood, roof, soot, aloof,
+  and from the sound of _oo_ in
+    book, good, nook, hood, rook, look, foot, crook.
+
+Read the following with special reference to these sounds:
+
+  Flew flashing under the blinding blue.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+  She look'd down to Camelot.
+
+  Singing the bridal of sap and shoot,
+  The tree's slow life between root and fruit.
+
+  ... helter-skelter through the blue
+  Like a crowd of frightened porpoises a shoal of sharks pursue.
+
+  While on dreary moorlands lonely curlew pipe.
+
+  My Lords, you have that true image of the primitive Church in
+      its ancient form, in its ancient ordinances, purified from
+      the superstitions and vices which a long succession of
+      ages will bring upon the best institutions.
+
+3. Double and triple consonant endings present difficulties of
+articulation:--Robbed, bragged, divulged, mends, breathed, gossips,
+casques, barracks, depths, heights, lengths, breadths, lists, aspects,
+seethes, thirsteth, breathest, sheath'st, melt'st, search'st, sixths,
+twelfths, tests.
+
+Read with special reference to the articulation of the final
+consonants:
+
+  You blocks, you stones, you worse than senseless things!
+
+  Scattering down the snow-flakes off the curdled sky.
+
+  With throats unslaked, with black lips baked.
+
+  The guests are met, the feast is set
+  May'st hear the merry din.
+
+  Who forgiveth all thine iniquities; who healeth all thy diseases;
+  Who satisfieth thy mouth with good things; so that thy youth
+      is renewed like the eagle's.
+
+  Spirit that breathest through my lattice,
+  Thou that cool'st the twilight of the sultry day.
+
+  He groped toward the door, but it was locked,
+  He cried aloud, and listened, and then knocked,
+  And uttered awful threatenings and complaints,
+  And imprecations upon men and saints.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from caverned Hawthornden.
+
+  Skilful artists thou employest,
+  And in chastest beauty joyest,
+  Forms most delicate, pure, and clear,
+  Frost-caught star-beams, fallen sheer
+  In the night, and woven here
+  In jewel-fretted tapestries.
+
+4. Sound distinctly the ending _ing_ in: Languishing, blackening,
+threatening, rushing, ascending, flashing, throbbing.
+
+  Roughening their crests and scattering high their spray,
+  And swelling the white sail.
+
+  Blazing with light and breathing with perfume.
+
+   . . . . a revolting shape
+  Shivering and chattering sat the wretched ape.
+  Lakelets' lisping wavelets lapping,
+  Round a flock of wild ducks napping,
+  And the rapturous-noted wooings,
+  And the molten-throated cooings
+  Of the amorous multitudes
+  Flashing through the dusky woods,
+  When a veering wind hath blown
+  A glare of sudden daylight down.
+
+  5. Sound final _d_ in "and":
+
+  Rest and a guide, and food and fire.
+
+  Away from the world, and its toils and its cares.
+
+  And the sun went down and the stars came out.
+
+  Peace, and order, and beauty draw
+  Round thy symbol of light and law.
+
+  East and west, and south and north
+    The messengers ride fast,
+  And tower, and town, and cottage,
+    Have heard the trumpet's blast.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!
+
+
+6. Articulate distinctly words in which the same or similar sounds
+immediately succeed each other:
+
+  Spanish ships of war at sea.
+
+  At Flores, in the Azores, Sir Richard Grenville lay.
+
+        Come Roderick Dhu,
+  And of his clan the boldest two.
+
+  Saint Fanny, my patroness sweet I declare.
+
+  Cast off earth's sorrows and know what I know,
+
+  When into the glad deep woods I go.
+
+  The silver vessels sparkle clean.
+
+  From the sails the dew did drip.
+
+  The sweetest songs are those that tell of saddest thought.
+
+  Thousands of their seamen looked down from their decks and laughed.
+
+
+7. Sound the letter _h_ in what, while, where, when, which, whether,
+white, whiten, whine, whist, etc.
+
+
+8. Avoid the sound of _u_ in:
+
+  for, from, was, because, when, what, etc.
+
+  for coalescent _e_ in:
+  her, earn, verse, mercy, verge, serge, prefer, ermine, etc.
+
+  for _[)e]_ in:
+  enemy, events, poem, etc.
+
+  for _[)i]_ in:
+  spirit, family, credible, visible, charity, unity, sanity,
+  humanity, ruin, promise, divide, divisible, dissolve, languid,
+  negative, similar, abominable, imitate, inimitable,
+  purity, native, etc.
+
+  for _i_ (coalescent) in:
+  sir, bird, girl, first, virgin, etc.
+
+  Vanity of vanities, saith the preacher; all is vanity.
+
+  Ruin seize thee, ruthless King!
+
+  A wind from the lands they had ruin'd.
+
+  Who was her father?
+  Who was her mother?
+  Had she a sister?
+  Had she a brother?
+  Or was there a dearer one
+  Still, and a nearer one
+  Yet, than all other?
+
+  Alas! for the rarity
+  Of Christian charity
+  Under the sun!
+  Oh! it was pitiful!
+  Near a whole city full
+  Home she had none.
+
+9. Avoid the sound of _ch_ for _t_ in: fortune, fortunate, future,
+futurity, nature, natural, picture, feature, etc.
+
+  King Robert's self in features, form and height.
+
+  For this man so vile and bent of stature
+  Rasped harshly against his dainty nature.
+
+  One more unfortunate
+  Weary of breath,
+  Rashly importunate
+  Gone to her death.
+
+
+
+
+B
+
+PHYSICAL EXERCISES
+
+
+(_These exercises form a course by themselves and should not be
+introduced into the regular reading lesson._)
+
+
+BREATHING.--The proper management of the breath is of the
+greatest importance in speaking and reading. Inhalation and exhalation
+should be gradual and natural, not spasmodic. The
+reader should never allow his supply of breath to be wholly exhausted,
+but should replenish it at regular intervals. Inhalation
+should be through the nostrils, not the mouth. This prevents
+gasping, and promotes and preserves a healthy condition of the
+vocal organs. It is not necessary to keep the mouth closed in
+order that the breath be inhaled through the nostrils. Inhalation
+may be effected when the mouth is open by allowing the tip of
+the tongue to touch the upper palate. All breathing exercises
+should be deep, commencing with the abdomen, and should expand
+the chest to the fullest capacity.
+
+
+_Exercise I._ Stand erect in a well ventilated room. Inhale
+slowly from the abdomen while counting five, hold the breath
+while counting five, and exhale while counting five.
+
+Repeat this exercise, gradually increasing the count by one
+until the maximum of ten or fifteen is reached.
+
+
+_Exercise II._ Practise the preceding exercise in the open air
+while walking, taking five steps while inhaling, holding the breath,
+and exhaling respectively. The count may be increased as in the
+preceding.
+
+
+_Exercise III._ Stand erect, arms akimbo, fingers pressing the
+abdominal muscles in front, thumbs on the dorsal muscles on each
+side of the spine. Rise slowly on the toes while inhaling, hold the
+breath while standing on tiptoe, and exhale while gradually resuming
+the original position. In each case regulate the count as
+in the preceding exercises.
+
+
+_Exercise IV._ Stand erect, arms hanging loosely at the sides.
+Inhale slowly, rising on the toes, clenching the fists with gradually
+increased intensity, and raising them to the arm-pits. Expel
+the breath suddenly, dropping back to the original position.
+
+
+CHEST AND LUNGS.--Gymnastic exercises, such as develop the
+chest and lungs, are of great importance, since they regulate the
+breathing capacity.
+
+_Exercise I._ Stand erect, arms hanging loosely at the sides.
+Raise the arms slowly to the vertical position over the head, making
+the hands meet with palms outward, the thumb of the left
+hand over the right, rising on the toes at the same time; then let
+the arms fall apart slowly to their original position, while coming
+down on the heels.
+
+_Exercise II._ Stand erect as in the preceding. Bring the
+arms slowly forward until the hands meet on a level with the
+mouth, bending forward slightly and rising on the toes; then
+throw back the arms in a circular movement, allowing them to
+fall to their original position, coming down on the heels at the
+same time.
+
+_Exercise III._ Raise the hands above the head; bring down
+the elbows to the sides; shoot out the hands in front; bring in
+the elbows to the sides; shoot down the hands toward the floor;
+firing up the elbows to the sides. Repeat. This exercise may
+be practised with hands clenched.
+
+THROAT AND NECK.--Exercises of the throat and neck develop
+and keep flexible the vocal cords, which are of prime importance
+in producing pure tones.
+
+_Exercise I._ Stand erect. Look at the ceiling; allow the head
+to drop backward as far as possible; then bring the head slowly
+forward until the chin rests on the chest. Repeat.
+
+_Exercise II._ Stand erect. Twist the head slowly to the
+left, without moving the shoulders, until the chin is parallel to the
+left shoulder; then slowly twist the head to the right, without
+moving the shoulders, until the chin is parallel to the right
+shoulder. Repeat.
+
+_Exercise III._ Press the head to the left until the left ear
+rests almost on the left shoulder, raising the right arm above the
+head at the same time. Practise this exercise, pressing the head
+to the right and raising the left arm. Repeat.
+
+MOUTH.--To produce the finest tones of the voice, three conditions
+of the mouth are necessary:
+
+(1) The mouth must be well opened.
+(2) The vocal aperture must be large.
+(3) The jaws must be flexible.
+
+If the mouth is well opened the tones are full; if partially
+closed they are muffled. The vocal aperture is the opening in the
+rear of the mouth produced by the elevation of the uvula, and
+the depression of the root of the tongue and the larynx. The
+purity and richness of the voice depend, to a great extent, upon
+the capacity of the vocal aperture. If it is of small capacity, or
+contracted, the tones are impure and nasal.
+
+The mode of producing pure tones can be studied best before
+a mirror placed so that the light falls upon the back part of the
+mouth.
+
+_Exercise I._ Open the mouth to the fullest extent and close
+rapidly. Repeat.
+
+_Exercise II._ Open the mouth to the fullest extent, so that
+the uvula rises and almost disappears, and the root of the tongue
+and larynx are depressed. The action is similar to yawning, and
+to accomplish it "think a yawn", if necessary.
+
+
+
+
+C
+
+LIST OF REFERENCE BOOKS.
+
+
+How to Teach Reading in the Public Schools. S. H. Clark.
+(Scott, Foresman & Co.)
+
+The Voice and Spiritual Education. Hiram Corson. (Macmillan
+& Co.)
+
+The Aims of Literary Study. Hiram Corson. (Macmillan
+& Co.)
+
+Practical Elocution. Fulton and Trueblood. (Ginn & Co.)
+
+Elementary Phonetics. A.W. Burt. (The Copp, Clark
+Co., Limited.)
+
+Enunciation and Articulation. Ella M. Boyce. (Ginn & Co.)
+
+Clear Speaking and Good Reading. Arthur Burrell. (Longmans,
+Green & Co.)
+
+Reading as a Fine Art. Ernest Legouve. (Penn Publishing
+Co., Philadelphia.)
+
+Lessons in Vocal Expression. S. S. Curry. (The Expression
+Co., Boston.)
+
+
+
+
+
+End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+***** This file should be named 22795.txt or 22795.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/7/9/22795/
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/22795.zip b/22795.zip
new file mode 100644
index 0000000..ee6ea9c
--- /dev/null
+++ b/22795.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..b6d49bd
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #22795 (https://www.gutenberg.org/ebooks/22795)