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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:54:16 -0700 |
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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> </p> + +<h2>THE ONTARIO</h2> + +<h1><span class="smcap">High School Reader</span></h1> + +<p> </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> </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> </p> + +<div class="center">THE CANADA PUBLISHING COMPANY, LIMITED</div> + +<div class="center">TORONTO</div> + +<p> </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"> </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"> </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"> </td> +<td class="cell_a"> </td> +<td class="cell_b">Correct Pronunciation, Distinct +Articulation.</td> +<td class="cell_c"> </td> +</tr> + +<tr> +<td class="cell_a"> </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"> </td> +<td class="cell_a"> </td> +<td class="cell_b">Concrete Thinking, Abstract Thinking, +Emotion.</td> +<td class="cell_c"> </td> +</tr> + +<tr> +<td class="cell_a"> </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"> </td> +<td class="cell_a"> </td> +<td class="cell_b">Pause, Grouping, Time, Inflection, Pitch, Force, +Stress, Emphasis, Shading, Perspective, Quality.</td> +<td class="cell_c"> </td> +</tr> + +<tr> +<td class="cell_a" colspan="4"> </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 Cæsar</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>Hervé 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"> </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"> </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"> </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>Hervé 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 Hervé 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—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—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—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—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—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—generally on the accented syllable of an emphatic <span +class='pagenum'><a name="Page_15" id="Page_15">[Pg +15]</a></span>word—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 tèn,</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 còld,</span> <span class="i0">And the pikes +were all broken or bènt, and the powder was all of it +spènt;</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">Shé, with all a +monarch's príde,</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 +garlánds thére</span> <span class="i0">Would grace a +summer quèen.</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 wífe in +the wést cóuntry</span> <span class="i0">But has +heard of the Wèll of St. Kèyne.</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 +disobédience and the frúit</span> <span class="i0">Of +that forbidden trée, whose mortal táste</span> <span +class="i0">Brought déath into the wórld, and all our +wóe,</span> <span class="i0">With loss of Éden, till +one greater mán</span> <span class="i0">Restóre us, +and regáin the blissful séat,</span> <span class= +"i0">Sing, heàvenly Mùse.</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">Nót from the grand old +másters,</span> <span class="i1">Nót from the +bárds 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 pláying,</span> +<span class="i1">Or what I was dréaming thén,</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—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"> </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 +Shýlock?</span> <span class="i0b"> </span> <span class= +"i0">May you stéad me? Will you pléasure me? Shall I +knów your ánswer?</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> Speàk, +whàt tràde art thòu?</span> <span class= +"i0"><i>1st Cit.</i> Why, sir, a carpenter.</span> <span class= +"i0"><i>Mar.</i> Where is thy leather àpron, and thy +rùle?</span> <span class="i0">What dost thou with thy best +appàrel òn?—</span> <span class="i0">You, sir, +whàt tràde are yoù?</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—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">Hís blast is heard at +merry mórn,</span> <span class="i0">And mìne at +dèad of nìght.</span></div> +</div> + +<div class="blockquot2"> +<p>For this thy brother was déad, and is àlive again; +and was lóst, and is foùnd.</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 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.</p> + +<p>Cráfty men contémn studies; símple men +admíre them; and wìse men ùse 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 +Gòd, not into the hands of Spáin.</span><br /> +<span class="i0">I come to bùry Cæsar, not to +práise him.</span><br /> +<span class="i0">I said an èlder soldier, not a +bétter.</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—"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.</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 Cæsar</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, indeèd, sir, we make hòliday +to</td> +</tr> + +<tr> +<td> </td> +</tr> + +<tr> +<td>see Caèsar, and to rejoìce in his +triùmph.</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"> Loud cried the Fathers +all.</span> <span class="i0">"Back, Lartius! back Herminius!</span> +<span class="i0"> 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,—</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:—</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—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 +Cæsar, 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!—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—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.</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)—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.</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"> 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. +Hervé 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> (>) 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> (<). 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> +(<>).</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?—</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 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.</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—<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,—the way is +long,—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> (><). 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—there again—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>—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"> . . . + . .</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>—far—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"> </p> + +<p class="two">It is enthronéd in the hearts of Kings,</p> + +<p class="two">It is an attribute to God himself.</p> + +<p class="two"> </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 armèd +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,—for +legends lightly die—</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—</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"> <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"> </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>—By permission of the publishers, +Novello & Co.</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>—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 Misérables"</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——"</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—twelve leagues on +foot—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—a +convict—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—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?"</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 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."</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 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."</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—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">—<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"> <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,—</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"> <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!"—</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:—</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">—<i>Robert Southey</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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">—<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—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 <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."—"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 <span class='pagenum'><a name= +"Page_58" id="Page_58">[Pg 58]</a></span>reasons."—"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">—<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—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—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—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—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">—<i>Thomas Campbell</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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"> <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. <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"> <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">—<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"> <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">—<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—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.</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—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.</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—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—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—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!"</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">—<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—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—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">—<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 wingéd +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">—<i>Unknown</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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">Wingéd</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">—<i>Ethelwyn Wetherald</i> (<i>By +permission</i>)</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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"> <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">—<i>Ethelwyn Wetherald</i> (<i>By +permission</i>)</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—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.</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—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?"—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>—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—a great many of +both—and I believe they both get paid in the end; but the +fools first.</p> + +<p class="quotsig">—<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">—<i>Milton</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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> <i>Enter the Knife-boy.</i> Hamper for +Briggses!<br /> + <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—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—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.—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.—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 <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—for the bell was +ringing for school.</p> + +<p class="quotsig">—<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. <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,—</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"> <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—</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—</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. <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;—</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"> . . + . . . + .</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>—<i>Charles G. D. Roberts</i> (<i>By arrangement</i>)</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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>.—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 blessèd 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 blessèd 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>—<i>Robert Louis Stevenson</i> (<i>By arrangement</i>)</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory.</span>—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;—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,—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">—<i>William Cullen Bryant</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—Brahmins say—</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,—"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,—</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—</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.—</span> <span class="i0">But +see—alas!—the crystal bar</span> <span class="i0">Of +Eden moves not—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-wingèd 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—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—but now—"</span> +<span class="i0">He hung his head—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—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—</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—</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">—<i>Thomas Moore</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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"> <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 seër in a trance,</span> <span +class="i0">Seeing all his own mischance—</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—</span> <span class= +"i0">The leaves upon her falling light—</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">—<i>Alfred Tennyson</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—</span> <span class= +"i0">Like summer tempest came her tears—</span> <span class= +"i0">"Sweet my child, I live for thee."</span></div> +</div> + +<p class="quotsig">—<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,—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.</p> + +<p class="quotsig">—<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,—</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">—<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,—</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,—<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"> <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!"—the dust-brown ranks stood +fast.</span> <span class="i0">"Fire!"—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"> <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"> <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">—<i>John Greenleaf Whittier</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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">—<i>As arranged by Richard G. +Moulton</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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">—<i>John Greenleaf Whittier</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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.—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.—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">—<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—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">—<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>—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>.—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>.—Madam, I thought you once—</p> + +<p><i>Mrs. Malaprop</i>.—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>.—Ah, madam! our memories are independent of +our wills. It is not so easy to forget.</p> + +<p><i>Mrs. Malaprop</i>.—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.</p> + +<p><i>Sir Anthony</i>.—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>.—What crime, madam, have I committed to be +treated thus?</p> + +<p><i>Mrs. Malaprop</i>.—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>.—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>.—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>.—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>.—Take yourself to your room. You are +fit company for nothing but your own ill-humours.</p> + +<p><i>Lydia</i>.—Willingly, ma'am—I cannot change for +the worse.<span class='pagenum2'>(<i>Exit</i>)</span></p> + +<p><i>Mrs. Malaprop</i>.—There's a little intricate hussy for +you!</p> + +<p><i>Sir Anthony</i>.—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>.—Nay, nay, Sir Anthony: you are an +absolute misanthropy.</p> + +<p><i>Sir Anthony</i>.—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>.—Those are vile places indeed!</p> + +<p><i>Sir Anthony</i>.—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.</p> + +<p><i>Mrs. Malaprop</i>.—Fy, fy, Sir Anthony! you surely +speak laconically.</p> + +<p><i>Sir Anthony</i>.—Why, Mrs. Malaprop, in moderation now, +what would you have a woman know?</p> + +<p><i>Mrs. Malaprop</i>.—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>.—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>.—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>.—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>.—We have never seen your son, Sir +Anthony; but I hope no objection on his side.</p> + +<p><i>Sir Anthony</i>.—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>.—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>.—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.<span class= +"pagenum2">(<i>Exit</i>)</span></p> + +<p><i>Mrs. Malaprop</i>.—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.</p> + +<p class="quotsig">—<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">—<i>Leigh Hunt</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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 Cæsar" 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?—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?—</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? </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 Cæsar, 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 Cæsar'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 Cæsar'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 /> +—<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>.—Lady Teazle, Lady Teazle, I'll not bear +it!</p> + +<p><i>Lady Teazle</i>.—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>.—Very well, ma'am, very well; so a +husband is to have no influence, no authority?</p> + +<p><i>Lady Teazle</i>.—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>.—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!</p> + +<p><i>Lady Teazle</i>.—My extravagance! I'm sure I'm not more +extravagant than a woman of fashion ought to be.</p> + +<p><i>Sir Peter</i>.—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!</p> + +<p><i>Lady Teazle</i>.—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>.—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.</p> + +<p><i>Lady Teazle</i>.—No, no, I don't; 'twas a very +disagreeable one, or I should never have married you.</p> + +<p><i>Sir Peter</i>.—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.</p> + +<p><i>Lady Teazle</i>.—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>.—Yes, yes, ma'am, 'twas so indeed.</p> + +<p><i>Lady Teazle</i>.—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>.—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—<i>vis-à-vis</i>—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>.—No—I swear I never did that: I +deny the butler and the coach horse.</p> + +<p><i>Sir Peter</i>.—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.</p> + +<p><i>Lady Teazle</i>.—Well, then, and there is but one thing +more you can make me to add to the obligation, that is—</p> + +<p><i>Sir Peter</i>.—My widow, I suppose?</p> + +<p><i>Lady Teazle</i>.—Hem! hem!</p> + +<p><i>Sir Peter</i>.—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.</p> + +<p><i>Lady Teazle</i>.—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>.—Oons! madam, I say, had you any of these +little elegant expenses when you married me?</p> + +<p><i>Lady Teazle</i>.—Lud, Sir Peter! would you have me be +out of the fashion?</p> + +<p><i>Sir Peter</i>.—The fashion, indeed! what had you to do +with the fashion before you married me?</p> + +<p><i>Lady Teazle</i>.—For my part, I should think you would +like to have your wife thought a woman of taste.</p> + +<p><i>Sir Peter</i>.—Ay—there again—taste! +Zounds! madam, you had no taste when you married me!</p> + +<p><i>Lady Teazle</i>.—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>.—Ay, there's another precious +circumstance—a charming set of acquaintance you have made +there.</p> + +<p><i>Lady Teazle</i>.—Nay, Sir Peter, they are all people of +rank and fortune, and remarkably tenacious of reputation.</p> + +<p><i>Sir Peter</i>.—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>.—What! would you restrain the freedom +of speech?</p> + +<p><i>Sir Peter</i>.—Ah! they have made you just as bad as +any one of the society.</p> + +<p><i>Lady Teazle</i>.—Why, I believe I do bear a part with a +tolerable grace.</p> + +<p><i>Sir Peter</i>.—Grace indeed!</p> + +<p><i>Lady Teazle</i>.—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>.—Well, well, I'll call in, just to look +after my own character.</p> + +<p><i>Lady Teazle</i>.—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>.—So—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">—<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—"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?—<span +class='linenum2'>55</span></span> <span class="i0">No, by Saint +Bride of Bothwell, no!—</span> <span class="i0">Up +drawbridge, grooms!—what, Warder, ho!</span> <span class= +"i2">Let the portcullis fall."</span><br /> +<span class="i0">Lord Marmion turned,—well was his +need,—</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."—</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">—<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—"</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—<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">—<i>Joaquin Miller</i></p> + +<p class="quotsig">—<i>By permission of the publishers, +Whitaker & 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—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—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.</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—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 <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—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,—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—I +to die, and you to live. Which is better God only knows.</p> + +<p>—<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,—</span> <span class="i0">"Thy name and purpose! +Saxon, stand!"—</span> <span class="i0">"A +stranger."—"What dost thou require?"—</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."—</span> <span class="i0">"Art thou a friend to +Roderick?"— "No."—</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?"—</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."—</span> <span class="i0">"Bold +words!—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,—yet sure they lie,</span> <span class="i0">Who say +thou camest a secret spy!"—</span> <span class="i0">"They do, +by Heaven!—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."—</span> <span class="i0">"If by the blaze I mark +aright,</span> <span class="i0">Thou bear'st the belt and spur of +Knight."—<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."—</span> <span class= +"i0">"Enough, enough; sit down and share</span> <span class="i0">A +soldier's couch, a soldier's fare."—</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:—<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,—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."—</span> <span class="i0">"I take thy +courtesy, by Heaven,</span> <span class="i0">As freely as 'tis +nobly given!"—</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">—<i>Sir Walter Scott</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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"> <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,—</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."—</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."—<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."—</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."—</span> <span class="i0"> <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."—<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">—<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>.—"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">—<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>.—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;—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,—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,—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.</p> + +<p class="quotsig">—<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,—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:</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—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.</p> + +<p class="quotsig">—<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 the speech, I pray you, as I pronounced it to<br /> +you, trippingly on the tongue: but if you mouth it, as<br /> +many of your players do, I had as lief the town-crier<br /> +spoke my lines. Nor do not saw the air too much with<br /> +torrent, tempest, and, as I may say, the whirlwind of<span + class='linenum3'>5</span><br /> +<span class='pagenum'><a name="Page_165" id="Page_165">[Pg +165]</a></span>passion, you must acquire and beget a temperance that<br /> +may give it smoothness. O, it offends me to the soul to<br /> +hear a robustious periwig-pated fellow tear a passion to<br /> +tatters, to very rags, to split the ears of the groundlings,<span + class='linenum3'>10</span><br /> +who, for the most part, are capable of nothing but<br /> +inexplicable dumb-shows and noise: I would have such<br /> +a fellow whipped for o'erdoing Termagant; it out-herods<br /> +Herod: pray you, avoid it.</p> + +<p> +Be not too tame neither, but let your own discretion<span + class='linenum3'>15</span><br /> +be your tutor: suit the action to the word, the word to<br /> +the action; with this special observance, that you o'erstep<br /> +not the modesty of nature: for anything so overdone<br /> +is from the purpose of playing, whose end, both at the<br /> +first and now, was and is, to hold, as 'twere, the mirror<span + class='linenum3'>20</span><br /> +up to nature; to show virtue her own feature, scorn her<br /> +own image, and the very age and body of the time his<br /> +form and pressure. Now, this overdone or come tardy<br /> +off, though it make the unskilful laugh, cannot but make<br /> +the judicious grieve; the censure of the which one<span + class='linenum3'>25</span><br /> +must, in your allowance, o'erweigh a whole theatre of<br /> +others. O, there be players that I have seen play, and<br /> +heard others praise, and that highly, not to speak it<br /> +profanely, that neither having the accent of Christains<br /> +nor the gait of Christain, pagan, nor man, have so<span + class='linenum3'>30</span><br /> +strutted and bellowed, that I have thought some of<br /> +nature's journeymen had made men, and not made them<br /> +well, they imitated humanity so abominably.</p> + +<p><i>—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?"—</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"> <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."—</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—</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—</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">—<i>Sir Walter Scott</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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,—</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,—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,—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,—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,—</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,—<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,—</span> <span class="i0">Yon +island-strength is guarded well,—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,—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,—</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 +Græme is with us still,—now, brothers, will ye +in?"</span><br /> +<span class="i0">No stay,—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,—</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,—the way is long,—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,—</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,—</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,—they +meet the deadly brand!</span><br /> +<span class="i0">O lonely island of the Rhine,—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 agèd annals tell.</span> <span class="i0">Why +should they bring the laurel-wreath,—why crown the cup with +wine?</span> <span class="i0">It was not Frenchmen's blood that +flow'd so freely on the Rhine,—</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"> <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,—</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,—</span> <span class="i0">For +Scotland's high and heather'd hills, for mountains, loch and +glen—</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,—for legends +lightly die—</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">—<i>William Edmondstoune Aytoun</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—"<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—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,—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—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—from +twelve to three are our calling hours."</p> + +<p>Then, after they had called—</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—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 <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">—<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"> <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—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">—<i>Alfred Tennyson</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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"> <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">—<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,—</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">—<i>Charles Heavysege</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory.</span>—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—and all his men</span> <span class="i0">Looked at +each other with a wild surmise—</span> <span class= +"i1">Silent, upon a peak in Darien.</span></div> +</div> + +<p class="quotsig">—<i>John Keats</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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,—</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,—</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">—<i>Sir Daniel Wilson (By +permission)</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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">—<i>William Wilfred Campbell (By +permission)</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—"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,—</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—</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?—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, belovèd Night—</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">—<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—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—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—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.</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">—<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—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—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>—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"> <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">—<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"> <span class='pagenum'><a name= +"Page_207" id="Page_207">[Pg 207]</a></span></span> <span class= +"i0">Then out spake Spurius Lartius,—<span class= +'linenum2'>25</span></span> <span class="i1">A Ramnian proud was +he,—</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,—</span> <span class="i1">Of Titian blood was +he,—<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"> <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 accursèd 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"> <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"> <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"> <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">—<i>Macaulay</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—economic, social, and constitutional—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—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.</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—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.</p> + +<p>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; <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—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">—<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—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!"—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—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—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">—<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 CÆSAR</h3> + +<p class="center2">From "Julius Cæsar," 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.—<br /> +Cassius, go you into the other street,<br /> +And part the numbers.—<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 Cæsar'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 Cæsar's, to him I<br /> +say, that Brutus' love to Cæsar was no less than his. +If<br /> +then that friend demand why Brutus rose against Cæsar,<span +class='linenum2'>20</span><br /> +this is my answer.—Not that I loved Cæsar less, but +that<br /> +I loved Rome more. Had you rather Cæsar were living,<br /> +and die all slaves, than that Cæsar were dead, to live<br /> +<span class='pagenum'><a name="Page_226" id="Page_226">[Pg +226]</a></span> all free men? As Cæsar 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 Cæsar 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 Cæsar'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,—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 Cæsar.<br /> +</p> + +<p><i>4 Cit.</i> Cæsar'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,—</p> + +<p><i>2 Cit. </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 Cæsar's corpse, and grace his speech<span class= +'linenum2'>60</span><br /> +Tending to Cæsar '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.—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> 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 Cæsar was a tyrant.</p> + +<p><i>3 Cit. </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,—</p> + +<p> +<i>All.</i> Peace, +ho! let us hear him.</p> + +<p><i>Ant.</i> Friends, Romans, countrymen, lend me your +ears;<br /> +I come to bury Cæsar, 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 Cæsar. The noble Brutus<br /> +<span class='pagenum'><a name="Page_228" id="Page_228">[Pg +228]</a></span> Hath told you, Cæsar was ambitious:<br /> +If it were so, it was a grievous fault,<br /> +And grievously hath Cæsar answer'd it.<br /> +Here, under leave of Brutus and the rest,—<br /> +For Brutus is an honourable man;<br /> +So are they all, all honourable men.—<br /> +Come I to speak in Cæsar'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 Cæsar seem ambitious?<br /> +When that the poor have cried, Cæsar 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!—Bear with me;<br /> +My heart is in the coffin there with Cæsar,<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 /> +Cæsar 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 Cæsar 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 Cæsar;<br /> +I found it in his closet, 'tis his will:<br /> +Let but the commons hear this testament,—<br /> +Which, pardon me, I do not mean to read,—<br /> +And they would go and kiss dead Cæsar'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 Cæsar'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 Cæsar lov'd you.<br /> +You are not wood, you are not stones, but men;<br /> +And, being men, hearing the will of Cæsar,<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,—Cæsar'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 Cæsar-, 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 Cæsar,<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!—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 Cæsar put it on;<br /> +'T was on a summer's evening, in his tent,<br /> +That day he overcame the Nervii:—<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 Cæsar 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 Cæsar's angel:<br /> +Judge, O you gods, how dearly Cæsar lov'd him!<br /> +This was the most unkindest cut of all;<br /> +For when the noble Cæsar 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 Cæsar 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 Cæsar'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 Cæsar!<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,—seek,—burn,—fire,—kill,—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 Cæsar'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 Cæsar, 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 Cæsar 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;—the will!—let's stay, and hear +the<br /> +will.<br /> +<br /> +<i>Ant.</i> Here is the will, and under Cæsar'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 Cæsar!—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,—common pleasures,<br /> +To walk abroad, and recreate yourselves.<br /> +Here was a Cæsar! when comes such another?<br /> +<br /> +<i>1 Cit.</i> Never, never!—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">—<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>.—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—</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—does it matter +when?</span> <span class="i0">Sink me the ship, Master +Gunner—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">—<i>Alfred Tennyson</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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>HERVÉ 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,—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—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,—</span> +<span class="i0">A Captain? a Lieutenant? a Mate—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, Hervé Riel the +Croisickese.</span><br /> +<span class="i0">And, "What mockery or malice have we here?" cries +Hervé Riel:<span class='linenum2'>45</span></span> <span +class="i1">"Are you mad, you Malouins? 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 Grève, 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 Grève,</span> <span class= +"i2">And there lay them safe and sound;</span> <span class="i1">And +if one ship misbehave—</span> <span class="i3">Keel so much +as grate the ground—</span> <span class="i0">Why, I've +nothing but my life,—here's my head!" cries Hervé +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 Hervé Riel +hollas "Anchor!"—sure as fate,</span> <span class="i0">Up the +English come—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 Grève.</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">"Hervé 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?—<span class='linenum2'>120</span></span> <span +class="i0">Since 'tis ask and have, I may—</span> <span +class="i1">Since the others go ashore—</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,—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 Hervé Riel.</span> <span class="i0">So, for +better and for worse,</span> <span class="i0">Hervé Riel, +accept my verse!</span> <span class="i0">In my verse, Hervé +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">—<i>Robert Browning</i></p> + +<p class="quotsig">(<i>By permission of the owner of the copyright +and Smith, Elder & Co.</i>)</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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 Hervé 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 Hervé 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 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.</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 Cæsar.</p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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,—</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,—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"> <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">—<i>Charles G. D. Roberts (By +arrangement)</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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,—</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 laughèd 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,—</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"> <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"> <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">—<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 +Canterbùrye;</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"> <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"> <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"> <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">—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">—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"> <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 Canterbùry;</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>.—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",—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 <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—seeming rather to listen while a low voice +said:—</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—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—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.</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—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.</p> + +<p><i>—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,—</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,—</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;"—</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,—</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,—</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,—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,—</span> <span class="i0">For the gift without the +giver is bare;</span> <span class="i0">Who gives himself with his +alms feeds three,—<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:—</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">—<i>James Russell Lowell</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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—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.</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—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,—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—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 +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 +<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">—<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,—when he thinks, good easy man, full surely<br /> +His greatness is a-ripening,—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.—<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,—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,—<br /> +Out of a fortitude of soul I feel—<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!—<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> 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 /> + 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—<br /> +I know his noble nature—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> 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—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—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—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> 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">—<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.—<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">—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—</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—oh, gold so much!—</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>—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—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—stout and +tall,</span> <span class="i0">She said—then let her eyelids +fall,</span> <span class="i0">"He could do much"—as if some +doubt<span class='linenum2'>95</span></span> <span class= +"i0">Entered her heart,—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—"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—much less wished for—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—say, +three—</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">—Nor much +for that am I perplexed—</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">—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">—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—perhaps induced</span> <span class= +"i0">More than one early step of mine—</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—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—how</span> <span class="i0">It steals the time! To +business now.</span></div> +</div> + +<p class="quotsig">—<i>Robert Browning (By +permission)</i></p> + +<div class="blockquot"> +<p><span class="smcap">Preparatory</span>.—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,—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 <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—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,—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—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">—<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,—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">—<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> ā as in ate, fate, cave, +made, glade, pale.</p> + +<p>â as in air, fair, chair, hair, lair, pair, care, dare, +bare, share, bear, fairy, compare, parent, prayer, garish, there, +heir.</p> + +<p>ă as in at, that, and, damp, glad, bade, castle, baron, +barrel.</p> + +<p>ä as in far, arm, hark, charm, march, bard, calm, palm, +psalm, balm, half, alms, father, dark, wrath, path, marsh, +laugh.</p> + +<p>ȧ as in ask, grasp, fast, last, pass, past, branch, chance, +dance, mast, vast, gasp, quaff, craft, staff, chant, grass, +mass.</p> + +<p>ạ 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>ē as in me, seem, reap, weed, lean, evil, redeem.</p> + +<p>ĕ as in met, end, spell, debt, text, jest, when, merry, +America, ceremony.</p> + +<p>ẽ (coalescent) as in her, fern, earth, mercy, verse, +stern, earl, pearl, term, verge, prefer, serge, earn, early.</p> + +<p>ī as in time, tide, mile, wine, high, size.</p> + +<p>ĭ as in pin, grim, king, gift, this, grip.</p> + +<p>ĩ (coalescent) as in bird, girl, fir, stir, girdle, circle, +virgin, first.</p> + +<p>ō as in note, old, spoke, pole, wrote, joke.</p> + +<p>ŏ 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>ô as in corn, lord, stork, orb, form, forlorn, morn, +short, adorn.</p> + +<p>o as in word, work, worm, worry.</p> + +<p>ȯ as in love, done, some, cover, brother, another, month, +company, Monday, front, covet, wonder, sponge, smother.</p> + +<p>ö as in do, move, who, whose, lose, prove, too, bosom.</p> + +<p>ū 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>ŭ as in us, up, but, drum, dusk, trust.</p> + +<p>ṳ as in rude, brute, fruit, sure, true, construe, +recruit.</p> + +<p>ụ as in full, pull, put, push, cushion, bushel, pulpit, +bullet.</p> + +<p>û as in hurt, burr, cur, fur, furl, burst, purr, recur, +curfew, furlong, surge, urn.</p> + +<p>Note that ä in far and ȧ 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>ẽ (coalescent) and ĩ (coalescent);</p> + +<p>ö as in do, ṳ as in rude, and ōō as in +food;</p> + +<p>o as in word and û as in hurt;</p> + +<p>ȯ as in love and ŭ as in us.</p> + +<p>After marking the vowels diacritically read the following +passages, paying special attention to the vowel sounds:</p> + +<p> </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>ū</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:—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"> . . . . 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>ĕ</i> in:</span> +<span class="i0">enemy, events, poem, etc.</span></div> + +<div class="stanza"><span class="i0">for <i>ĭ</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> Vanity of vanities, saith the preacher; all is +vanity.</p> + +<p> Ruin seize thee, ruthless King!</p> + +<p> 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> </td> +</tr> +</table> + +<p class="two"> </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>—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>—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>.—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>.—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 & Co.)</p> + +<p>The Voice and Spiritual Education. Hiram Corson. (Macmillan +& Co.)</p> + +<p>The Aims of Literary Study. Hiram Corson. (Macmillan & +Co.)</p> + +<p>Practical Elocution. Fulton and Trueblood. (Ginn & Co.)</p> + +<p>Elementary Phonetics. A. W. Burt. (The Copp, Clark Co., +Limited.)</p> + +<p>Enunciation and Articulation. Ella M. Boyce. (Ginn & +Co.)</p> + +<p>Clear Speaking and Good Reading. Arthur Burrell. (Longmans, +Green & Co.)</p> + +<p>Reading as a Fine Art. Ernest Legouvé. (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. 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