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diff --git a/22795-0.txt b/22795-0.txt new file mode 100644 index 0000000..0995273 --- /dev/null +++ b/22795-0.txt @@ -0,0 +1,12147 @@ +The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Ontario High School Reader + +Author: A.E. Marty + +Release Date: September 28, 2007 [EBook #22795] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER *** + + + + +Produced by Suzanne Lybarger, Turgut Dincer and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/Canadian Libraries) + + + + + + + + + +THE ONTARIO + +HIGH SCHOOL READER + +BY + +A. E. MARTY, M.A. + +COLLEGIATE INSTITUTE, OTTAWA + +[Illustration] + +Authorized by the Minister of Education for Ontario +For Use In +Continuation and High Schools and Collegiate Institutes + +THE CANADA PUBLISHING COMPANY, LIMITED +TORONTO + +Copyright, Canada, 1911, by + +The Canada Publishing Company, Limited. + ++--------------------------------------------------+ +| Transcriber's note: Words with bold font style | +| are enclosed in equal to (=) signs. | ++--------------------------------------------------+ + + + + +PREFACE + + +After communication with many of the teachers who have +been using the Principles and Practice of Oral Reading in their +classes, the author has made a number of important additions and +changes. In its amended form the book is published under the +title of the "Ontario High School Reader." + +As the book is intended for the teaching of oral reading it +contains an introductory chapter on the Principles of Reading, and +selections for practice, with appended notes. An effort has also +been made to grade the selections in the order of their difficulty. +Accordingly, a number of selections, each illustrating in a marked +degree only one, or at most two, of the various elements of Vocal +Expression, have been placed at the beginning; these should, of +course, be taught before the more complex selections are attempted. + +It is not intended that the pupil shall master the chapter on +the principles before beginning to read the selections; he should +become familiar with each topic as it is illustrated in the lesson. +In dealing with each lesson the teacher should first ascertain the +elements of vocal expression that it best exemplifies. He should +then discuss these elements with the pupils, using the necessary +paragraphs of the Introduction, and such black-board exercises as +he may deem necessary, until he is satisfied that the pupils are +ready to undertake the study of the selection. At the oral reading +the pupils should be able to show their mastery of the principles +thus taught. Toward the close of the course, they will naturally +read connectedly the various sections of the Introduction, in order +to obtain a comprehensive and systematic view of the principles. + +To secure good reading, systematic drill on the exercises in +Vowel Sounds and in Articulation is also necessary. + + + + +TABLE OF CONTENTS + +PRINCIPLES OF READING 1-35 + +Importance of Oral Reading 1 + +Mechanical Side of Oral Reading 2 + Correct Pronunciation, Distinct Articulation. + +Expression 3 + Concrete Thinking, Abstract Thinking, Emotion. + +Elements of Vocal Expression 7 + Pause, Grouping, Time, Inflection, Pitch, Force, + Stress, Emphasis, Shading, Perspective, Quality. + + +SELECTIONS 36-305 + +_The Banner of St. George_ Shapcott Wensley 36 + +Jean Valjean and the Bishop Victor Hugo 38 + +_The Well of St. Keyne_ Robert Southey 43 + +Faith, Hope and Charity Bible 46 + +_The Legend Beautiful_ Henry W. Longfellow 47 + +The Vicar's Family Use Art Oliver Goldsmith 52 + +_The Soldier's Dream_ Thomas Campbell 58 + +_Van Elsen_ Frederick George Scott 60 + +_Pibroch of Donuil Dhu_ Sir Walter Scott 61 + +_The Day is Done_ Henry W. Longfellow 63 + +The Schoolmaster and the Boys Charles Dickens 65 + +_The Knights' Chorus_ Alfred, Lord Tennyson 70 + +_The Northern Star_ Unknown 71 + +_The Indigo Bird_ Ethelwyn Wetherald 72 + +_The Pasture Field_ Ethelwyn Wetherald 73 + +Shipwrecked Robert Louis Stevenson 75 + +_On His Blindness_ John Milton 80 + +Briggs in Luck William M. Thackeray 81 + +_The Laughing Sally_ Charles G. D. Roberts 84 + +The Prodigal Son Bible 88 + +_Christmas at Sea_ Robert Louis Stevenson 90 + +_The Evening Wind_ William Cullen Bryant 93 + +_Paradise and the Peri_ Thomas Moore 95 + +_The Lady of Shalott_ Alfred, Lord Tennyson 100 + +_Home they brought her + Warrior dead_ Alfred, Lord Tennyson 107 + +The Sky John Ruskin 108 + +_The Return of the Swallows_ Edmund W. Gosse 111 + +_Barbara Frietchie_ John Greenleaf Whittier 113 + +Bless the Lord, O My Soul Bible 116 + +_The Eternal Goodness_ John Greenleaf Whittier 118 + +The King of Glory Bible 119 + +The Four-Horse Race "Ralph Connor" 121 + +_Mrs. Malaprop's Views_ Richard B. Sheridan 126 + +_The Glove and the Lions_ Leigh Hunt 131 + +_The Fickleness of a Roman Mob_ William Shakespeare 133 + +_Sir Peter and Lady Teazle_ Richard B. Sheridan 136 + +_The Parting of Marmion + and Douglas_ Sir Walter Scott 140 + +_Columbus_ Joaquin Miller 143 + +From the "Apology" of Socrates Benjamin Jowett 145 + +_Highland Hospitality_ Sir Walter Scott 151 + +_The Outlaw_ Sir Walter Scott 154 + +Of Studies Francis, Lord Bacon 157 + +The Influence of Athens Thomas Babington, + Lord Macaulay 159 + +National Morality John Bright 161 + +_Hamlet's Advice to the Players_ William Shakespeare 164 + +_Rosabelle_ Sir Walter Scott 166 + +_The Island of the Scots_ William E. Aytoun 168 + +Cranford Society Mrs. Gaskell 178 + +_Sir Galahad_ Alfred, Lord Tennyson 182 + +_Song for Saint Cecilia's Day_ John Dryden 186 + +_The Day was Lingering_ Charles Heavysege 189 + +_On First Looking into + Chapman's Homer_ John Keats 189 + +_Great Things Were Ne'er + Begotten in an Hour_ Sir Daniel Wilson 190 + +_A Wood Lyric_ William Wilfred Campbell 191 + +_To Night_ Percy Bysshe Shelley 193 + +The Opening Scene at the Trial Thomas Babington, Lord + of Warren Hastings Macaulay 194 + +Peroration of Opening Speech + against Edmund Burke Warren Hastings 201 + +_The Song My Paddle Sings_ E. Pauline Johnson 203 + +_The Defence of the Bridge_ Thomas Babington, Lord + Macaulay 206 + +On the Death of King Edward VII Sir Herbert Henry + Asquith 217 + +The Heroes of Magersfontein _The London Daily News_ 221 + +_Funeral of Julius Cæsar_ William Shakespeare 225 + +_The Revenge_ Alfred, Lord Tennyson 234 + +_Hervé Riel_ Robert Browning 241 + +The Handwriting on the Wall Bible 248 + +Paul's Defence before King + Agrippa Bible 251 + +_The Stranded Ship_ Charles G. D. Roberts 254 + +_Sir Patrick Spens_ Old Ballad 258 + +_King John and the Abbot of + Canterbury_ Old Ballad 262 + +The Key to Human Happiness George Eliot 266 + +_The Vision of Sir Launfal_ James Russell Lowell 271 + +On the Death of Gladstone Sir Wilfrid Laurier 278 + +_The Downfall of Wolsey_ William Shakespeare 286 + +_The Italian in England_ Robert Browning 290 + +Advantages of Imperial + Federation George Monro Grant 296 + +_Collect for Dominion Day_ Charles G. D. Roberts 305 + + * * * * * + +APPENDIX A. Exercises in Vocalization and Articulation 306 + + B. Physical Exercises 312 + + C. List of Reference Books 314 + + * * * * * + + + +PRINCIPLES OF READING + +=Importance of Oral Reading= + + +There are several reasons why every boy or girl should strive to +become a good reader. In the first place, good oral reading is an +accomplishment in itself. It affords a great deal of pleasure to +others as well as to ourselves. In the second place, it improves our +everyday speech and is also a preparation for public speaking; for the +one who reads with distinctness and an accent of refinement is likely +to speak in the same way, whether in private conversation or on the +public platform. Moreover, it is only one step from reading aloud +before the class to recitation, and another step from recitation to +public speaking. Lastly, oral reading is the best method of bringing +out and conveying to others and to oneself all that a piece of +literature expresses. For example, the voice is needed to bring out +the musical effects of poetry. The following lines will illustrate +this point: + + But the sea-caves rung, and the wild winds sung + The dirge of lovely Rosabelle. + +Here the music of the rhythm and the harmony between sound and sense +would be almost entirely lost in silent reading. + +The voice, too, is often the surest and most effective means of +conveying differences of meaning and feeling in both prose and poetry. +The following words from _Hervé Riel_ (pp. 241-247) may be made to +convey different meanings according to the intonation of the voice: + + Burn the fleet and ruin France? + +This may be read to express hesitation and deliberation, or, as is +the evident intention, shewn by the context as well as by the +punctuation, to express Hervé Riel's surprise and indignation that +such a thought should be entertained. + + +=Mechanical Side of Oral Reading= + +Now in what does oral reading consist? It consists, first of all, in +recognizing the words, pronouncing them correctly, and articulating +them distinctly. The pupil in the First Book, who is learning to read, +is trying to master this side of reading, which is the mechanical +side. He cannot be too careful as to the habits of speech he forms; +for correct position of the organs of speech and proper control of the +breath make for correct pronunciation and distinct articulation, which +are two of the foundation stones of good reading. + +By =Correct Pronunciation=, we mean the pronunciation approved by a +standard dictionary. Elegance and refinement of speech depend largely +on the correct pronunciation of the vowel sounds. The vowel _a_, which +is sounded in seven different ways in the English language, presents +the greatest difficulty. Many people recognize at most, only the sound +of a in _at_, _ate_, _all_, _far_, and _mortal_ respectively. They +ignore the sound as in _air_, and the shorter quantity of the Italian +_a_ in _ask_, giving the sound of a in _ate_ to the former and of _a_ +in _at_ or _a_ in _all_ or _a_ in _far_ to the latter. Another +difficulty is that of distinguishing the sound of _oo_ in _roof, +food_, etc., from the sound of _oo_ in _book_ and _good_, and from the +sound of _u_ in such words as _pure_ and _duke_. + +Pronunciation, when perfectly pure, should be free from what we call +provincialisms; that is, from any peculiarity of tone, accent, or +vowel sound, which would mark the speaker as coming from any +particular locality. If our pronunciation is perfectly pure, it does +not indicate, in the slightest degree, the part of the country in +which we have lived. + +=Distinct articulation= requires that each syllable should receive its +full value, and that the end of a word should be enunciated as +distinctly as the beginning. It depends largely on the way in which we +utter the consonants, just as correct pronunciation depends on the +enunciation of the vowels. Final consonants are easily slurred, +especially in the case of words ending in two or more consonants, +which present special difficulties of articulation. Such words are +_mends_, _seethes_, _thirsteth_, _breathed_, etc. Sometimes, too, the +careless reader fails to articulate two consonants separately when the +first word ends with the consonant or consonant sound with which the +second begins; for example, _Sir Richard Grenville lay_, _Spanish +ships_; or when the first word ends with a consonant and the second +begins with a vowel, as in _eats apples_, _not at all_, _an ox_, etc. +On the other hand, too evident an effort to secure the proper +enunciation of the sound elements should be avoided, since a stilted +mode of utterance is thus produced. + +Exercises for drill in the vowel sounds and in articulation are +provided in Appendix A. + + +=Expression= + +Oral reading, however, even in its earliest stages, consists in more +than recognizing words, pronouncing them correctly, and articulating +them distinctly. It includes thinking thoughts, seeing mental +pictures, (which is only another form of thinking) and feeling varied +emotions--all while the mechanical act of reading is going on. To +illustrate, let us take a line from _The Island of the Scots_: + + High flew the spray above their heads, yet onward still they bore. + +If we wish to read this line well, what must we do besides pronouncing +the words correctly and articulating them distinctly? We must think +about the meaning of what we read. This includes two kinds of +thinking. In the example we first think the picture presented by the +words; that is, we make a mental image of the little band of Scots, +hand in hand, trying to ford the swiftly flowing waters of the swollen +river. This is called concrete thinking. At the same time we form some +judgment based on the picture. We think of the great determination and +courage these men showed in struggling forward in spite of the danger. +This is called =abstract thinking=. But, as we have said, a reader +does more than think in these two ways--he feels; and feeling, or +=emotion=, comes of itself, if the reader thinks in the two ways +described, for emotion is the result of thinking. Especially is it the +result of concrete thinking; for what we see, even if only with the +mind's eye, stirs our emotions more than that of which we think in the +abstract. + +While reading the line just quoted, there are three emotions which +spring from the thinking. As we see these men struggling against the +strong current we have an emotion of fear for them; then as we think +of their determination and courage in the face of such great danger, +an emotion of determination comes to us, for we identify ourselves +with their fortunes; and lastly we are filled with admiration for +their heroism. Thus we experience the three emotions of fear, +determination, and admiration, while performing the mechanical act of +reading the words. These emotions, together with the two kinds of +thinking mentioned, affect the voice and the manner of reading, and +determine what we call =expression=. If the words were simply repeated +mechanically there would be no expression. Since expression involves +the employment of so many different powers at one time, a mastery of +the art of expression is much harder to acquire, than a mastery of +merely the mechanical side of reading. + +Accordingly, good vocal expression springs primarily from something +within ourselves--that is, from our mental and emotional state. It +cannot be acquired by mechanical imitation, whether of the reading of +another, or of the movements, sounds, and gestures indicated in the +subject matter of what we read. Nevertheless it is very stimulating +to hear a selection well read, not because a model is thus supplied +for our imitation, but because we get a grasp of the selection as a +whole, and because the voice, which possesses great power in stirring +the imagination and the feelings, thus prepares within us the mental +and emotional state necessary for the correct expression. + +In the same way, imitation of the movements, sounds, and gestures, +suggested by the subject matter may be a stimulus to thought and +feeling when preparing a selection, since what we have actually +reproduced is more real to us than what we have only imagined. After +such preparation, imitation, if it enters into the reading at all, +will be spontaneous, and not intentional and forced. In reading _The +Charge of the Light Brigade_ or _The Ride from Ghent to Aix_, we do +not designedly hurry along to imitate rapidity of movement; but, +rather, the imagination having been kindled by the picture, our pulse +is quickened, and the voice moves rapidly in sympathy with the +feelings aroused. + +In the following extract (p. 216) the atmosphere is one of joy. The +reader is moved through sympathy with Horatius, and his voice +indicates the joy of the Romans, but he does not attempt to imitate +vocally, or by gesture, the "shouts," "clapping," and "weeping": + + Now round him throng the Fathers + To press his gory hands; + And now, with shouts and clapping, + And noise of weeping loud, + He enters through the River-Gate, + Borne by the joyous crowd. + +Sometimes, as already stated, we imitate spontaneously: + + Back darted Spurius Lartius; + Herminius darted back: + And, as they passed, beneath their feet + They felt the timbers crack. + +Here we imitate spontaneously the movement expressive of sudden fear. +Our action is prompted by our own fears for their safety. + +Sometimes the feeling is still more complex. In reading the following +we spontaneously reproduce Sextus' alternate hate and fear which, +moreover, we tinge with our own contempt: + + Thrice looked he at the city; + Thrice looked he at the dead; + And thrice came on in fury, + And thrice turned back in dread: + And, white with fear and hatred, + Scowled at the narrow way + Where, wallowing in a pool of blood, + The bravest Tuscans lay. + +In reading the little poem from _The Princess_, (page 107) note how we +are influenced by the tense emotion of the attendants who speak. We do +not try to imitate them; but having made the scene stand out before +us, we speak as we in imagination hear them, in an aspirated tone of +voice: + + She must weep or she will die. + +In the last line it would savour of melodrama to try to impersonate +the lady as she says: + + Sweet my child, I live for thee. + +The important point is to show intelligent sympathy with her speech, +not to imitate her manner of uttering it. + +On the other hand we must not make the mistake of supposing that if we +get the thought and the emotion, the true vocal expression will +follow. One who has a fine appreciation of a piece of literature may, +notwithstanding, read it very indifferently. Even in conversation +where we are interpreting vocally our own thoughts and feelings, we +sometimes misplace emphasis or employ the wrong inflection. How much +more likely we are to fall into such errors when we attempt to +interpret vocally from a book the thoughts of another. + + +=Elements Of Vocal Expression= + +In order to criticise ourselves or understand intelligent criticism, +we must have a knowledge of the laws that govern speech--that is, we +must know what properties of tone or what acts of the voice correspond +to certain mental and emotional states. For example, the amount and +character of thinking done while we read determines the rate of +utterance; the purpose or motive of the thought and its completeness +or incompleteness are indicated by an upward or downward slide of the +voice; the nervous tension expresses itself in a certain key; the +physical and mental energy, in a certain power or volume of the voice; +and the character of the emotion is reflected in the quality. These +principles of vocal expression are known technically as the =elements= +of =time=, =inflection=, =pitch=, =force=, and =quality=. Closely +connected with these elements are =pause=, =grouping=, =stress=, +=emphasis=, =shading=, and =perspective=. + +=Pause.= It must be quite clear that when we are reading silently, for +the purpose of getting the thought for ourselves, our minds are at +work as has been described. We shall now examine how this work done by +the mind affects the voice and produces what we call good expression +when we are reading aloud for the purpose of conveying thought to +others. As an illustration we shall take an example from _The Glove +and the Lions_: + + The nobles fill'd the benches round, the ladies by their side, + And 'mongst them Count de Lorge, with one he hoped to make his bride. + +In these lines there are certain words or phrases which stand out +prominently, since they call up mental pictures, namely: "nobles," +"benches round," "Count de Lorge," and "one." In order to give time +to make these mental pictures, we naturally pause after each one. At +the end of the first line we combine the details, making a larger +mental image, with the result that we make a long pause after "side." +In reading the second line, the eye and the mind run ahead of the +voice, and the reader, wishing to impress the listener with the new +and important idea "Count de Lorge," pauses before it as well as after +it. In the same way he pauses before the phrase, "he hoped to make his +bride," to prepare the mind of the listener to receive the impression. +Thus we see that, if the mind is working, a pause occurs after a word +while we are making a mental image or trying to realize the idea more +fully, and also often before we express an important idea, in order to +prepare the mind of the listener for what is to come. + +A very useful exercise in the study of pause is to image the pictures +in selections such as the following: + + Come from deep glen (picture) and + From mountain so rocky; (picture) + The war pipe and pennon (picture) + Are at Inverlocky. + Come every hill-plaid, and + True heart that wears one; (picture) + Come every steel blade, (picture) and + Strong hand that bears one. (picture) + + Leave untended the herd, (picture) + The flock without shelter; (picture) + Leave the corpse uninterred, (picture) + The bride at the altar; (picture) + Leave the deer, (picture) leave the steer, (picture) + Leave nets and barges: (picture) + Come with your fighting gear, + Broadswords and targes, (picture) + +Then, too, in passing from one idea or thought to another, the mind +requires time to make the transition: + + Stout Lartius hurled down Aunus + Into the stream beneath: + Herminius struck at Seius, + And clove him to the teeth: + At Picus brave Horatius + Darted one fiery thrust; + And the proud Umbrian's gilded arms + Clashed in the bloody dust. + +Here the mind passes in succession from the action of Lartius to that +of Herminius and that of Horatius. A long pause is required after +"beneath," "teeth," and "dust," with a shorter pause after "Seius" and +after "thrust." Further, if the thoughts concern actions far apart, +more time is required to make the transition, and hence a longer +pause: + + All day long that free flag toss'd + Over the heads of the rebel host. + + Ever its torn folds rose and fell + On the loyal winds that loved it well; + + And through the hill-gaps, sunset light + Shone over it with a warm good-night. + + Barbara Frietchie's work is o'er, + And the Rebel rides on his raids no more. + +Note the transition in thought from the day on which these stirring +events are supposed to have taken place to the present time. This is +indicated by a long pause after "warm good-night." + +Sometimes the mind requires time to fill in ideas suggested but not +expressed: + + Forty flags with their crimson bars, + Flapped in the morning wind: the sun + Of noon look'd down and saw not one. + +Here, the tearing down of the flags between the morning and noon, is +suggested to the mind; hence a long pause after "wind." + +Where an ellipsis occurs and the meaning is not obvious, there is a +pause to give time to realize the logical connection: + + I'd rather rove with Edmund there + Than reign our English queen. + + Here's the English can and will! + +Note the pauses after "reign," and "English" (second example). + +In such examples as the following where the meaning is obvious, the +pauses after "them," "one," "weary," and "wounded," make prominent the +important idea following: + + And 'mongst them Count de Lorge, with one he hoped to make + his bride. + + The weary to sleep and the wounded to die. + +When preparing to read a selection, it is of great importance to make +the leading thoughts stand out clearly in the mind so that we may be +able to present them one by one. The poem _Barbara Frietchie_ (p. 113) +could be divided into paragraphs with some such titles as the +following: (1) the town of Frederick and its surroundings, (2) the +approach of the army, (3) the tearing down of the flags, (4) the +raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his +men, and so on. Each of the paragraphs is a complete section of the +poem, and requires a well-marked pause before passing on to the next +one. + +=Grouping.= In the extract from _The Glove and the Lions_, used above +to illustrate pause, the mental pictures and important ideas are +suggested in nearly every ease by a single word. Ideas are, however, +suggested as often by groups of words as by single words. These groups +are treated as single words, and may take pauses before or after them +as the case may be. The reader, who is thinking as he reads, will +group together words that express one idea, or symbolize one picture, +presenting these ideas and pictures to himself and to the listener one +by one, and separating by a pause, of greater or less length, those +not closely connected. + + A slouched leather cap|| half hid his face| bronzed + by the sun and wind| and dripping with sweat.|| He + wore a cravat twisted like a rope|| coarse blue + trousers| worn and shabby| white on one knee| and + with holes in the other;|| an old ragged gray blouse| + patched on one side with a piece of green cloth| + sewed with twine;|| upon his back| was a well-filled + knapsack,|| in his hand| he carried an enormous + knotted stick;|| his stockingless feet| were in hobnailed + shoes;|| his hair was cropped|| and his beard + long. + +Here the double vertical lines mark off groups of words which express +one idea or symbolize one picture, and which are therefore each +separated from the other by a well-marked pause. The single vertical +lines indicate a shorter pause between the subdivisions of each group. +The phrase "an old ragged gray blouse patched on one side with a piece +of green cloth sewed with twine" presents one picture by itself, and +is separated from the context by a long pause, but each detail in this +picture is presented in turn to the mind's eye, hence the shorter +pauses after "blouse," "cloth," and "twine." + +The reader should be careful not to allow pause and grouping to +produce a jerky effect, thus interfering with the rhythm. This applies +especially to poetry, which demands, in order to preserve the rhythm, +that the caesural pause should not be slighted, and that there should +be a more or less marked pause at the end of each line: + + And they had trod the Pass once more, and stoop'd on either side + To pluck the heather from the spot where he had dropped and died. + +In the second line, the caesural pause occurs after "spot," but the +phrase "from the spot where he had dropped and died" expresses one +idea and must be given as a whole. The rhythm and the grouping appear +to be at variance; but the difficulty is easily overcome by making the +caesural pause shorter than the pause after "heather" which introduces +the group, and at the same time, by not allowing the voice to fall on +the word "spot." + +The following affords another instance where the grouping appears to +interfere with the rhythm: + + If the husband of this gifted well + Shall drink before his wife, + A happy man thenceforth is he, + For he shall be master for life. + +"Of this gifted well" is evidently not connected in thought with +"husband." It must be separated from "husband" by a pause and attached +to "shall drink" at the beginning of the next line. To do this, it is +not, however, necessary to omit the pause at the end of the line; for +this would mar the effect of the rhythm. The difficulty is again +overcome by making the pause at the end of the line shorter than the +pauses which mark the grouping, and by not allowing the voice to fall +on "well." + +=Time= is the rate at which we read. It is fast or slow according to +the number and the length of the pauses between words and phrases, and +also according to the length of time the reader dwells on the words +themselves. There is perhaps no more frequent criticism made on +reading than that it is too fast. What does this mean? It means that +the reader is not doing enough thinking as he repeats the words. +Consequently, he does not dwell on words that are full of meaning, nor +pause before and after words and phrases to make the mental picture +and to grasp the thought more fully. Moreover, for the benefit of the +listener, the reading should be slower than is required by the reader +for himself. The reader, with his eye on the page, can allow his eye +and mind to run ahead of his voice, and can thus realize the thought +in less time than the listener. The following line calls for a +comparatively small amount of thinking: + + High flew the spray above their heads, yet onward still they bore. + +Here, there is little except what is on the surface, and the thoughts +suggested by the words are of the kind to make the mind think rapidly. +Hence the line is read in faster time than the average rate. Reading +may, accordingly, be fast from one or both of two causes. First, when +there is no background of thought for the mind to dwell upon, and +second when the nature of the thoughts themselves, such as the +narration of the rapid succession of events, impels to quick mental +action. The following lines from _Pibroch of Donuil Dhu_ (p. 61) will +serve as an illustration: + + Faster come, faster come, + Faster and faster, + Chief, vassal, page and groom, + Tenant and master. + Fast they come, fast they come; + See how they gather! etc. + +So, too, reading may be slow from the exact opposite of these two +reasons. First, when there is a great back-ground of thought suggested +by the words, and second, when the reflective and meditative nature of +the thought leads to slow action on the part of the mind. In some +selections both of these conditions are present; in others only one of +them. In _The Day is Done_ (p. 63) there is little thought below the +surface; but the reading is slow because the quiet, meditative nature +of the thought tends to slow mental action: + + And the night shall be filled with music, + And the cares that infest the day, + Shall fold their tents, like the Arabs, + And as silently steal away. + +Both conditions, however, exist in the lines from _Barbara Frietchie_ +which describe the effect produced on Stonewall Jackson by Barbara +Frietchie's heroic action and daring speech: + + A shade of sadness, a blush of shame, + Over the face of the leader came. + +A great many thoughts are suggested by these two lines. The heart of +the gallant Southerner is touched at the sight of this weak, decrepit +old woman with the courage and boldness of youth, ready to die for her +principles. His stern features relax and a look of sadness passes over +his face. The taunting words "spare your country's flag" have struck +home. The tragic side of civil war is forced upon him--father fighting +against son, and brother against brother, the sons of freedom firing +at their own star-spangled banner. The sorrow and the shame of it all +rise before him, and the crimson flush mounts to his brow. With this +undercurrent of thought in the mind, it is impossible to read rapidly. +Besides, the reflective nature of the thoughts themselves tends to +make one repeat the words slowly. + +Sometimes, again, reading is faster than the moderate rate because of +the unimportance of the events or facts: + + He spoke of the grass, the flowers and the trees, + Of the singing birds and the humming bees; + Then talked of the haying, and wondered whether + The cloud in the west would bring foul weather. + +Note the lightness with which the unimportant details of conversation +are skimmed over. + + +=Inflection.= If we listen to the speech of the people around us, we +can easily detect an upward slide of the voice on some words, a +downward slide on others, and on others again a combination of the +two. This slide of the voice on words--generally on the accented +syllable of an emphatic word--is called =inflection=, and the various +inflections are known as _rising_ (/), _falling_ (\), _rising +circumflex_ (\/), and _falling_ circumflex (/\). + +Each inflection has a definite and fixed meaning recognized by every +one, and it is because of the laws of inflection that we can tell what +meaning a speaker intends to convey when he uses certain words; for +often the same words may carry two or three different meanings +according to the inflection. The simple word "Yes," with an abrupt +downward slide, expresses decided affirmation. When spoken with an +upward slide, it expresses interrogation and is equivalent to "Is that +really so?" When it has a combination of the downward and upward slide +or a rising circumflex inflection, the meaning is no longer simple but +complex. There is an assertion combined with doubt. It is equivalent +to saying: "I think so but I am not really sure." In such a sentence +as: "Do not say 'yes,'" where the idea "but say 'no,'" is merely +implied, but not formally expressed, the word "yes" has a combination +of the upward and downward slide or a falling circumflex inflection. + +If we take an idea for its own sake, if it is independent and complete +in itself, the voice has the downward slide or falling inflection on +the words which stand for the central idea: + + My good blade carves the casques of men, + My tough lance thrusteth sure, + My strength is as the strength of ten, + Because my heart is pure. + The shattering trumpet shrilleth high, + The hard brands shiver on the steel, + The splinter'd spear-shafts crack and fly, + The horse and rider reel. + +Each statement is complete in itself and has the falling inflection. + +Sometimes there is a slight downward slide before the statement is +completed, because the mind feels that the ideas already expressed +are of sufficient force to give them the value of completeness: + + My strength is as the strength of tèn, + Because my heart is pure. + + And the sick men down in the hold were most of them stark and còld, + And the pikes were all broken or bènt, and the powder was all of it + spènt; + And the masts and the rigging were lying over the side. + +Note the momentary completeness on "ten," "cold," "bent," and "spent," +requiring the falling inflection. + +If on the other hand an idea is incomplete, either pointing forward to +some other idea or being subordinate, the voice has the upward slide +or rising inflection. The rising inflection, like the falling, may be +long or short, more or less abrupt, according to the importance of the +thought: + + Shé, with all a monarch's príde, + Felt them in her bosom glow. + +"She" points forward to the predicate "felt" and because of the +importance of the idea it takes a long rising inflection; "with all a +monarch's pride" being subordinate and incomplete also requires the +voice to be kept up, but takes a shorter rising inflection. + +It is of the greatest importance to know the exact purpose of the +thought, so that the voice may, of itself, give the corresponding +inflection: + + And you may gather garlánds thére + Would grace a summer quèen. + +The sense is evidently not complete in the first line, the intention +being to emphasize the beauty of the garlands to be gathered, and not +merely to state that they may be gathered there. When the reader +understands the exact meaning he will convey it by keeping the rising +inflection on "garlands." + +Similar to the foregoing is the following: + + There is not a wífe in the wést cóuntry + But has heard of the Wèll of St. Kèyne. + +The sense is not complete until we read the second line. The rising +inflection on "country" indicates this and connects the first line +with the second, bringing out the meaning, that every wife in the west +country has heard of the Well of St. Keyne. + +Sometimes we have a series of rising inflections, all pointing forward +to the leading statement which is to follow and which is necessary to +complete the sense, for example: + + Of man's first disobédience and the frúit + Of that forbidden trée, whose mortal táste + Brought déath into the wórld, and all our wóe, + With loss of Éden, till one greater mán + Restóre us, and regáin the blissful séat, + Sing, heàvenly Mùse. + +Incompleteness may be suggested by a negative statement or its +equivalent: + + Nót from the grand old másters, + Nót from the bárds sublime, + Whose distant footsteps echo + Through the corridors of Time. + + I do not know what I was pláying, + Or what I was dréaming thén, + But I struck one chord of music + Like the sound of a great Amen. + +Note the rising inflection on these negative clauses. + +On the same principle the rising inflection is used on the negative +statements of persuasive argument as in the _Apology of Socrates_ (p. +145). + + But I thought that I ought not to do anything + common or mean, in the hour of danger: nor do I + now repent of the manner of my defence. + + For neither in war nor yet at law ought any man + to use every way of escaping death. + + Not so; the deficiency which led to my conviction + was not of words--certainly not. + +Doubt and hesitation also imply incompleteness: + + He surely would do desperate things to show his love of me! + King, ladies, lovers, all look on; the chance is wondrous fine; + I'll drop my glove to prove his love; great glory will be mine! + +Note the rising inflection on the first two lines where the lady is +still in doubt as to what shall be the test of De Lorge's love, and +the falling inflection on the last one when she has reached a +decision. + +Pleading and entreaty also convey a sense of incompleteness and take +the rising inflection: + + Good friends, sweet friends, let me not stir you up + To such a sudden flood of mutiny. + + Good Sir Richard, tell us now, + For to fight is but to die! + +A direct interrogation, that is, one that can be answered by "Yes" or +"No", implies incompleteness in the mind of the questioner and +requires a decided rising inflection: + + Is your name Shýlock? + + May you stéad me? Will you pléasure me? Shall I knów your ánswer? + +Questions that require an explanatory answer and cannot be answered by +"Yes" or "No," do not convey an idea of incompleteness, being merely +equivalent to the statement of a desire for certain information. +Consequently they take the falling inflection: + + _Flav._ Speàk, whàt tràde art thòu? + _1st Cit._ Why, sir, a carpenter. + _Mar._ Where is thy leather àpron, and thy rùle? + What dost thou with thy best appàrel òn?-- + You, sir, whàt tràde are yoù? + +The purpose or motive of a question must be considered. We must know +whether the question is asked for information, or whether its purpose +is to give information; that is, whether it is only another way of +making an assertion--what is sometimes called a question of appeal. +When Shylock asks Portia: "Shall I not have barely my principal?" he +does so with the direct purpose of learning his sentence. His question +can be answered by "Yes" or "No" and the rising inflection is used. +But when he asks: "On what compulsion must I?" he means simply to give +the information that there is no power on earth to compel him. This is +a complete thought, hence the falling inflection. Other examples are: + + Have you e'er heard of gallant like young Lochinvar? + + God of battles, was ever a battle like this in the world before? + + What conquest brings he home? + What tributaries follow him to Rome, + To grace in captive bonds his chariot wheels? + +The opposite inflections on antithetical words or phrases are also due +to this law of completeness and incompleteness. The first part of the +antithesis usually has the rising inflection marking incompleteness, +and the second, the falling, marking completeness. + + Hís blast is heard at merry mórn, + And mìne at dèad of nìght. + + For this thy brother was déad, and is àlive again; + and was lóst, and is foùnd. + +Similarly, in a series of words or phrases parallel in construction, +all have the rising inflection but the last: + + As Cæsar lóved me, I wéep for him; as he was + fortúnate, I rejóice at it; as he was válíant, I hónour + him; but as he was ambìtious, I slèw him! There is + teárs for his lóve; jóy for his fórtune; hónour for + his válour; and deàth for his ambìtion. + + Cráfty men contémn studies; símple men admíre + them; and wìse men ùse them. + +If one part of the antithesis is a negation, it takes the rising +inflection, whether it comes first or second. This is owing +to the fact that, as illustrated above, a negation implies +incompleteness. The other part then takes the falling inflection: + + Fall into the hands of Gòd, not into the hands of Spáin. + + I come to bùry Cæsar, not to práise him. + + I said an èlder soldier, not a bétter. + +Often only one part of the antithesis is expressed, the contrast being +implied. In such a case, the voice brings out the contrast by placing +a combination of the two inflections of the regularly expressed +antithesis on the one word which does duty for both parts: Cassius +says: "I said an elder soldier, not a better" in reply to Brutus' +speech--"You say you are a better soldier." The antithesis is fully +expressed, and the voice places the falling inflection on "elder" and +the rising inflection on "better." If Cassius had omitted the words +"not a better," the very same meaning could have been conveyed by +placing a combination of the rising and the falling inflection or a +falling circumflex on the word "elder," thus--"I said an êlder +soldier." In the next line he goes on to say "Did I say bĕtter?" +Here, there is an implied contrast with "elder," which is expressed by +a combination of the falling and the rising inflection or a rising +circumflex. From these two examples, we can see that the law of +completeness and incompleteness holds good with the compound or +circumflex inflection, just as it does with the simple inflection, and +determines whether the circumflex shall be rising or falling. + +A very common mistake in reading is to use the circumflex inflection +in emphasizing a word, thus making a contrast where none is intended. +"Ramped and roared the lions" with a falling circumflex inflection on +"lions," instead of a simple falling inflection, suggests that the +tigers or some other animals did not ramp and roar. For similar +reasons, avoid the circumflex when emphasizing "hand" and "feet" in +"put a ring on his hand and shoes on his feet." + +As has already been stated, it is necessary to know the motive behind +the words. When Shylock says: "O wise and upright judge," his +intention is evidently to bestow sincere praise. The reader, knowing +this, instinctively gives a straight slide. Later, when Gratiano says: +"O upright judge, O learned judge!" his intention is to taunt and hold +up to ridicule; there is a double meaning conveyed, which finds its +natural expression in a curved inflection. + +Compare the curved inflections in the cobbler's speeches in Act I. +Scene I, of _Julius Cæsar_ (p. 133) when he is fencing with Marullus, +with the straight inflections of his final speech when he has thrown +aside his raillery and speaks with sincerity: + + ~ ~ ~ ~ + Truly, sir, to wear out their shoes, to get myself + ~ ~ + in more work. But, indeèd, sir, we make hòliday to + + see C`æsar, and to rejoìce in his triùmph. + +One writer has said: "Where there is simple and genuine thought, deep +and sincere feeling, wherever the eye is single, the inflections of +the voice are straight; a crook in the mind however is indicated by a +crook in the voice." + +=Pitch= is the key of the voice. A change of pitch is a leap from one +key to another during silence. Inflection, as we have seen, is a +gradual change in the key while the voice is speaking. The pitch or +key depends upon the muscular tension of the vocal chords, which act +like the strings of a musical instrument: the greater the tension, the +higher the key. Muscular tension implies nervous tension and this is +dependent upon the mental state. If the mind is calm, the nervous and +muscular tension is normal, and the speaker uses the key habitual to +him in his ordinary speech. If the mental state is one of excitement, +the key is higher because of greater nervous and muscular tension. If, +on the other hand, the mental state is one of depression, the key is +lower because of relaxed muscular tension. + +In _The Defence of the Bridge_ (p. 206) the Romans, seeing the danger +of the heroes, are wrought up to a high state of nervous tension which +finds its natural expression in the high-pitched voice: + + "Come back, come back Horatius!" + Loud cried the Fathers all. + "Back, Lartius! back Herminius! + Back, ere the ruin fall!" + +Contrast with this the lower key of Horatius, who is calm and +self-controlled: + + "O Tiber! Father Tiber! + To whom the Romans pray, + A Roman's life, a Roman's arms, + Take thou in charge this day!" + +Observe the gradual rise in pitch with the increase of tension or +excitement in the following: + + And now he feels the bottom; + Now on dry earth he stands; + Now round him throng the Fathers + To press his gory hands; + And now, with shouts and clapping, + And noise of weeping loud, + He enters through the River-Gate, + Borne by the joyous crowd. + +In the following lines, where the Douglas holds communion with +himself, the tension is low chiefly because of his great mental +depression, and, consequently, he speaks in a low key: + + Yes! all is true my fears could frame; + A prisoner lies the noble Graeme, + And fiery Roderick soon will feel + The vengeance of the royal steel. + I, only I, can ward their fate,-- + God grant the ransom come not late. + The abbess hath her promise given. + My child shall be the bride of Heaven:-- + Be pardoned one repining tear! + For he, who gave her, knows how dear, + How excellent! but that is by, + And now my business is--to die. + +The low pitch is also partly due to the fact that the Douglas is +speaking to himself, and has no desire to communicate his thoughts to +another; for the effort to communicate thought causes increased +tension. + +Again, it requires greater effort to address a person who is at a +distance than one close at hand, or to address a large audience than +a small one. Observe the comparatively high pitch in which Antony (p. +225) begins his oration: + + Friends, Romans, countrymen, lend me your ears; + I come to bury Cæsar, not to praise him. + +If the reader wishes to give prominence to a thought, the effort put +forth causes muscular tension, resulting in a higher pitch. On the +other hand, a thought, which the reader regards as not of special +importance to the listener, finds expression in lower pitch, more as +if he were addressing himself: + + Bold words!--but, though the beast of game + The privilege of chase may claim, + Though space and law the stag we lend, + Ere hound we slip, or bow we bend, + Who ever recked, where, how, or when, + The prowling fox was trapped or slain? + +Observe the lower pitch of the subordinate clauses in the first four +lines, and the higher pitch in the last two lines which project the +leading thought. + + "I think, boys," said the schoolmaster, when the + clock struck twelve, "that I shall give an extra half-holiday + this afternoon." + +Similarly, the narrative clause "said the schoolmaster" which +interrupts the direct speech is read in lower pitch and is separated +by a marked pause before and after. + +Parenthetical expressions, also for the same reason, are read in lower +pitch. + + She had not perceived--how could she until she + had lived longer?--the inmost truth of the old + monk's outpourings, that renunciation remains sorrow, + though a sorrow borne willingly. + + He (Mr. Pickwick) would not deny that he was + influenced by human passions, and human feelings, + (cheers)--possibly by human weaknesses--(loud + cries of "No"); but this he would say, that if ever + the fire of self-importance broke out in his bosom, + the desire to benefit the human race in preference, + effectually quenched it. + +Passages which are collateral or co-ordinate in construction, and +equally balanced, will find their natural vocal expression in the same +pitch and, of course, the pitch varies as the attitude of the mind +changes: + + Forty flags with their silver stars, + Forty flags with their crimson bars, + Flapped in the morning wind: the sun + Of noon looked down and saw not one. + +The first two lines have the same pitch, because there is no +difference in intensity of feeling or in the mental conception. There +is, however, an entire change of thought beginning with "the sun." +This is accompanied by a change of pitch. + +=Force.= Force is vocal energy; in other words, it is the power or +volume of the voice, and is determined by the amount of physical and +mental energy exerted by the speaker. + +The language of everyday conversation, when not marked by intensity of +feeling or purpose, requires only a moderate amount of physical and +mental energy and is expressed by _moderate force_. Intensity of +feeling or purpose, on the other hand, is accompanied by a great +expenditure of energy, and finds its natural outlet in _strong force_. +In the following lines, (p. 132) the king's emphatic approval of De +Lorge's action and his vehement condemnation of the lady's vanity find +expression in strong force: + + "In truth!" cried Francis, "rightly done!" and he rose from where + he sat: + "No love," quoth he, "but vanity, sets love a task like that!" + +Compare the moderate amount of energy expended in uttering the +narrative clauses "cried Francis," "and he rose from where he sat," +and "quoth he," which should be read with moderate force. + +More physical energy is expended in making one's self understood at a +distance than near at hand, and in addressing a large audience than a +small one; hence strong force is used in the following where it is +accompanied by a loud tone of voice: + + "Come back, come back Horatius!" + Loud cried the Fathers all. + +But strong force does not necessarily imply a loud tone of voice: + + "Curse on him!" quoth false Sextus; + "Will not the villain drown? + But for this stay, ere close of day + We should have sacked the town!" + +Here Sextus gives vent to his concentrated hate for Horatius and +speaks with strong force, but not in a loud tone of voice. + +The effort to influence the mind and action of others draws on a great +fund of mental energy; hence commands, persuasion, and argument, all +find their vocal expression in strong force. Hervé Riel, urging the +captains to allow him to pilot the ships, speaks with strong force: + + Sirs, they know I speak the truth! Sirs, believe me there's a way! + Only let me lead the line, + + When the mental or physical energy is at a low ebb we + speak with _weak force_: + + But all that I could think of, in the darkness and the cold, + Was just that I was leaving home, and my folks were growing old. + + Take me out, sink me deep in the green profound, + To sway with the long-weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound. + +For the same reason such poems as _The Day is Done_, (p. 63) and Part +IV, of _The Lady of Shalott_, (p. 200) are read with gentle force. + +A change in force often accompanies a change in pitch. The lower pitch +of parenthetical expressions, and narrative clauses which interrupt +direct discourse, is accompanied by weaker force, and the higher pitch +resulting from the efforts to make one's self heard at a distance is +accompanied by stronger force. + +=Stress= is force applied to the vowel sound. When we are taken by +surprise and give expression to it by means of the one word "Oh," we +apply the force or volume of the voice to the beginning of the vowel +sound. This is called _initial or radical stress_ (>). When we wish to +give a very emphatic denial to a statement, or to insist on a refusal +to some persistent request we say "No," gradually increasing the force +of the voice to the last part of the vowel sound. This is called +_final_ or _vanishing stress_ (<). Again, if our minds are uplifted +with wonder and delight at something we have heard or seen, we exclaim +"Oh" applying the force to the middle of the vowel sound. This swell +of the vowel sound is called _median stress_ (<>). + +It has already been pointed out that force depends upon the _amount_ +of energy. The above examples show that stress or the location of +force depends upon the _kind_ of mental energy, or the attitude of +mind, whether it be that of abruptness, of insistence, or of uplift. + +All speech has a slight tendency toward initial stress, because the +effort made by the vocal chords to articulate sound is characterized +by abruptness. If, in addition, the mental energy of the speaker +possesses abruptness through sudden impulse or emotion, or through +unconscious imitation of sound or movement, the initial stress is +very prominent: + + _Where_ is thy leather apron, and thy rule? + _What_ dost thou with thy best apparel on?-- + _You_, sir, _what trade_ are _you_? + + _Quick_, as it fell, from the broken staff + Dame Barbara _snatched_ the silken scarf. + + She leaned far out on the window-sill, + And _shook_ it forth with a royal will. + + While I nodded, nearly napping, suddenly there came a tapping, + As of some one gently rapping, rapping at my chamber door. + +If the speaker desires to impress on others his own feelings or +convictions, the final stress is the result. Such insistence is found +in the expression of anger, scorn, indignation, and determination: + + _Burn_ the fleet and _ruin_ France? + That were _worse_ than _fifty_ Hogues! + Sirs, they _know_ I speak the truth! + Sirs, _believe_ me, _there's a way_! + +In the first two lines Hervé Riel wishes to make others feel his own +indignation at the thought of burning the fleet. In the last two, he +tries to impress them with his conviction that there is a way out of +the difficulty. Hence the final stress in each case. + +Sometimes the speaker tries to enforce his own opinion by peevishness, +whining, or complaining, with the result that he uses the final +stress: + +_Lady Teazle._ Then _why_ will you _endeavour_ to +make yourself so _disagreeable_ to me, and _thwart_ me +in _every little elegant expense_? + +_Sir Peter._ Madam, I say, had you any of these +little elegant expenses when you married me? + +_Lady Teazle._ _Sir Peter!_ would you have me be +_out of the fashion_? + +If the mental energy or mental attitude is one of uplift or +exaltation, expressing itself in adoration of the Deity, or in +admiration and love of the beautiful, or in sympathy and tenderness +toward mankind, the median stress is used: + + Bless the Lord, O my soul: and all that is within me, bless his + holy name. + + _Roll on_, thou _deep_ and _dark_ blue ocean--_roll_! + + Dear lost companions of my tuneful art, + Dear as the light that visits these sad eyes, + Dear as the ruddy drops that warm my heart, + Ye died amidst your dying country's cries. + +Determination and settled conviction in the speaker's +mind, especially when accompanied by a marked degree of +dignity, calmness, and self-control, cause equal stress on +every part of the vowel sound. This is called _thorough stress_: + + If every ducat in six thousand ducats + Were in six parts, and every part a ducat, + I would not draw them; I would have my bond. + +It is the stress of quiet strength and great reserve force: + +Though the water flashed around them, + _Not an eye was seen to quiver_; +Though the shot flew sharp and deadly, + _Not a man relax'd his hold_. + +In a more marked degree, it is also the stress used in calling: + + Then rose a warning cry behind, a joyous shout before: + "The current's strong,--the way is long,--they'll never reach + the shore! + See, see! they stagger in the midst, they waver in their line! + Fire on the madmen! break their ranks, and whelm them in + the Rhine!" + +If the speaker's attitude of mind is not straightforward and sincere, +if he speaks with a double meaning, in irony or sarcasm, the stress is +a combination of the radical and final, known as _compound stress_ +(><). This is analogous to the compound inflection. See page 21. + + Now welcome, welcome, Sextus! + Now welcome to thy home! + Why dost thou stay, and turn away? + Here lies the road to Rome. + +Accordingly, the compound stress is used when the intention is to +taunt or to ridicule: + +_Sir Peter._ Ay--there again--taste! Zounds! +Madam, you had no taste when you married me! + +_Lady Teazle._ _That's very true_, indeed, Sir Peter! +and after having married _you_, I should _never pretend +to taste again_, I allow. + +=Emphasis=--The importance of an idea, whether this idea is expressed +by a single word, or by a phrase or clause, is indicated by a +variation of pitch, force, or time. This change in pitch, force, or +time, by attracting attention to that idea, is a means of emphasis. It +is the new idea, or the idea which is important through contrast +either expressed or implied, which will attract the reader's attention +and which he will make prominent in this way: + + _Brutus._ You say you are a _better soldier_: + Let it _appear_ so; make your vaunting _true_, + And it shall _please me well_: for mine own part, + I shall be _glad_ to learn of noble men. + + _Cassius._ You _wrong_ me every way; you _wrong_ me, Brutus; + I said, an _elder_ soldier, not a _better_: + +"better soldier," "appear," and "true" are central ideas; they express +important ideas not mentioned before. When Cassius replies he at once +throws the idea of "soldier" in the back-ground and emphasizes +"better" by contrasting it with "elder." He also introduces the new +idea "wrong" which he makes still more emphatic by repetition. Brutus +also introduces the new idea "please me well" which he makes emphatic +by repeating it in the word "glad." Other examples of words and +phrases becoming more emphatic through repetition are: + + Faster come, faster come; + Faster and faster, + * * * * * + Fast they come, fast they come; + + "_Jump_--far--out boy into the wave, + JUMP, or I fire," he said, + "This chance alone your life can save: + JUMP, JUMP." + +In the case of a climax, the emphasis grows stronger on each member of +the series: + + "Take the helm, lead the line, save the squadron!" cried its chief. + + It is enthronéd in the hearts of Kings, + It is an attribute to God himself. + + When a wind from the lands they had ruin'd awoke from sleep, + And the water began to heave and the weather to moan, + And or ever that evening ended a great gale blew, + And a wave like the wave that is raised by an earthquake grew, + Till it smote on their hulls and their sails and their masts and + their flags. + +However, if a word is repeated, it is not necessarily emphatic each +time: + + The German heart is stout and true, the German arm is strong; + The German foot goes seldom back where armèd foemen throng. + +In the phrase "The German heart" the chief emphasis is on "heart," +with a slighter emphasis on German. The emphasis is then transferred +to "arm" and "foot" through contrast with "heart." To emphasize +"German" again would weaken the effect. + +Compare the repetition, in the following, of the syllable "un," also +of the phrase "this year": + + Unwatched along Clitumnus + Grazes the milk-white steer; + Unharmed the water-fowl may dip + In the Volsinian mere. + + The harvests of Arretium, + This year, old men shall reap, + This year young boys in Umbro + Shall plunge the struggling sheep; + And in the vats of Luna, + This year, the must shall foam + Round the white feet of laughing girls + Whose sires have marched to Rome. + +Words and phrases are emphatic quite as often through contrast implied +as through contrast expressed. It is evident that such a sentence as: +"Will you ride to town to-day?" may have a number of different meanings +according to the words emphasized. This difference of meaning is due +to an implied contrast. If "you" is emphatic, it is because there is a +mental contrast between "you" and some other person. If "ride" is +emphatic, it is because riding is being contrasted with walking or +driving and so on. The following contain examples of emphasis through +implied contrast: + + _Great_ things were ne'er begotten in an hour. + + But _now_ no sound of laughter was heard among the foes. + +As already shown on page 21, the emphasis, in the case of implied +contrast, is brought out by the circumflex inflection. + +=Shading= and =Perspective=. These deal with the relative importance +of words, phrases, or clauses. According as an idea suggested by a +word or group of words is regarded as principal or subordinate, the +voice either projects it or holds it in the back-ground as an artist +shades his picture: + + And, though the legend does not live,--for legends lightly die-- + The peasant, as he sees the stream in winter rolling by, + And foaming o'er its channel-bed between him and the spot + Won by the warriors of the sword, still calls that deep and + dangerous ford + The Passage of the Scot. + +The principal statement, "The peasant still calls that deep and +dangerous ford the Passage of the Scot," is projected or emphasized by +higher pitch and stronger force, the thought being sustained, and the +connection made between "The peasant" and "still calls" by means of +the rising inflection. The subordinate statements, "though the legend +does not live" and "as he sees the stream in winter rolling by ... +sword," are kept in the back-ground by slightly lower pitch and +moderate force. The parenthetical clause, "for legends lightly die," +is subordinate to the subordinate statement and is thrown still more +into the back-ground in the same way as the preceding. + +Strictly speaking, the term "shading" is used to indicate the value of +individual phrases or clauses; "perspective," to indicate the values +of several phrases or clauses viewed relatively. + +The =quality=, or timbre, of the voice reveals the speaker's emotions, +their character, number, and intensity. The voice is affected by the +muscular texture of the throat, just as the tone of an instrument is +affected by the texture of the material of which it is made. This +muscular texture is affected by nerve and muscular vibrations which +are caused by emotion, the result of mental impressions. Whatever be +the quality of voice peculiar to the individual, it is greatly +modified by his emotions. The man of few emotions has few vocal +vibrations; hence his monotonous voice. The man whose emotions are +habitually cruel, has a harsh, hard muscular texture through +contraction of the muscles; hence the hard voice. It is plain that the +natural voice is an index to the character. If the imagination and +soul are cultivated, the voice will gain in richness and fulness. If, +in reading that which expresses the sublime, noble, and grand, the +imagination is kindled, the voice will express by its vibrations the +largeness of our conception. This full, rich voice is called the +_orotund_: + + These are the gardens of the Desert, these + The unshorn fields, boundless and beautiful, + For which the speech of England has no name-- + The prairies. + + For as the heaven is high above the earth, so great is his mercy + toward them that fear him. + As far as the east is from the west, so far hath he removed our + transgressions from us. + +In thinking of what is stern, severe, harsh, cruel, or base, the +muscles of the throat contract and produce the rigid, throaty tone +known as the _guttural_: + + On what compulsion must I? Tell me that. + + "Curse on him!" quoth false Sextus + "Will not the villain drown? + But for this stay, ere close of day, + We should have sacked the town!" + +Certain states of mind, such as awe, caution, secrecy, fear, etc., +produce in greater or less degree an aspirated or "breathy" quality, +called the _whisper_ or _aspirate_: + + When Jubal struck the chorded shell, + His listening brethren stood around, + And, wondering, on their faces fell + To worship that celestial sound. + + The red rose cries, "She is near, she is near;" + And the white rose weeps, "She is late;" + The larkspur listens, "I hear, I hear;" + And the lily whispers, "I wait." + +The atmosphere of hush and repose expresses itself by a partial +whisper: + + Ne'er saw I, never felt, a calm so deep! + The river glideth at his own sweet will: + Dear God! the very houses seem asleep; + And all that mighty heart is lying still! + +It must not be supposed that the whisper is always associated with +moderate or with weak force as in the preceding examples. Strong force +is used with the whisper to express intensity of feeling or vehemence: + + Whispering with white lips: the foe! they come! they come! + + Hush, I say, hush! + +Other emotional states have their corresponding qualities of voice, +such, for example, as the quality of oppressed feeling and the quality +expressing agitation. + +To conclude: it must be carefully borne in mind that the reader should +never strive to produce a certain quality apart from the emotion which +should precede. By force alone, for example, he will succeed in +producing mere sound without the quality. Nor are any of the examples +given above, in dealing with the various elements of vocal expression, +intended for practice in voice gymnastics apart from the preliminary +state of which they are the vocal expression. They are intended merely +as illustrations of the laws which govern correct speech. + + * * * * * + +THE HIGH SCHOOL READER + +THE BANNER OF ST. GEORGE + +Words by Shapcott Wensley: music by Sir Edward Elgar + + + It comes from the misty ages, + The banner of England's might, + The blood-red cross of the brave St. George, + That burns on a field of white! + It speaks of the deathless heroes 5 + On fame's bright page inscrolled, + And bids great England ne'er forget + The glorious deeds of old! + + O'er many a cloud of battle + The banner has floated wide; 10 + It shone like a star o'er the valiant hearts + That dashed the Armada's pride! + For ever amid the thunders + The sailor could do or die, + While tongues of flame leaped forth below, 15 + And the flag of St. George was high! + + O ne'er may the flag beloved + Unfurl in a strife unblest, + But ever give strength to the righteous arm, + And hope to the hearts oppressed! 20 + It says to the passing ages: + "Be brave if your cause be right, + Like the soldier saint whose cross of red + Still burns on your banner white!" + + Great race, whose empire of splendour 25 + Has dazzled the wondering world! + May the flag that floats o'er thy wide domains + Be long to all winds unfurled! + Three crosses in concord blended, + The banner of Britain's might! 30 + But the central gem of the ensign fair + Is the cross of the dauntless Knight! + + --_By permission of the publishers, Novello & Co._ + + + PREPARATORY--Divide the poem into two parts, giving to + each part a descriptive title. + + What feelings are aroused by this poem? + + What lines in stanzas i and iv call up a mental picture + of the flag? + + What three phrases in stanza i suggest the important + ideas to be associated with the flag? How does the voice + indicate the importance of these ideas? (Introduction, + p. 8.) + + Of what phrases in stanza i is stanza ii only an + elaboration? + + What wish is contained in stanza iii? What sentences + express it? + + What additional idea does stanza iv add to this wish? + + STAR, VALIANT, ARMADA, CENTRAL. Make a distinction in + the sound of the letter _a_ in these words, and + elsewhere in the poem. (Appendix A, 1.) + + GEORGE, CROSS, FORGET, FORTH, CONCORD. What sound has + the letter _o_ in each word? (Appendix A, 1.) + + Articulate with energy the final consonantal + combinations of all such words as: ENGLAND'S, BURNS, + SPEAKS, INSCROLLED, FLOATED, HEARTS, DASHED, LEAPED, + UNBLEST, STRENGTH, DAZZLED, UNFURLED, BLENDED. (Appendix + A, 3.) + + * * * * * + + +JEAN VALJEAN AND THE BISHOP + +From "Les Misérables" + + +At the bishop's house, his housekeeper, Mme. Magloire was saying: + +"We say that this house is not safe at all; and, if Monseigneur will +permit me, I will go on and tell the locksmith to come and put the old +bolts in the door again. I say, than a door which opens by a latch on +the outside to the first comer, nothing could be more horrible; and +then Monseigneur has the habit of always saying: 'Come in,' even at +midnight. But, my goodness, there is no need to even ask leave----" + +At this moment there was a violent knock on the door. + +"Come in!" said the bishop. + +The door opened. + +It opened quickly, quite wide, as if pushed by some one boldly and +with energy. + +A man entered. + +That man we know already; it was the traveller we have seen wandering +about in search of a lodging. + +He came in, took one step, and paused, leaving the door open behind +him. He had his knapsack on his back, his stick in his hand, and a +rough, hard, and fierce look in his eyes. He was hideous. + +The bishop looked upon the man with a tranquil eye. As he was opening +his mouth to speak, doubtless to ask the stranger what he wanted, the +man, leaning with both hands on his club, glanced from one to another +in turn, and, without waiting for the bishop to speak, said, in a +loud voice: + +"See here! my name is Jean Valjean. I am a convict; I have been +nineteen years in the galleys. Four days ago I was set free, and +started for Pontarlier; during these four days I have walked from +Toulon. To-day I have walked twelve leagues. When I reached this place +this evening I went to an inn, and they sent me away on account of my +yellow passport, which I had shown at the Mayor's office, as was +necessary. I went to another inn; they said, 'Get out!' It was the +same with one as with another; nobody would have me. I went to the +prison and the turnkey would not let me in. I crept into a dog kennel, +the dog bit me, and drove me away as if he had been a man; you would +have said that he knew who I was. I went into the fields to sleep +beneath the stars, there were no stars. I thought it would rain, and +there was no good God to stop the drops, so I came back to the town to +get the shelter of some doorway. There in the square I laid down upon +a stone; a good woman showed me your house, and said: 'Knock there!' I +have knocked. What is this place? Are you an inn? I have money; my +savings, one hundred and nine francs and fifteen sous, which I have +earned in the galleys by my work for nineteen years. I will pay. What +do I care? I have money, I am very tired--twelve leagues on foot--and +I am so hungry. Can I stay?" + +"Mme. Magloire," said the bishop, "put on another plate." + +The man took three steps and came near the lamp which stood on the +table. "Stop," he exclaimed; as if he had not been understood; "not +that, did you understand me? I am a galley slave--a convict--I am just +from the galleys." He drew from his pocket a large sheet of yellow +paper, which he unfolded. "There is my passport, yellow, as you see. +That is enough to have me kicked out wherever I go. Will you read it? +See, here is what they have put on my passport: Jean Valjean, a +liberated convict; has been nineteen years in the galleys; five years +for burglary; fourteen years for having attempted four times to +escape. This man is very dangerous. There you have it! Everybody has +thrust me out; will you receive me? Is this an inn? Can you give me +something to eat and a place to sleep? Have you a stable?" + +"Mme. Magloire," said the bishop, "put some sheets on the bed in the +alcove." + +The bishop turned to the man: + +"Monsieur, sit down and warm yourself; we are going to take supper +presently, and your bed will be made ready while you sup." + +At last the man quite understood; his face, the expression of which +till then had been gloomy, and hard, now expressed stupefaction, doubt +and joy, and became absolutely wonderful. He began to stutter like a +madman. + +"True? What? You will keep me? you won't drive me away--a convict? You +call me monsieur and don't say, 'Get out, dog!' as everybody else +does. I shall have a supper! a bed like other people, with mattress +and sheets--a bed! It is nineteen years that I have not slept on a +bed. You are good people! Besides, I have money; I will pay well. I +beg your pardon, M. Innkeeper, what is your name? I will pay all you +say. You are a fine man. You are an innkeeper, is it not so?" + +"I am a priest who lives here," said the bishop. + +"A priest," said the man. "Oh, noble priest! Then you do not ask any +money?" + +"No," said the bishop, "keep your money. How much have you?" + +"One hundred and nine francs and fifteen sous," said the man. + +"One hundred and nine francs and fifteen sous. And how long did it +take you to earn that?" + +"Nineteen years." + +"Nineteen years!" + +The bishop sighed deeply, and shut the door, which had been left wide +open. + +Mme. Magloire brought in a plate and set it on the table. + +"Mme Magloire," said the bishop, "put this plate as near the fire as +you can." Then turning toward his guest he added: "The night wind is +raw in the Alps; you must be cold, monsieur." + +Every time he said the word _monsieur_ with his gentle, solemn and +heartily hospitable voice, the man's countenance lighted up. +_Monsieur_ to a convict is a glass of water to a man dying of thirst +at sea. + +"The lamp," said the bishop, "gives a very poor light." + +Mme. Magloire understood him, and, going to his bedchamber, took from +the mantel the two silver candlesticks, lighted the candles and placed +them on the table. + +"M. le Curé," said the man, you are good; "you don't despise me. You +take me into your house; you light your candles for me, and I haven't +hid from you where I come from, and how miserable I am." + +The bishop touched his hand gently and said: "You need not tell me who +you are. This is not my house; it is the house of Christ. It does not +ask any comer whether he has a name, but whether he has an affliction. +You are suffering; you are hungry and thirsty; be welcome. And do not +thank me; do not tell me that I take you into my house. This is the +home of no man except him who needs an asylum. I tell you, who are a +traveller, that you are more at home here than I; whatever is here is +yours. What need have I to know your name? Besides, before you told +me, I knew it." + +The man opened his eyes in astonishment. + +"Really? You knew my name?" + +"Yes," answered the bishop, "your name is my brother." + +"Stop, stop, M. le Curé," exclaimed the man, "I was famished when I +came in, but you are so kind that now I don't know what I am; that is +all gone." + +The bishop looked at him again and said: + +"You have seen much suffering?" + +"Oh, the red blouse, the ball and chain, the plank you sleep on, the +heat, the cold, the galley's screw, the lash, the double chain for +nothing, the dungeon for a word--even when sick in bed, the chain. The +dogs, the dogs are happier! nineteen years! and I am forty-six, and +now a yellow passport. That is all." + +"Yes," answered the bishop, "you have left a place of suffering. But +listen, there will be more joy in heaven over the tears of a repentant +sinner than over the white robes of a hundred good men. If you are +leaving that sorrowful place with hate and anger against men, you are +worthy of compassion; if you leave it with good-will, gentleness, and +peace, you are better than any of us." + + --_Victor Hugo_ + + + This lesson can be used as an exercise on Pause + springing from (1) Visualization and Grouping, + (Introduction, pp. 7 and 8); (2) Narrative which breaks + in upon the direct discourse. (Introduction, p. 24.) + + THAT MAN WE KNOW ALREADY. (Introduction, p. 11.) + + "SEE HERE ... CAN I STAY?" This paragraph is an exercise + on Emphasis. Make a list of the words which are emphatic + (1) because they express new and important ideas, (2) + because of contrast. Why is GALLEYS not emphatic? Where + is the emphasis placed in that sentence? + + * * * * * + + +THE WELL OF ST. KEYNE + + + A well there is in the west country, + And a clearer one never was seen; + There is not a wife in the west country + But has heard of the well of St. Keyne. + + An oak and an elm-tree stand beside, 5 + And behind doth an ash-tree grow, + And a willow from the bank above + Droops to the water below. + + A traveller came to the well of St. Keyne; + Joyfully he drew nigh, 10 + For from cock-crow he had been travelling, + And there was not a cloud in the sky. + + He drank of the water so cool and clear, + For thirsty and hot was he; + And he sat down upon the bank, 15 + Under the willow-tree. + + There came a man from the house hard by, + At the well to fill his pail; + On the well-side he rested it, + And he bade the stranger hail. 20 + + "Now, art thou a bachelor, stranger?" quoth he; + "For, an if thou hast a wife, + The happiest draught thou hast drank this day + That ever thou didst in thy life. + + "Or has thy good woman, if one thou hast, 25 + Ever here in Cornwall been? + For, an if she have, I'll venture my life + She has drank of the well of St. Keyne." + + "I have left a good woman who never was here," + The stranger he made reply; 30 + "But that my draught should be the better for that, + I pray you answer me why." + + "St. Keyne," quoth the Cornish-man, many a time + Drank of this crystal well; + And before the angel summoned her, 35 + She laid on the water a spell,-- + + "If the husband of this gifted well + Shall drink before his wife, + A happy man thenceforth is he, + For he shall be master for life; 40 + + "But, if the wife should drink of it first, + God help the husband then!"-- + The stranger stooped to the well of St. Keyne, + And drank of the water again. + + "You drank of the well, I warrant, betimes?" 45 + He to the Cornish-man said; + But the Cornish-man smiled as the stranger spake, + And sheepishly shook his head:-- + + "I hastened, as soon as the wedding was done, + And left my wife in the porch; 50 + But i' faith she had been wiser than me, + For she took a bottle to church." + + --_Robert Southey_ + + + PREPARATORY.--Select the lines that (_a_) describe the + scene, (_b_) indicate the action, (_c_) give the + dialogue. + + Show by recasting this ballad into dramatic form that it + is a miniature drama. + + Give examples of Pause springing from (_a_) + Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (_b_) + narrative which interrupts direct discourse, in ll. 21, + 29, 33, 45. + + Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14, + 21, 29, 31, 38, 45, 46? Give your reasons and show how + they are made emphatic. (Introduction, p. 30.) + + l. 3. What is the Inflection on 'country,' l. 3? + (Introduction, p. 17.) + + ll. 37-38. Note the Grouping and Pause. (Introduction, + p. 12.) + + * * * * * + + +FAITH, HOPE AND CHARITY + +1 Corinthians xiii + + +Though I speak with the tongues of men and of angels, and have not +charity, I am become as sounding brass, or a tinkling cymbal. And +though I have the gift of prophecy, and understand all mysteries, and +all knowledge; and though I have all faith, so that I could remove +mountains, and have not charity, I am nothing. And though I bestow all +my goods to feed the poor, and though I give my body to be burned, and +have not charity, it profiteth me nothing. + +Charity suffereth long, and is kind; charity envieth not; charity +vaunteth not itself, is not puffed up, doth not behave itself +unseemly, seeketh not her own, is not easily provoked, thinketh no +evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth +all things, believeth all things, hopeth all things, endureth all +things. + +Charity never faileth: but whether there be prophecies, they shall +fail; whether there be tongues, they shall cease; whether there be +knowledge, it shall vanish away. For we know in part, and we prophesy +in part. But when that which is perfect is come, then that which is in +part shall be done away. When I was a child, I spake as a child, I +understood as a child, I thought as a child: but when I became a man I +put away childish things. For now we see through a glass, darkly; but +then face to face: now I know in part; but then shall I know even as +also I am known. + +And now abideth faith, hope and charity, these three; +but the greatest of these is charity. + + + CHARITY, SUFFERETH, PROFITETH. (Appendix A, 8 and 3.) + + Show by examples from this selection how completeness + and incompleteness of thought affect the Inflection. + (Introduction, pp. 15 and 16.) + + What Inflection does a negative statement usually + require? Give examples from the second paragraph. + (Introduction, p. 17.) + + Give examples, from the second paragraph, of momentary + completeness. (Introduction, pp. 15 and 16.) + + Select the words which are emphatic because they express + (_a_) new and important ideas. (_b_) contrast. + + BEARETH ALL THINGS, ETC. How may the repetition of a + word or phrase affect the Emphasis? (Introduction, pp. + 31 and 32.) + + How are the principal clauses in the first three + sentences made prominent? (Introduction, p. 33.) + + * * * * * + + +THE LEGEND BEAUTIFUL + +From "Tales of a Wayside Inn" + + + "Hadst thou stayed, I must have fled!" + That is what the Vision said. + + In his chamber all alone, + Kneeling on the floor of stone, + Prayed the Monk in deep contrition 5 + For his sins of indecision, + Prayed for greater self-denial + In temptation and in trial; + It was noonday by the dial, + And the Monk was all alone. 10 + + Suddenly, as if it lightened, + An unwonted splendour brightened + All within him and without him + In that narrow cell of stone; + And he saw the Blessed Vision 15 + Of our Lord, with light Elysian + Like a vesture wrapped about Him, + Like a garment round Him thrown. + Not as crucified and slain, + Not in agonies of pain, 20 + Not with bleeding hands and feet, + Did the Monk his Master see; + But as in the village street, + In the house or harvest-field, + Halt and lame and blind He healed, 25 + When He walked in Galilee. + + In an attitude imploring, + Hands upon his bosom crossed, + Wondering, worshipping, adoring, + Knelt the Monk in rapture lost. 30 + Lord, he thought, in heaven that reignest, + Who am I, that thus Thou deignest + To reveal Thyself to me? + Who am I, that from the centre + Of Thy glory Thou shouldst enter 35 + This poor cell, my guest to be? + + Then amid his exaltation, + Loud the convent bell appalling, + From its belfry calling, calling, + Rang through court and corridor 40 + With persistent iteration + He had never heard before. + It was now the appointed hour + When alike in shine or shower, + Winter's cold or summer's heat, 45 + To the convent portals came + All the blind and halt and lame, + All the beggars of the street, + For their daily dole of food + Dealt them by the brotherhood; 50 + And their almoner was he + Who upon his bended knee, + Rapt in silent ecstasy + Of divinest self-surrender, + Saw the Vision and the Splendour. 55 + + Deep distress and hesitation + Mingled with his adoration; + Should he go or should he stay? + Should he leave the poor to wait + Hungry at the convent gate, 60 + Till the Vision passed away? + Should he slight his radiant guest, + Slight this visitant celestial, + For a crowd of ragged, bestial + Beggars at the convent gate? 65 + Would the Vision there remain? + Would the Vision come again? + Then a voice within his breast + Whispered, audible and clear + As if to the outward ear: 70 + "Do thy duty; that is best; + Leave unto thy Lord the rest!" + + Straightway to his feet he started, + And with longing look intent + On the Blessed Vision bent, 75 + Slowly from his cell departed, + Slowly on his errand went. + + At the gate the poor were waiting, + Looking through the iron grating, + With that terror in the eye 80 + That is only seen in those + Who amid their wants and woes + Hear the sound of doors that close, + And of feet that pass them by; + Grown familiar with disfavour, 85 + Grown familiar with the savour + Of the bread by which men die! + But to-day, they knew not why, + Like the gate of Paradise + Seemed the convent gate to rise, 90 + Like a sacrament divine + Seemed to them the bread and wine. + In his heart the Monk was praying, + Thinking of the homeless poor, + What they suffer and endure; 95 + What we see not, what we see; + And the inward voice was saying: + "Whatsoever thing thou doest + To the least of Mine and lowest, + That thou doest unto Me!" 100 + + Unto Me! but had the Vision + Come to him in beggar's clothing, + Come a mendicant imploring, + Would he then have knelt adoring, + Or have listened with derision, 105 + And have turned away with loathing? + Thus his conscience put the question, + Full of troublesome suggestion, + As at length, with hurried pace, + Toward his cell he turned his face, 110 + And beheld the convent bright + With a supernatural light, + Like a luminous cloud expanding + Over floor and wall and ceiling. + But he paused with awestruck feeling 115 + At the threshold of his door, + For the Vision still was standing + As he left it there before, + When the convent bell appalling, + From its belfry calling, calling, 120 + Summoned him to feed the poor. + Through the long hour intervening + It had waited his return, + And he felt his bosom burn, + Comprehending all the meaning, 125 + When the Blessed Vision said, + "Hadst thou stayed, I must have fled!" + + --_Henry Wadsworth Longfellow_ + + + HADST, LIGHTENED, BRIGHTENED, REIGNEST, DEIGNEST, + DIVINEST (Appendix, A, 3.) + + ll. 29, 38-39, 78-79. (Appendix, A, 4.) + + How can the reader show that the first two lines are + merely introductory? + + Divide the poem proper into five parts, giving to each + part a suggestive title. How can the reader make each + part stand out by itself? (Introduction, p. 10.) + + Select the principal statement in each stanza and show + how the voice may make it prominent. (Introduction, p. + 33.) + + What Inflection is placed on the principal statement? + What Inflection on the subordinate phrases and clauses? + (Introduction, p. 15.) + + Select examples of momentary completeness from the poem. + + ll. 19-22. What is the Inflection on these negative + phrases? (Introduction, pp. 17 and 18.) + + What is the Inflection on the various questions + throughout the poem? (Introduction, p. 18.) + + * * * * * + + +THE VICAR'S FAMILY USE ART + +From "The Vicar of Wakefield" + + +1. Whatever might have been Sophia's sensations, the rest of the +family was easily consoled for Mr. Burchell's absence by the company +of our landlord, whose visits now became more frequent, and longer. +Though he had been disappointed in procuring my daughters the +amusements of the town, as he designed, he took every opportunity of +supplying them with those little recreations which our retirement +would admit of. He usually came in the morning; and while my son and I +followed our occupations abroad, he sat with the family at home, and +amused them by describing the town, with every part of which he was +particularly acquainted. He could repeat all the observations that +were retailed in the atmosphere of the play-houses, and had all the +good things of the high wits by rote, long before they made their way +into the jest-books. The intervals between conversation were employed +in teaching my daughters piquet, or sometimes in setting my two little +ones to box, to make them _sharp_, as he called it; but the hopes of +having him for a son-in-law, in some measure blinded us to all his +imperfections. It must be owned, that my wife laid a thousand schemes +to entrap him; or, to speak it more tenderly, used every art to +magnify the merit of her daughter. If the cakes at tea ate short and +crisp, they were made by Olivia; if the gooseberry wine was well knit, +the gooseberries were of her gathering; it was her fingers that gave +the pickles their peculiar green; and in the composition of a pudding, +it was her judgment that mixed the ingredients. Then the poor woman +would sometimes tell the Squire that she thought him and Olivia +extremely of a size, and would bid both stand up to see which was +tallest. These instances of cunning, which she thought impenetrable, +yet which everybody saw through, were very pleasing to our benefactor, +who gave every day some new proofs of his passion, which, though they +had not risen to proposals of marriage, yet we thought fell but little +short of it; and his slowness was attributed sometimes to native +bashfulness, and sometimes to his fear of offending his uncle. An +occurrence, however, which happened soon after, put it beyond a doubt +that he designed to become one of our family; my wife even regarded it +as an absolute promise. + +2. My wife and daughters happening to return a visit at neighbour +Flamborough's, found that family had lately got their pictures drawn +by a limner, who travelled the country, and took likenesses for +fifteen shillings a head. As this family and ours had long a sort of +rivalry in point of taste, our spirit took the alarm at this stolen +march upon us; and notwithstanding all I could say, and I said much, +it was resolved that we should have our pictures done too. Having, +therefore, engaged the limner--for what could I do?--our next +deliberation was to shew the superiority of our taste in the +attitudes. As for our neighbour's family, there were seven of them, +and they were drawn with seven oranges--a thing quite out of taste, no +variety in life, no composition in the world. We desired to have +something in a brighter style; and after many debates, at length came +to an unanimous resolution of being drawn together, in one large +historical family piece. This would be cheaper, since one frame would +serve for all, and it would be infinitely more genteel; for all +families of any taste were now drawn in the same manner. As we did not +immediately recollect an historical subject to hit us, we were +contented each with being drawn as independent historical figures. My +wife desired to be represented as Venus, and the painter was desired +not to be too frugal of his diamonds in her stomacher and hair. Her +two little ones were to be as Cupids by her side; while I, in my gown +and band, was to present her with my books on the Whistonian +controversy. Olivia would be drawn as an Amazon, sitting upon a bank +of flowers, dressed in a green joseph richly laced with gold, and a +whip in her hand. Sophia was to be a shepherdess, with as many sheep +as the painter could put in for nothing; and Moses was to be dressed +out with an hat and white feather. Our taste so much pleased the +Squire that he insisted on being put in as one of the family, in the +character of Alexander the Great, at Olivia's feet. This was +considered by us all as an indication of his desire to be introduced +into the family, nor could we refuse his request. The painter was +therefore set to work, and as he wrought with assiduity and +expedition, in less than four days the whole was completed. The piece +was large, and it must be owned he did not spare his colours; for +which my wife gave him great encomiums. We were all perfectly +satisfied with his performance; but an unfortunate circumstance which +had not occurred till the picture was finished, now struck us with +dismay. It was so very large that we had no place in the house to fix +it. How we all came to disregard so material a point is inconceivable; +but certain it is, we had been all greatly remiss. The picture, +therefore, instead of gratifying our vanity, as we hoped, leaned, in a +most mortifying manner, against the kitchen wall, where the canvas was +stretched and painted, much too large to be got through any of the +doors, and the jest of all our neighbours. One compared it to Robinson +Crusoe's long-boat, too large to be removed; another thought it more +resembled a reel in a bottle; some wondered how it could be got out. +but still more were amazed how it ever got in. + +3. But though it excited the ridicule of some, it effectually raised +more malicious suggestions in many. The Squire's portrait being found +united with ours, was an honour too great to escape envy. Scandalous +whispers began to circulate at our expense, and our tranquillity was +continually disturbed by persons, who came as friends, to tell us what +was said of us by enemies. These reports we always resented with +becoming spirit; but scandal ever improves by opposition. + +4. We once again, therefore, entered into a consultation upon +obviating the malice of our enemies, and at last came to a resolution +which had too much cunning to give me entire satisfaction. It was +this: as our principal object was to discover the honour of Mr. +Thornhill's addresses, my wife undertook to sound him, by pretending +to ask his advice in the choice of an husband for her eldest daughter. +If this was not found sufficient to induce him to a declaration, it +was then resolved to terrify him with a rival. To this last step, +however, I would by no means give my consent, till Olivia gave me the +most solemn assurances that she would marry the person provided to +rival him upon this occasion, if he did not prevent it by taking her +himself. Such was the scheme laid, which, though I did not strenuously +oppose, I did not entirely approve. + +5. The next time, therefore, that Mr. Thornhill came to see us, my +girls took care to be out of the way, in order to give their mamma an +opportunity of putting her scheme in execution; but they only retired +to the next room, whence they could overhear the whole conversation. +My wife artfully introduced it, by observing, that one of the Miss +Flamboroughs was like to have a very good match of it in Mr. Spanker. +To this the Squire assenting, she proceeded to remark, that they who +had warm fortunes were always sure of getting good husbands: "But +heaven help," continued she, "the girls that have none! What signifies +beauty, Mr. Thornhill? or what signifies all the virtue, and all the +qualifications in the world, in this age of self-interest? It is not, +What is she? but, What has she? is all the cry." + +6. "Madam," returned he, "I highly approve the justice, as well as the +novelty, of your remarks, and if I were a king, it should be +otherwise. It should then, indeed, be fine times for the girls without +fortunes: our two young ladies should be the first for whom I would +provide." + +7. "Ah, sir," returned my wife, "you are pleased to be facetious: but +I wish I were a queen, and then I know where my eldest daughter +should look for an husband. But now that you have put it into my head, +seriously, Mr. Thornhill, can't you recommend me a proper husband for +her? She is now nineteen years old, well grown and well educated, and, +in my humble opinion, does not want for parts." + +8. "Madam," replied he, "if I were to choose, I would find out a +person possessed of every accomplishment that can make an angel happy. +One with prudence, fortune, taste, and sincerity; such, madam, would +be, in my opinion, the proper husband."--"Ay, sir," said she, "but do +you know of any such person?"--"No, Madam," returned he, "it is +impossible to know any person that deserves to be her husband: she's +too great a treasure for one man's possession: she's a goddess! Upon +my soul, I speak what I think, she's an angel!"--"Ah, Mr. Thornhill, +you only flatter my poor girl: but we have been thinking of marrying +her to one of your tenants, whose mother is lately dead, and who wants +a manager; you know whom I mean, Farmer Williams; a warm man, Mr. +Thornhill, able to give her good bread; and who has several times made +her proposals" (which was actually the case); "but, sir," concluded +she, "I should be glad to have your approbation of our choice."--"How, +Madam," replied he, "my approbation!--my approbation of such a choice! +Never. What! Sacrifice so much beauty, and sense, and goodness, to a +creature insensible of the blessing! Excuse me, I can never approve of +such a piece of injustice. And I have my reasons."--"Indeed, sir," +cried Deborah, "If you have your reasons, that's another affair; but I +should be glad to know those reasons."--"Excuse me, Madam," returned +he, "they lie too deep for discovery" (laying his hand upon his +bosom); "they remain buried, rivetted here." + +9. After he was gone, upon a general consultation, we could not tell +what to make of these fine sentiments. Olivia considered them as +instances of the most exalted passion; but I was not quite so +sanguine; yet, whatever they might portend, it was resolved to +prosecute the scheme of Farmer Williams, who, from my daughter's first +appearance in the country, had paid her his addresses. + + --_Oliver Goldsmith_ + + + ABSOLUTE, RESOLUTION, INTRODUCED, (Appendix, A, 2.) + VISITS, NATIVE, INFINITELY, CUPIDS, VANITY, GRATIFYING, + MORTIFYING, SANGUINE. (Appendix, A, 8.) UNFORTUNATE, + FORTUNE, VIRTUE. (Appendix, A, 9.) + + Show by numerous examples from this selection that the + dependent clause of a sentence takes the rising + Inflection--whilst the principal clause takes the + falling. Which of the two has the heavier shading? + (Introduction, p. 33.) + + How are such parenthetical clauses as AS HE DESIGNED, in + the second sentence, kept in the background? + (Introduction, pp. 24 and 27.) Give similar examples + from this selection. + + What Inflection is placed on the rhetorical questions in + par. v? (Introduction, p. 19.) + + How is the effect of the climax in par. viii brought + out? (Introduction, p. 31.) + + * * * * * + + +THE SOLDIER'S DREAM + + + Our bugles sang truce--for the night-cloud had lowered + And the sentinel stars set their watch in the sky; + And thousands had sunk on the ground overpowered, + The weary to sleep, and the wounded to die. + + When reposing that night on my pallet of straw, 5 + By the wolf-scaring faggot that guarded the slain, + At the dead of the night a sweet vision I saw, + And thrice ere the morning I dreamt it again. + + Methought from the battlefield's dreadful array, + Far, far I had roamed on a desolate track; 10 + 'Twas autumn--and sunshine arose on the way + To the home of my fathers, that welcomed me back. + + I flew to the pleasant fields traversed so oft + In life's morning march, when my bosom was young; + I heard my own mountain-goats bleating aloft, 15 + And knew the sweet strain that the corn-reapers sung. + + Then pledged we the wine-cup, and fondly I swore + From my home and my weeping friends never to part; + My little ones kissed me a thousand times o'er, + And my wife sobbed aloud in her fulness of heart. 20 + + "Stay, stay with us--rest, thou art weary and worn;" + And fain was their war-broken soldier to stay; + But sorrow returned with the dawning of morn, + And the voice in my dreaming ear melted away. + + --_Thomas Campbell_ + + + PREPARATORY.--Describe the picture suggested by this + poem. + + Compare the soldier's dream with the vision of _The + Private of the Buffs_ in the hour of danger, or with + _The Slave's Dream_ in Longfellow's poem. + + Divide the poem into three distinct parts, giving to + each a descriptive title. + + Expand the thoughts contained in the last two lines of + the poem, using, if possible, illustrations from + literature or real life. What feelings do these lines + arouse? + + Observe the difficulties of Articulation in ll. 1, 2, 13 + and 16. (Appendix A, 6 and 3.) + + How can each part of the poem be made to stand out by + itself? (Introduction, p. 10.) + + 2. SENTINEL STARS. Select other phrases which call up + mental images. + + How does the process of mental imagery affect the Time? + (Introduction, p. 12.) + + 3. How can it be shown that OVERPOWERED and GROUND are + disconnected? (Introduction, p. 7.) + + 4. Why do we pause after WEARY AND WOUNDED? + (Introduction, p. 10.) + + 6. Why is there no pause after FAGGOT? (Introduction, p. + 11.) + + What lines of stanza ii contain the leading thought? How + does the voice indicate this? (Introduction, p. 33.) + + 9. How is the mind prepared for the description of the + dream? + + 21. What feeling does the voice express? Does Imitation + play any part here? (Introduction, pp. 5 and 6.) + + 22. Expand the thought of this line, and show how your + thinking affects the Time. (Introduction, p. 14.) + Compare with the Time of l. 21, and explain the + difference. + + * * * * * + + +VAN ELSEN + + + God spake three times and saved Van Elsen's soul; + He spake by sickness first, and made him whole; + Van Elsen heard him not, + Or soon forgot. + + God spake to him by wealth; the world outpoured 5 + Its treasures at his feet, and called him lord; + Van Elsen's heart grew fat + And proud thereat. + + God spake the third time when the great world smiled, + And in the sunshine slew his little child; 10 + Van Elsen like a tree + Fell hopelessly. + + Then in the darkness came a voice which said, + "As thy heart bleedeth, so My heart hath bled; + As I have need of thee 15 + Thou needest Me." + + That night Van Elsen kissed the baby feet, + And kneeling by the narrow winding-sheet + Praised him with fervent breath + Who conquered death. 20 + + _-Frederick George Scott_ (_By permission_) + + + By what means is the introductory line kept distinct + from the rest of the poem? (Introduction, p. 10.) + + How does the reader indicate the comparatively long + space of time which elapses between the events of the + first, second, and third stanzas respectively? + (Introduction, p. 9.) + + Show that each of the first three stanzas falls + according to meaning, into two parts. How does the + reader indicate this division? + + Why should the last two stanzas, in this respect, be + together treated as one of the preceding? Illustrate by + means of Pause. + + * * * * * + + +PIBROCH OF DONUIL DHU + + + Pibroch of Donuil Dhu, + Pibroch of Donuil, + Wake thy wild voice anew, + Summon Clan Conuil. + Come away, come away, 5 + Hark to the summons! + Come in your war array, + Gentles and commons. + + Come from deep glen, and + From mountains so rocky, 10 + The war-pipe and pennon + Are at Inverlocky. + Come every hill-plaid, and + True heart that wears one, + Come every steel blade, and 15 + Strong hand that bears one. + + Leave untended the herd, + The flock without shelter; + Leave the corpse uninterr'd + The bride at the altar; 20 + Leave the deer, leave the steer, + Leave nets and barges: + Come with your fighting gear, + Broadswords and targes. + + Come as the winds come, when 25 + Forests are rended, + Come as the waves come, when + Navies are stranded; + Faster come, faster come, + Faster and faster, 30 + Chief, vassal, page and groom, + Tenant and master. + + Fast they come, fast they come; + See how they gather! + Wide waves the eagle plume, 35 + Blended with heather. + Cast your plaids, draw your blades, + Forward each man set! + Pibroch of Donuil Dhu + Knell for the onset! 40 + + --_Sir Walter Scott_ + + + HERD, UNINTERR'D. What sound has the vowel _e_? + (Appendix A, 1.) + + GENTLES AND COMMONS; NETS AND BARGES; FIGHTING GEAR; + BROADSWORDS AND TARGES; FORESTS ARE RENDED; NAVIES ARE + STRANDED. (Appendix A, 3 and 6.) + + For Pause read (Introduction, pp. 7 and 8.) + + How is the gradually increasing excitement and energy + indicated in Time, Pitch, and Force? (Introduction, pp. + 13, 23, and 27.) + + * * * * * + + +THE DAY IS DONE + + + The day is done, and the darkness + Falls from the wings of Night, + As a feather is wafted downwards + From an eagle in its flight. + + I see the lights of the village 5 + Gleam through the rain and the mist, + And a feeling of sadness comes o'er me, + That my soul cannot resist: + + A feeling of sadness and longing, + That is not akin to pain, 10 + And resembles sorrow only + As the mist resembles the rain. + + Come, read to me some poem, + Some simple and heartfelt lay, + That shall soothe this restless feeling, 15 + And banish the thoughts of day. + + Not from the grand old masters, + Not from the bards sublime, + Whose distant footsteps echo + Through the corridors of Time. 20 + + For, like strains of martial music, + Their mighty thoughts suggest + Life's endless toil and endeavour; + And to-night I long for rest. + + Read from some humbler poet, 25 + Whose songs gushed from his heart, + As showers from the clouds of summer, + Or tears from the eyelids start; + + Who, through long days of labour, + And nights devoid of ease, 30 + Still heard in his soul the music + Of wonderful melodies. + + Such songs have power to quiet + The restless pulse of care, + And come like the benediction 35 + That follows after prayer. + + Then read from the treasured volume + The poem of thy choice, + And lend to the rhyme of the poet + The beauty of thy voice. 40 + + And the night shall be filled with music, + And the cares that infest the day, + Shall fold their tents, like the Arabs, + And as silently steal away. + + --_Henry Wadsworth Longfellow_ + + + What is the atmosphere of this poem? Compare it in this + respect with _Pibroch of Donuil Dhu_. + + How does it differ from the latter in expression, so far + as Time, Pitch, and Force are concerned? (Introduction, + pp. 13, 22 and 26.) + + WAFTED, AFTER, MASTERS, POEM, CORRIDORS, SORROW. + (Appendix A, 1.) + + Observe the difficulties of Articulation in ll. 3, 11, + 15, 18, 22, 26, 28 and 31. (Appendix A, 3 and 6.) + + * * * * * + + +THE SCHOOLMASTER AND THE BOYS + +From "The Old Curiosity Shop" + + +1. The schoolmaster had scarcely arranged the room in due order, and +taken his seat behind his desk, when a white-headed boy with a +sunburnt face appeared at the door, and stopping there to make a +rustic bow, came in and took his seat upon one of the forms. The +white-headed boy then put an open book, astonishingly dog-eared, upon +his knees, and thrusting his hands into his pockets, began counting +the marbles with which they were filled. Soon afterwards another +white-headed little boy came straggling in, and after him a red-headed +lad, and after him two more with white heads, and then one with a +flaxen poll, and so on until there were about a dozen boys in all, +with heads of every colour but gray, and ranging in their ages from +four years old to fourteen years or more; for the legs of the youngest +were a long way from the floor when he sat upon the form, and the +eldest was a heavy, good-tempered, foolish fellow, about half a head +taller than the schoolmaster. + +2. At the top of the first form--the post of honour in the school--was +the vacant place of the little sick scholar, and at the head of the +row of pegs on which the hats and caps were hung, one peg was left +empty. No boy attempted to violate the sanctity of seat or peg, but +many a one looked from the empty spaces to the schoolmaster, and +whispered to his idle neighbour behind his hand. + +3. Then began the hum of conning over lessons and getting them by +heart, the whispered jest and stealthy game, and all the noise and +drawl of school; and in the midst of the din sat the poor +schoolmaster, the very image of meekness and simplicity, vainly +attempting to fix his mind upon the duties of the day, and to forget +his little sick friend. But the tedium of his office reminded him more +strongly of the willing scholar, and his thoughts were rambling from +his pupils--it was plain. None knew this better than the idlest boys, +who, growing bolder with impunity, waxed louder and more +daring--eating apples under the master's eye, pinching each other in +sport or malice, and cutting their autographs in the very legs of his +desk. The puzzled dunce, who stood beside it to say his lesson out of +book, looked no longer at the ceiling for forgotten words, but drew +closer to the master's elbow and boldly cast his eyes upon the page. +If the master did chance to rouse himself and seem alive to what was +going on, the noise subsided for a moment, and no eyes met his but +wore a studious and deeply humble look; but, the instant he relapsed +again, it broke out afresh, and ten times louder than before. + +4. Oh, how some of those idle fellows longed to be outside, and how +they looked at the open door and window, as if they half meditated +rushing violently out, plunging into the woods, and being wild boys +and savages from that time forth. What rebellious thoughts of the cool +river, and some shady bathing-place beneath willow-trees with branches +dipping in the water, kept tempting and urging that sturdy boy, who +sat fanning his flushed face with a spelling-book wishing himself a +whale, or a fly, or anything but a boy at school on that hot, broiling +day! + +5. Heat! Ask that other boy, whose seat being nearest the door gave +him opportunities of gliding out into the garden and driving his +companions to madness by dipping his face into the bucket of the well +and then rolling on the grass--ask him if there were ever such a day +as that, when even the bees were diving deep down into the cups of +flowers and stopping there, as if they had made up their minds to +retire from business and be manufacturers of honey no more. The day +was made for laziness, and lying on one's back in green places, and +staring at the sky till its brightness forced one to shut one's eyes +and go to sleep; and was this a time to be poring over musty books in +a dark room, slighted by the very sun itself? Monstrous! + +6. The lessons over, writing-time began; and there being but one desk +and that the master's, each boy sat at it in turn and laboured at his +crooked copy, while the master walked about. This was a quieter time; +for he would come and look over the writer's shoulder, and tell him +mildly to observe how such a letter was turned in such a copy on the +wall, and bid him take it for his model. Then he would stop and tell +them what the sick child had said last night, and how he had longed to +be among them once again; and such was the schoolmaster's gentle and +affectionate manner that the boys seemed quite remorseful that they +had worried him so much, and were absolutely quiet; eating no apples, +cutting no names, inflicting no pinches, for full two minutes +afterwards. + +7. "I think, boys," said the schoolmaster, when the clock struck +twelve, "that I shall give an extra half-holiday this afternoon." + +8. At this intelligence the boys, led on and headed by the tall boy, +raised a great shout, in the midst of which the master was seen to +speak, but could not be heard. As he held up his hand, however, in +token of his wish that they should be silent, they were considerate +enough to leave off, as soon as the longest-winded among them were +quite out of breath. + +9. "You must promise me first," said the schoolmaster, "that you 'll +not be noisy, or, at least, if you are, that you'll go away and be +so--away out of the village, I mean. I'm sure you wouldn't disturb +your old playmate and companion." + +10. There was a general murmur in the negative. + +11. "Then, pray, don't forget--there's my dear scholars," said the +schoolmaster--"what I have asked you, and do it as a favour to me. Be +as happy as you can, and likewise be mindful that you are blessed with +health. Good-bye, all!" + +12. "Thank you, sir," and "Good-bye, sir," were said a great many +times in a variety of voices, and the boys went out very slowly and +softly. + +13. But there was the sun shining and there were the birds singing, as +the sun only shines and the birds only sing on holidays and +half-holidays; there were the trees waving to all free boys to climb +and nestle among their leafy branches; the hay, entreating them to +come and scatter it in the pure air; the green corn, gently beckoning +toward wood and stream; the smooth ground rendered smoother still by +blending lights and shadows, inviting to runs and leaps, and long +walks no one knows whither. It was more than boy could bear, and with +a joyous whoop the whole company took to their heels and spread +themselves about, shouting and laughing as they went. + +14. "It's natural, thank heaven!" said the poor schoolmaster, looking +after them. "I'm very glad they didn't mind me!" + + --_Charles Dickens_ + + + Par. 1. DUE. (Appendix A 2.) + + Indicate the pauses required to allow time for the + Imaging process. Discriminate between the short and the + long pauses. (Introduction, pp. 8 and 11.) + + ORDER, DESK, DOOR. Account for the Inflection on each of + these words. (Introduction, pp. 15 and 16.) + + What clause in the first sentence should be made most + prominent? Indicate the relative value of each part of + this sentence by the Shading. (Introduction, p. 33.) + + Par. 2. What two phrases suggest the central idea of + this paragraph? + + How does the voice indicate that the parenthetical + clause is subordinate in thought? (Introduction, pp. 24 + and 33.) + + Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8 + and 2.) + + DID CHANCE. What is the emphatic word? Why? + + Read the last two sentences with a view to Perspective. + (Introduction, p. 33.) + + NO EYES MET HIS ... How does the Inflection on HIS + indicate the exact meaning? (Introduction, p. 16.) + + Par. 4. Give examples of Grouping in the last sentence + and show how Grouping affects the Pause. (Introduction, + p. 11.) + + Par. 5. WHOSE SEAT--GRASS. What is the Shading? Indicate + the pauses in this group of words giving your reason in + each case. + + What Inflection is placed on the question in the last + sentence? Account for it. (Introduction, p. 19.) + + Par. 6. WRITER'S SHOULDER, BOYS SEEMED, ABSOLUTELY. + (Appendix A, 6, 2.) + + Give examples of Grouping in the second sentence. + + BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic + word? Why? + + Par. 7. How is I THINK, BOYS connected with the rest of + the speech? Apply this principle to other examples of + direct speech interrupted by narrative. (Introduction, + p. 24.) + + Par. 9. IF YOU ARE ... BE SO. Select the two emphatic + Words and give your reason for emphasizing them, + (Introduction, p. 30.) + + * * * * * + + +THE KNIGHTS' CHORUS + +From "Idylls of the King" + + + Blow trumpet, for the world is white with May; + Blow trumpet, the long night hath roll'd away! + Blow thro' the living world--Let the King reign. + + Shall Rome or Heathen rule in Arthur's realm? + Flash brand and lance, fall battleaxe upon helm, 5 + Fall battleaxe, and flash brand! Let the King reign. + + Strike for the King and live! his knights have heard + That God hath told the King a secret word. + Fall battleaxe, and flash brand! Let the King reign. + + Blow trumpet! he will lift us from the dust! 10 + Blow trumpet! live the strength, and die the lust! + Clang battleaxe, and clash brand! Let the King reign. + + Strike for the King and die! and if thou diest, + The King is King, and ever wills the highest. + Clang battleaxe, and clash brand! Let the king reign. 15 + + Blow, for our Sun is mighty in his May! + Blow, for our Sun is mightier day by day! + Clang battleaxe, and clash brand! Let the King reign. + + The King will follow Christ, and we the King + In whom high God hath breathed a secret thing. 20 + Fall battleaxe, and flash brand! Let the King reign. + + --_Alfred Tennyson_ + + + How do you describe this poem from the standpoint of; + (1) the amount of energy, (2) excitement or nervous + tension? With what Force and in what Pitch should it be + read? (Introduction, pp. 22 and 25.) + + Account for the Time in which it is read. (Introduction, + p. 13.) + + What is the purpose of the question in stanza ii? How is + this purpose indicated by the Inflection? (Introduction, + p. 19.) + + * * * * * + + +THE NORTHERN STAR + +A Tynemouth Ship + + + The Northern Star + Sail'd over the bar + Bound to the Baltic Sea; + In the morning gray + She stretched away:-- 5 + 'Twas a weary day to me! + + For many an hour + In sleet and shower + By the lighthouse rock I stray; + And watch till dark 10 + For the wingéd bark + Of him that is far away. + + The castle's bound + I wander round + Amidst the grassy graves: 15 + But all I hear + Is the north-wind drear, + And all I see are the waves. + + The Northern Star + Is set afar! 20 + Set in the Baltic Sea: + And the waves have spread + The sandy bed + That holds my Love from me. + + --_Unknown_ + + + PREPARATORY.--Tell the story of the poem, making as + vivid as possible the scenes depicted. Compare + Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah + binding Shoes_. + + Compare this poem with _The Knights' Chorus_ from the + standpoint of the amount of energy. How is the + difference between the two indicated vocally by the + Force? (Introduction, p. 26.) + + What is the difference in nervous tension between the + last stanza and the preceding ones? What difference in + Pitch? (Introduction, p. 23.) + + Account for the Time in which it is read. (Introduction, + p. 14.) + + 11. WINGÉD, with sails + + 15. TYNEMOUTH CASTLE used as a graveyard. + + * * * * * + + +THE INDIGO BIRD + + + When I see, + High on the tip-top twig of a tree, + Something blue by the breezes stirred, + But so far up that the blue is blurred, + So far up no green leaf flies. 5 + Twixt its blue and the blue of the skies, + Then I know, ere a note be heard, + That is naught but the Indigo bird. + + Blue on the branch and blue in the sky, + And naught between but the breezes high, 10 + And naught so blue by the breezes stirred + As the deep, deep blue of the Indigo bird. + + When I hear + A song like a bird laugh, blithe and clear, + As though of some airy jest he had heard 15 + The last and the most delightful word, + A laugh as fresh in the August haze + As it was in the full-voiced April days, + Then I know that my heart is stirred + By the laugh-like song of the Indigo bird. 20 + + Joy in the branch and joy in the sky, + And naught between but the breezes high; + And naught so glad on the breezes heard + As the gay, gay note of the Indigo bird. + + --_Ethelwyn Wetherald_ (_By permission_) + + + PREPARATORY.--Suggest a picture which would serve as an + illustration for this poem. + + How does the Imaging affect the Pitch in the first two + stanzas? + + What feelings does the poem arouse? Where do these + feelings reach a Climax? What is the effect on the + Pitch? + + What other Climax is found in the poem besides the + Climax of feeling? + + FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.) + + BREEZES STIRRED. (Appendix A, 6.) + + What is the Inflection on ll. 1-6 of stanza i and iii? + (Introduction, p. 17.) How does the Pitch of these lines + differ from that of ll. 7 and 8 of these stanzas? + Account for the change. (Introduction, p. 23.) + + What are the contrasting words in l. 6, stanza i? + + Note the Grouping and Pause in ll. 3 and 4, stanza iii. + + * * * * * + + +THE PASTURE FIELD + + + When spring has burned + The ragged robe of winter, stitch by stitch, + And deftly turned + To moving melody the wayside ditch, + The pale-green pasture field behind the bars 5 + Is goldened o'er with dandelion stars. + + When summer keeps + Quick pace with sinewy white-shirted arms, + And daily steeps + In sunny splendour all her spreading farms, 10 + The pasture field is flooded foamy white + With daisy faces looking at the light. + + When autumn lays + Her golden wealth upon the forest floor, + And all the days 15 + Look backward at the days that went before, + A pensive company, the asters, stand, + Their blue eyes brightening the pasture land. + + When winter lifts + A sounding trumpet to his strenuous lips, 20 + And shapes the drifts + To curves of transient loveliness, he slips + Upon the pasture's ineffectual brown + A swan-soft vestment delicate as down. + + --_Ethelwyn Wetherald_ (_By permission_) + + + PREPARATORY.--Select the phrases which call into play + the Imaging process. + + Describe four typical Canadian scenes suggested by this + poem. + + Distinguish the sound of _a_ in PASTURE, RAGGED, BARS, + etc. (Appendix A, 1.) + + What words express the central ideas in each stanza, and + at the same time form a contrast with one another? + + What Inflection is used in the first four lines of each + stanza? (Introduction, p. 16.) + + How does the Shading of these lines compare with that of + the last two of each stanza? (Introduction, p. 33.) + + * * * * * + + +SHIPWRECKED + +From "Kidnapped" + + +1. The time I spent upon the island is still so horrible a thought to +me that I must pass it lightly over. In all the books I have read of +people cast away, either they had their pockets full of tools, or a +chest of things would be thrown upon the beach along with them, as if +on purpose. My case was very much different. I had nothing in my +pockets but money and Alan's silver button; and being inland bred, I +was as much short of knowledge as of means. + +2. I knew indeed that shellfish were counted good to eat; and among +the rocks of the isle I found a great plenty of limpets, which at +first I could scarcely strike from their places, not knowing quickness +to be needful. There were, besides, some of the little shells that we +call buckies; I think periwinkle is the English name. Of these two I +made my whole diet, devouring them cold and raw as I found them; and +so hungry was I that at first they seemed to me delicious. + +3. Perhaps they were out of season, or perhaps there was something +wrong in the sea about my island. But at least I had no sooner eaten +my first meal than I was seized with giddiness and retching, and lay +for a long time no better than dead. A second trial of the same food +(indeed, I had no other) did better with me and revived my strength. + +4. But as long as I was on the island, I never knew what to expect +when I had eaten; sometimes all was well, and sometimes I was thrown +into a miserable sickness; nor could I ever distinguish what +particular fish it was that hurt me. All day it streamed rain; there +was no dry spot to be found; and when I lay down that night, between +two boulders that made a kind of roof, my feet were in a bog. + +5. From a little up the hillside over the bay I could catch a sight of +the great ancient church and the roofs of the people's houses in Iona. +And on the other hand, over the low country of the Ross, I saw smoke +go up, morning and evening, as if from a homestead in a hollow of the +land. + +6. I used to watch this smoke, when I was wet and cold and had my head +half-turned with loneliness, and think of the fireside and of the +company till my heart burned. Altogether, this sight I had of men's +homes and comfortable lives, although it put a point on my own +sufferings, yet it kept hope alive, and helped me to eat my raw +shellfish (which had soon grown to be a disgust), and saved me from +the sense of horror I had whenever I was quite alone with dead rocks, +and fowls, and the rain, and the cold sea. + +7. Charles the Second declared a man could stay outdoors more days in +the year in the climate of England than in any other. That was very +like a king with a palace at his back and changes of dry clothes. But +he must have had better luck on his flight from Worcester than I had +on that miserable isle. It was the height of summer; yet it rained for +more than twenty-four hours, and did not clear until the afternoon of +the third day. + +8. There is a pretty high rock on the north-west of Earraid, which +(because it had a flat top and overlooked the Sound) I was much in the +habit of frequenting; not that I ever stayed in one place, save when +asleep, my misery giving me no rest. Indeed, I wore myself down with +continual and aimless goings and comings in the rain. + +9. As soon, however, as the sun came out, I lay down on the top of +that rock to dry myself. The comfort of the sunshine is a thing I +cannot tell. It set me thinking hopefully of my deliverance, of which +I had begun to despair; and I scanned the sea and the Ross with a +fresh interest. On the south of my rock a part of the island jutted +out and hid the open ocean so that a boat could thus come quite near +me upon that side and I be none the wiser. + +10. Well, all of a sudden, a coble, with a brown sail and a pair of +fishers aboard of it, came flying round that corner of the isle, bound +for Iona. I shouted out, and then fell on my knees on the rock and +prayed to them. They were near enough to hear--I could even see the +colour of their hair--and there was no doubt but they observed me, for +they cried out in the Gaelic tongue, and laughed. But the boat never +turned aside, and flew right on, before my eyes, for Iona. + +11. I could not believe such wickedness, and ran along the shore from +rock to rock, crying on them piteously; even after they were out of +reach of my voice I still cried and waved to them; and when they were +quite gone I thought my heart would burst. + +12. The next day (which was the fourth of this horrible life of mine) +I found my bodily strength run very low. But the sun shone, the air +was sweet, and what I managed to eat of the shellfish agreed well with +me and revived my courage. + +13. I was scarce back on my rock (where I went always the first thing +after I had eaten) before I observed a boat coming down the Sound, and +with her head, as I thought, in my direction. + +14. I began at once to hope and fear exceedingly; for I thought these +men might have thought better of their cruelty and be coming back to +my assistance. But another disappointment, such as yesterday's, was +more than I could bear. I turned my back accordingly upon the sea, and +did not look again till I had counted many hundreds. + +15. The boat was still heading for the island. The next time I counted +the full thousand, as slowly as I could, my heart beating so as to +hurt me. And then it was out of all question. She was coming straight +to Earraid. I could no longer hold myself back, but ran to the seaside +and out, from one rock to another, as far as I could go. It is a +marvel I was not drowned; for when I was brought to a stand at last my +legs shook under me, and my mouth was so dry I must wet it with the +sea water before I was able to shout. + +16. All this time the boat was coming on; and now I was able to +perceive it was the same boat and the same two men as yesterday. This +I knew by their hair, which the one had of bright yellow and the other +black. But now there was a third man along with them, who looked to be +of a better class. + +17. As soon as they were come within easy speech, they let down their +sail and lay quiet. In spite of my supplications, they drew no nearer +in, and what frightened me most of all, the new man tee-heed with +laughter as he talked and looked at me. + +18. Then he stood up in the boat and addressed me a long while, +speaking fast and with many wavings of his hand. I told him I had no +Gaelic; and at this he became very angry, and I began to suspect he +thought he was talking English. Listening very close, I caught the +word "whateffer" several times; but all the rest was Gaelic, and might +have been Greek and Hebrew for me. + +19. "Whatever," said I, to show him I had caught a word. "Yes, +yes--yes, yes," said he; and then he looked at the other men as much +as to say, "I told you I spoke English," and began again as hard as +ever in the Gaelic. + +20. This time I picked out another word, "tide." Then I had a flash of +hope. I remembered he was always waving his hand toward the mainland +of the Ross. + +21. "Do you mean when the tide is out?"--I cried, and could not +finish. + +22. "Yes, yes," said he. "Tide." + +23. At that I turned tail upon their boat (where my adviser had once +more begun to tee-hee with laughter), leaped back the way I had come, +from one stone to another, and set off running across the isle as I +had never run before. In about half an hour I came upon the shores of +the creek, and, sure enough, it was shrunk into a little trickle of +water, through which I dashed, not above my knees, and landed with a +shout on the main island. + +24. A sea-bred boy would not have stayed a day on Earraid, which is +only what they call a tidal islet, and, except, in the bottom of the +neaps, can be entered and left twice in every twenty-four hours, +either dry-shod, or, at the most, by wading. Even I, who had seen the +tide going out and in before me in the bay, and even watched for the +ebbs, the better to get my shellfish--even I (I say), if I had sat +down to think, instead of raging at my fate, must have soon guessed +the secret and got free. + +25. It was no wonder the fishers had not understood me. The wonder was +rather that they had ever guessed my pitiful illusion, and taken the +trouble to come back. I had starved with cold and hunger on that +island for close upon one hundred hours. But for the fishers, I might +have left my bones there, in pure folly. And even as it was, I had +paid for it pretty dear, not only in past sufferings but in my present +case, being clothed like a beggar man, scarce able to walk, and in +great pain of my sore throat. + +26. I have seen wicked men and fools--a great many of both--and I +believe they both get paid in the end; but the fools first. + + --_Robert Louis Stevenson_ (_By arrangement_) + + + How are the parenthetical clauses in this selection kept + in the back-ground? (Introduction, p. 24.) + + 11. I could not believe such wickedness ... heart would + burst. Observe the Climax. (Introduction, p. 31.) + + 19. Whatever, said I, ... How is the direct speech made + to stand out from the narration which interrupts it? + (Introduction, p. 24.) + + * * * * * + + +ON HIS BLINDNESS + + + When I consider how my light is spent + Ere half my days, in this dark world and wide, + And that one talent which is death to hide, + Lodged with me useless, though my soul more bent + To serve therewith my Maker, and present + My true account, lest He, returning, chide; + "Doth God exact day labour, light denied?" + + I fondly ask. But Patience, to prevent + That murmur, soon replies, "God doth not need + Either man's work, or His own gifts. Who best + Bear His mild yoke, they serve Him best: His state + Is kingly; thousands at His bidding speed, + And post o'er land and ocean without rest: + They also serve who only stand and wait." + + --_Milton_ + + + PREPARATORY.--Divide the sonnet into two parts, giving + each part a title. + + Read the first part in prose order, supplying the + ellipses. + + How many distinct statements are there in the second + part? + + Select the clauses of the first part that are equal in + rank and have the same Shading. Show which should be + made prominent, and which held in the background. + + Read the first part of this sonnet, with a view to + Perspective. (Introduction, p. 33.) + + 1-4. With what do you connect WHEN ... SPENT, and + LODGED? How? + + How do you make the statements of the second part stand + out singly? (Introduction, pp. 8 and 10.) + + * * * * * + + +BRIGGS IN LUCK + +From "Doctor Birch and his Young Friends" + + +_Enter the Knife-boy._ Hamper for Briggses! +_Master Brown._ Hurray, Tom Briggs! I'll lend you my knife. + +If this story does not carry its own moral, what fable does, I wonder? +Before the arrival of that hamper, Master Briggs was in no better +repute than any other young gentleman of the lower school; and in fact +I had occasion myself, only lately, to correct Master Brown for +kicking his friend's shins during the writing-lesson. But how this +basket, directed by his mother's house-keeper, and marked "GLASS WITH +CARE," whence I concluded that it contained some jam and some bottles +of wine probably, as well as the usual cake and game-pie, and half a +sovereign for the elder Master B., and five new shillings for Master +Decimus Briggs--how, I say, the arrival of this basket alters all +Master Briggs's circumstances in life, and the estimation in which +many persons regard him! + +If he is a good-hearted boy, as I have reason to think, the very first +thing he will do, before inspecting the contents of the hamper, or +cutting into them with the knife which Master Brown has so +considerately lent him, will be to read over the letter from home +which lies on top of the parcel. He does so, as I remarked to Miss +Raby (for whom I happened to be mending pens when the little +circumstance arose), with a flushed face and winking eyes. Look how +the other boys are peering into the basket as he reads--I say to her, +"Isn't it a pretty picture?" Part of the letter is in a very large +hand. That is from his little sister. And I would wager that she +netted the little purse which he has just taken out of it, and which +Master Lynx is eyeing. + +"You are a droll man, and remark all sorts of queer things," Miss Raby +says, smiling, and plying her swift needle and fingers as quick as +possible. + +"I am glad we were both on the spot, and that the little fellow lies +under our guns as it were, and so is protected from some such brutal +school-pirate as young Duval for instance, who would rob him, +probably, of some of those good things; good in themselves, and better +because fresh from home. See, there is a pie as I said, and which I +daresay is better than those which are served at our table (but you +never take any notice of these kind of things, Miss Raby), a cake, of +course, a bottle of currant wine, jam-pots, and no end of pears in +the straw. With this money little Briggs will be able to pay the tick +which that impudent child has run up with Mrs. Ruggles; and I shall +let Briggs Major pay for the pencil-case which Bullock sold to +him.--It will be a lesson to the young prodigal for the future. + +"But, I say, what a change there will be in his life for some time to +come, and at least until his present wealth is spent! The boys who +bully him will mollify toward him and accept his pie and sweetmeats. +They will have feasts in the bedroom; and that wine will taste more +deliciously to them than the best out of the Doctor's cellar. The +cronies will be invited. Young Master Wagg will tell his most dreadful +story and sing his best song for a slice of that pie. What a jolly +night they will have! When we go the rounds at night, Mr. Prince and I +will take care to make a noise before we come to Briggs's room, so +that the boys may have time to put the light out, to push the things +away, and to scud into bed. Doctor Spry may be put in requisition the +next morning." + +"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I +lay down the twelfth pen very nicely mended. + +"Yes; after luxury comes the doctor, I say; after extravagance, a hole +in the breeches pocket. To judge from his disposition, Briggs Major +will not be much better off a couple of days hence than he is now, +and, if I am not mistaken, will end life a poor man. Brown will be +kicking his shins before a week is over, depend upon it. There are +boys and men of all sorts, Miss R.--there are selfish sneaks who hoard +until the store they daren't use grows mouldy--there are spendthrifts +who fling away, parasites who flatter and lick its shoes, and +snarling curs who hate and envy good fortune." + +I put down the last of the pens, brushing away with it the quill chips +from her desk first, and she looked at me with a kind, wondering face. +I brushed them away, clicked the pen-knife into my pocket, made her a +bow, and walked off--for the bell was ringing for school. + + --_William Makepeace Thackeray_ + + + MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.) + + FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix + A, 3 and 6.) + + Make an analysis from the standpoint of Perspective of + the following sentences: BUT HOW THIS BASKET ... REGARD + HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO + ... WINKING EYES; SEE THERE IS A PIE ... STRAW. + + * * * * * + + +THE LAUGHING SALLY + + + A wind blew up from Pernambuco, + (Yeo heave ho! the _Laughing Sally_! + Hi yeo, heave away!) + A wind blew out of the east-sou'-east + And boomed at the break of day. 5 + + The _Laughing Sally_ sped for her life, + And a speedy craft was she. + The black flag flew at her top to tell + How she took toll of the sea. + + The wind blew up from Pernambuco; 10 + And in the breast of the blast + Came the King's black ship like a hound let slip + On the trail of the _Sally_ at last. + + For a day and a night, a night and a day; + Over the blue, blue round, 15 + Went on the chase of the pirate quarry, + The hunt of the tireless hound. + + "Land on the port bow!" came the cry; + And the _Sally_ raced for shore, + Till she reached the bar at the river-mouth 20 + Where the shallow breakers roar. + + She passed the bar by a secret channel + With clear tide under her keel,-- + For he knew the shoals like an open book, + The captain at the wheel. 25 + + She passed the bar, she sped like a ghost, + Till her sails were hid from view + By the tall, liana'd, unsunned boughs + O'erbrooding the dark bayou. + + At moonrise up to the river-mouth 30 + Came the King's black ship of war, + The red cross flapped in wrath at her peak, + But she could not cross the bar. + + And while she lay in the run of the seas, + By the grimmest whim of chance, 35 + Out of the bay to the north came forth + Two battle-ships of France. + + On the English ship the twain bore down + Like wolves that range by night; + And the breakers' roar was heard no more 40 + In the thunder of the fight. + + The crash of the broadsides rolled and stormed + To the _Sally_ hid from view + Under the tall liana'd boughs + Of the moonless dark bayou. 45 + + A boat ran out for news of the fight, + And this was the word she brought-- + "The King's ship fights the ships of France + As the King's ships all have fought!" + + Then muttered the mate, "I'm a man of Devon!" 50 + And the captain thundered then-- + "There's English rope that bides for our necks, + But we all be Englishmen!" + + The _Sally_ glided out of the gloom + And down the moon-white river. 55 + She stole like a gray shark over the bar + Where the long surf seethes for ever. + + She hove to under a high French hull, + And the red cross rose to her peak. + The French were looking for fight that night, 60 + And they hadn't far to seek. + + Blood and fire on the streaming decks, + And fire and blood below; + The heat of hell, and the reek of hell, + And the dead men laid a-row! 65 + + And when the stars paled out of heaven + And the red dawn-rays uprushed, + The oaths of battle, the crash of timbers, + The roar of the guns was hushed. + + With one foe beaten under his bow, 70 + The other far in flight, + The English captain turned to look + For his fellow in the fight. + + The English captain turned and stared;-- + For where the _Sally_ had been 75 + Was a single spar upthrust from the sea + With the red cross flag serene! + + A wind blew up from Pernambuco + (Yeo heave ho! the _Laughing Sally_! + Hi yeo, heave away!) + And boomed for the doom of the _Laughing Sally_! + Gone down at the break of day. + + --_Charles G. D. Roberts_ (_By arrangement_) + + + PREPARATORY.--Divide the poem into sections giving to + each part a descriptive title. (Introduction, p. 10.) + How is each section made to stand out? + + In what Time is the section which describes the flight + of the _Laughing Sally_ read? Give your reason. + (Introduction, pp. 5 and 13.) + + Contrast the first and last stanzas from the standpoint + of feeling. How does the voice express the difference? + + BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix + A, 2, 3, 5, and 6.) + + Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT, + LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN. + (Appendix A, 1.) + + 8-9. Note the Grouping and Pause. (Introduction, p. 11.) + + 11-13. Observe the Grouping. Which phrases have the + heaviest Shading? (Introduction, p. 33.) + + 16. Where is the Pause? Why? + + 18. LAND ON THE PORT BOW. What change is made in Pitch + and Force? Account for it. (Introduction, pp. 22 and + 25.) + + 24. What is the Inflection on this line? + + 30-37. Observe the Grouping and Shading throughout these + stanzas. + + 38-45. What sense is appealed to in these stanzas? How + is the Time affected? + + 46-53. How are the transitions to direct discourse + indicated? (Introduction, p. 24.) + + What is the difference in Pitch between the mate's and + the captain's speech? (Introduction, p. 23.) + + 66-67. Note the contrast with the preceding stanza and + with the two following lines. + + * * * * * + + +THE PRODIGAL SON + +Luke xv 11-32 + + +A certain man had two sons: And the younger of them said to his +father, Father, give me the portion of goods that falleth to me. And +he divided unto them his living. + +And not many days after the younger son gathered all together, and +took his journey into a far country, and there wasted his substance +with riotous living. And when he had spent all, there arose a mighty +famine in that land; and he began to be in want. And he went and +joined himself to a citizen of that country; and he sent him into his +fields to feed swine. And he would fain have filled his belly with the +husks that the swine did eat: and no man gave unto him. And when he +came to himself, he said, How many hired servants of my father's have +bread enough and to spare, and I perish with hunger! I will arise and +go to my father, and will say unto him, Father, I have sinned against +heaven, and before thee, and am no more worthy to be called thy son: +make me as one of thy hired servants. + +And he arose, and came to his father. But when he was yet a great way +off, his father saw him, and had compassion, and ran, and fell on his +neck, and kissed him. And the son said unto him, Father, I have sinned +against heaven, and in thy sight, and am no more worthy to be called +thy son. But the father said to his servants, Bring forth the best +robe, and put it on him; and put a ring on his hand, and shoes on his +feet: And bring hither the fatted calf, and kill it; and let us eat, +and be merry; For this my son was dead, and is alive again; he was +lost, and is found. And they began to be merry. + +Now his elder son was in the field: and as he came and drew nigh to +the house, he heard musick and dancing. And he called one of the +servants, and asked what these things meant. And he said unto him, Thy +brother is come; and thy father hath killed the fatted calf, because +he hath received him safe and sound. And he was angry, and would not +go in: therefore came his father out, and intreated him. And he +answering said to his father, Lo, these many years do I serve thee, +neither transgressed I at any time thy commandment; and yet thou never +gavest me a kid, that I might make merry with my friends: But as soon +as this thy son was come, which hath devoured thy living with harlots, +thou hast killed for him the fatted calf. And he said unto him, Son, +thou art ever with me, and all that I have is thine. It was meet that +we should make merry, and be glad, for this thy brother was dead, and +is alive again; and was lost, and is found. + + + PREPARATORY.--Divide this parable into four parts, + giving each part a descriptive title. + + Describe pictures to illustrate each part. + + Connect the parable with any similar story drawn from + modern life. Fill in details to account for (_a_) the + prodigal's desire to leave home, (_b_) the father's + great joy at his return, (_c_) the elder brother's + jealousy. + + HOW MANY HIRED SERVANTS, ETC. What are the prodigal's + feelings? What new feeling is introduced with (_a_) I + WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.? + + In what Time and Pitch do you read the passages which + describe the father's joy? (Introduction, pp. 12 and + 22.) + + What feeling pervades the speech of the elder son? What + is the motive of the father's reply? + + Explain the Emphasis in the following; (_a_) AND HE SENT + HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_) + THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST + ME A KID. (Introduction, pp. 30 and 31.) + + Explain the Inflection on DEAD, ALIVE, LOST, FOUND. + + * * * * * + + +CHRISTMAS AT SEA + + + The sheets were frozen hard, and they cut the naked hand; + The decks were like a slide, where a seaman scarce could stand; + The wind was a nor'-wester, blowing squally off the sea; + And cliffs and spouting breakers were the only things a-lee. + + They heard the surf a-roaring before the break of day; 5 + But 'twas only with the peep of light we saw how ill we lay. + We tumbled every hand on deck instanter, with a shout, + And we gave her the maintops'l, and stood by to go about. + + All day we tacked and tacked between the South Head and the North; + All day we hauled the frozen sheets, and got no further forth; 10 + All day as cold as charity, in bitter pain and dread, + For very life and nature we tacked from Head to Head. + + We gave the South a wider berth, for there the tide-race roared, + But every tack we made we brought the North Head close aboard; + So's we saw cliffs and houses, and the breakers running high, 15 + And the coast-guard in his garden, with his glass against his eye. + + The frost was on the village roofs as white as ocean foam; + The good red fires were burning bright in every 'longshore home; + The windows sparkled clear, and the chimneys volleyed out; + And I vow we sniffed the victuals, as the vessel went about. 20 + + The bells upon the church were rung with a mighty jovial cheer; + For it's just that I should tell you how (of all days in the year) + This day of our adversity was blessèd Christmas morn, + And the house above the coast-guard's was the house where I was born. + + O well I saw the pleasant room, the pleasant faces there, 25 + My mother's silver spectacles, my father's silver hair; + And well I saw the firelight, like a flight of homely elves, + Go dancing round the china plates that stand upon the shelves. + + And well I knew the talk they had, the talk that was of me, + Of the shadow on the household and the son that went to sea; 30 + And O the wicked fool I seemed, in every kind of way, + To be here and hauling frozen ropes on blessèd Christmas day. + + They lit the high sea-light, and the dark began to fall. + "All hands to loose topgallant sails," I heard the captain call. + "Captain, she'll never stand it," our first mate, Jackson, cried. 35 + "It's the one way or the other, Mr. Jackson," he replied. + + She staggered to her bearings, but the sails were new and good, + And the ship smelt up to windward just as though she understood. + As the winter's day was ending, in the entry of the night, + We cleared the weary headland, and passed below the light. 40 + + And they heaved a mighty breath, every soul on board but me, + As they saw her nose again pointing handsome out to sea; + But all that I could think of, in the darkness and the cold, + Was just that I was leaving home, and my folks were growing old. + + --_Robert Louis Stevenson_ (_By arrangement_) + + + PREPARATORY.--Supply an introduction and a conclusion + for the story suggested by this poem. + + Indicate the pauses which should be made in this poem + after words and phrases: (_a_) because of the Imaging + process, (_b_) in order to conceive the thought more + fully, (_c_) in passing from the narration of one action + to that of another, (_d_) because of direct speech + interrupted by narrative. (Introduction, pp. 7, 24, and + 27.) + + 20 and 22. Indicate the Pause before phrases to prepare + the mind for what is coming. (Introduction, p. 8.) What + Inflection is used as a connecting link? (Introduction, + p. 16.) + + 27. FIRELIGHT. With what should it be connected? How? + (Introduction, p. 24.) + + 34. ALL HANDS ... SAILS. What change in Pitch and Force? + (Introduction, pp. 22 and 26.) + + 40. What is the Shading? (Introduction, p. 33.) + + Compare the mental state of the captain with that of the + first mate. How is the difference indicated in the Pitch + of their respective speeches? (Introduction, p. 22.) + + Connect stanzas vii and viii with the last two lines of + the poem. What background of thought is suggested? How + is the rate of reading affected by the thoughts + suggested? (Introduction, p. 14.) + + * * * * * + + +THE EVENING WIND + + + Spirit that breathest through my lattice, thou + That cool'st the twilight of the sultry day, + Gratefully flows thy freshness round my brow: + Thou hast been out upon the deep at play, + Riding all day the wild blue waves till now, 5 + Roughening their crests, and scattering high their spray, + And swelling the white sail. I welcome thee + To the scorched land, thou wanderer of the sea! + + Nor I alone;--a thousand bosoms round + Inhale thee in the fulness of delight; 10 + And languid forms rise up, and pulses bound + Livelier at coming of the wind of night; + And, languishing to hear thy grateful sound, + Lies the vast inland stretched beyond the sight. + Go forth into the gathering shade; go forth, 15 + God's blessing breathed upon the fainting earth! + + Go, rock the little wood-bird in his nest, + Curl the still waters, bright with stars, and rouse + The wide old wood from his majestic rest, + Summoning from the innumerable boughs 20 + The strange deep harmonies that haunt his breast: + Pleasant shall be thy way, where meekly bows + The shutting flower and darkling waters pass, + And where the o'ershadowing branches sweep the grass. + + The faint old man shall lean his silver head 25 + To feel thee; thou shalt kiss the child asleep, + And dry the moistened curls that overspread + His temples, while his breathing grows more deep; + And they who stand about the sick man's bed + Shall joy to listen to thy distant sweep, 30 + And softly part his curtains to allow + Thy visit, grateful to his burning brow. + + Go,--but the circle of eternal change, + Which is the life of nature, shall restore, + With sounds and scents from all thy mighty range, 35 + Thee to thy birthplace of the deep once more; + Sweet odours in the sea-air, sweet and strange, + Shall tell the home-sick manner of the shore; + And, listening to thy murmur, he shall dream + He hears the rustling leaf and running stream. 40 + + --_William Cullen Bryant_ + + + PREPARATORY.--Describe fully the picture suggested by + (_a_) the first three lines of stanza i, (_b_) the last + four lines of stanza i, (_c_) stanza ii. Give to each a + suitable title. + + 1, 2, and 6. (Appendix A, 3, 4, and 8.) + + 1. THOU. What is the Inflection? + + 6. How does the sound accord with the sense? + + 15. GO FORTH ... GO FORTH. Where is the Emphasis? + (Introduction, p. 31.) + + 19-21. What feeling is aroused? How is the Quality of + voice affected? (Introduction, p. 34.) + + 25-32. What change in Time? Account for it. + (Introduction, p. 13.) + + 31. What atmosphere is created in this line? What + Quality of voice is the result? What lines in the last + stanza have the same atmosphere? (Introduction, p. 34.) + + 36. With what should THEE be connected? In what way? + + 33-36. What portions are read in lighter Shading? + (Introduction, p. 33.) + + * * * * * + + +PARADISE AND THE PERI + +From "Lalla Rookh" + + + One morn a Peri at the gate + Of Eden stood, disconsolate; + And as she listened to the Springs + Of Life within, like music flowing, + And caught the light upon her wings 5 + Through the half-open portal glowing, + She wept to think her recreant race + Should e'er have lost that glorious place! + "How happy," exclaimed this child of air, + "Are the holy spirits who wander there, 10 + 'Mid flowers that never shall fade or fall; + Though mine are the gardens of earth and sea, + And the stars themselves have flowers for me, + One blossom of Heaven out-blooms them all!" + + The glorious Angel, who was keeping 15 + The Gates of Light, beheld her weeping; + And, as he nearer drew and listened + To her sad song, a tear-drop glistened + Within his eyelids, like the spray + From Eden's fountain, when it lies 20 + On the blue flower, which--Brahmins say-- + Blooms nowhere but in Paradise. + "Nymph of a fair, but erring line!" + Gently he said,--"One hope is thine. + 'Tis written in the Book of Fate, 25 + _The Peri yet may be forgiven + Who brings to this Eternal Gate + The Gift that is most dear to Heaven!_ + Go, seek it, and redeem thy sin: + 'Tis sweet to let the Pardoned in!" 30 + + Downward the Peri turns her gaze, + And, through the war-field's bloody haze, + Beholds a youthful warrior stand + Alone, beside his native river,-- + The red blade broken in his hand, 35 + And the last arrow in his quiver. + "Live," said the conqueror, "live to share + The trophies and the crowns I bear!" + Silent that youthful warrior stood-- + Silent he pointed to the flood 40 + All crimson with his country's blood, + Then sent his last remaining dart, + For answer, to th' invader's heart. + + False flew the shaft, though pointed well; + The tyrant lived, the hero fell! 45 + Yet marked the Peri where he lay, + And when the rush of war was past, + Swiftly descending on a ray + Of morning light, she caught the last, + Last glorious drop his heart had shed, 50 + Before its free-born spirit fled! + + "Be this," she cried, as she winged her flight, + "My welcome gift at the Gates of Light." + "Sweet," said the Angel, as she gave + The gift into his radiant hand, 55 + "Sweet is our welcome of the brave + Who die thus for their native land.-- + But see--alas!--the crystal bar + Of Eden moves not--holier far + Than e'en this drop the boon must be, 60 + That opes the Gates of Heaven for thee!" + + But nought can charm the luckless Peri; + Her soul is sad, her wings are weary. + When, o'er the vale of Balbec winging + Slowly, she sees a child at play, 65 + Among the rosy wild-flowers singing, + As rosy and as wild as they; + Chasing, with eager hands and eyes, + The beautiful blue damsel-flies + That fluttered round the jasmine stems, 70 + Like-wingèd flowers or flying gems: + And, near the boy, who, tired with play, + Now nestling 'mid the roses lay, + She saw a wearied man dismount + From his hot steed, and on the brink 75 + Of a small imaret's rustic fount + Impatient fling him down to drink. + Then swift his haggard brow he turned + To the fair child, who fearless sat, + Though never yet hath daybeam burned 80 + Upon a brow more fierce than that. + + But hark! the vesper call to prayer, + As slow the orb of daylight sets, + Is rising sweetly on the air, + From Syria's thousand minarets! 85 + The boy has started from the bed + Of flowers, where he had laid his head, + And down upon the fragrant sod + Kneels, with his forehead to the south, + Lisping th' eternal name of God 90 + From purity's own cherub mouth. + + And how felt he, the wretched man, + Reclining there--while memory ran + O'er many a year of guilt and strife, + Flew o'er the dark flood of his life, 95 + Nor found one sunny resting-place, + Nor brought him back one branch of grace? + "There was a time," he said, in mild, + Heart-humbled tones, "thou blessed child! + When, young and haply pure as thou, 100 + I looked and prayed like thee--but now--" + He hung his head--each nobler aim, + And hope, and feeling, which had slept + From boyhood's hour, that instant came + Fresh o'er him, and he wept--he wept! 105 + + And now, behold him kneeling there + By the child's side, in humble prayer, + While the same sunbeam shines upon + The guilty and the guiltless one, + And hymns of joy proclaim through Heaven 110 + The triumph of a soul forgiven! + + 'Twas when the golden orb had set, + While on their knees they lingered yet, + There fell a light, more lovely far + Than ever came from sun or star, 115 + Upon the tear that, warm and meek, + Dewed that repentant sinner's cheek: + To mortal eye that light might seem + A northern flash or meteor beam-- + But well th' enraptured Peri knew 120 + 'Twas a bright smile the Angel threw + From Heaven's gate, to hail that tear-- + Her harbinger of glory near! + "Joy, joy for ever! my task is done: + The Gates are passed, and Heaven is won!" 125 + + --_Thomas Moore_ + + + PREPARATORY.--Divide this selection into four scenes, + describing minutely each scene, and pointing out what + part of the poem it covers. (Introduction, p. 10.) + + What feelings are aroused by each scene? + + SPIRIT, NATIVE, PURITY. (Appendix A, 8.) + + 1-4. Give two examples of Grouping from these lines. + Give numerous other examples throughout the selection, + and show how Grouping affects the Inflection and Pause. + (Introduction, pp. 10-12.) + + 3-7. Read with a view to Perspective. Select other + examples, noting especially ll. 17-22, 47-51, 72-77, and + 112-117. (Introduction, p. 33.) + + 9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24 + and 27.) Give other examples of direct discourse broken + by narration. + + 54 and 56. SWEET ... SWEET. Which word is more emphatic? + (Introduction, p. 31.) Compare l. 105. + + 84. With what should IS RISING be connected? How? + Compare UPON THE TEAR, l. 116. + + * * * * * + + +THE LADY OF SHALOTT + +PART 1 + + + On either side the river lie + Long fields of barley and of rye, + That clothe the wold and meet the sky; + And thro' the field the road runs by + To many-tower'd Camelot; + And up and down the people go, + Gazing where the lilies blow + Round an island there below, + The island of Shalott. + + Willows whiten, aspens quiver, + Little breezes dusk and shiver + Thro' the wave that runs for ever + By the island in the river + Flowing down to Camelot. + Four gray walls, and four gray towers, + Overlook a space of flowers, + And the silent isle embowers + The Lady of Shalott. + + By the margin, willow-veil'd, + Slide the heavy barges trail'd + By slow horses; and unhail'd + The shallop flitteth silken-sail'd + Skimming down to Camelot: + But who has seen her wave her hand? + Or at the casement seen her stand? + Or is she known in all the land, + The Lady of Shalott? + + Only reapers, reaping early + In among the bearded barley, + Hear a song that echoes cheerly + From the river winding clearly, + Down to tower'd Camelot: + And by the moon the reaper weary, + Piling sheaves in uplands airy, + Listening, whispers "'Tis the fairy + Lady of Shalott." + + +PART II + + There she weaves by night and day + A magic web with colours gay. + She has heard a whisper say, + A curse is on her if she stay + To look down to Camelot. + She knows not what the curse may be, + And so she weaveth steadily, + And little other care hath she, + The Lady of Shalott. + + And moving thro' a mirror clear + That hangs before her all the year, + Shadows of the world appear. + There she sees the highway near + Winding down to Camelot: + There the river eddy whirls, + And there the surly village-churls, + And the red cloaks of market girls, + Pass onward from Shalott. + + Sometimes a troop of damsels glad, + An abbot on an ambling pad, + Sometimes a curly shepherd-lad, + Or long-hair'd page in crimson clad, + Goes by to tower'd Camelot; + And sometimes thro' the mirror blue + The knights come riding two and two: + She hath no loyal knight and true, + The Lady of Shalott. + + But in her web she still delights + To weave the mirror's magic sights, + For often thro' the silent nights + A funeral, with plumes and lights + And music, went to Camelot: + Or when the moon was overhead, + Came two young lovers lately wed; + "I am half sick of shadows," said + The Lady of Shalott. + + +PART III + + A bow-shot from her bower-eaves, + He rode between the barley-sheaves, + The sun came dazzling thro' the leaves, + And flamed upon the brazen greaves + Of bold Sir Lancelot. + A red-cross knight for ever kneel'd + To a lady in his shield, + That sparkled on the yellow field, + Beside remote Shalott. + + The gemmy bridle glitter'd free, + Like to some branch of stars we see + Hung in the golden Galaxy. + The bridle bells rang merrily + As he rode down to Camelot: + And from his blazon'd baldric slung + A mighty silver bugle hung, + And as he rode his armour rung, + Beside remote Shalott. + + All in the blue unclouded weather + Thick-jewell'd shone the saddle-leather, + The helmet and the helmet-feather + Burn'd like one burning flame together, + As he rode down to Camelot. + As often thro' the purple night, + Below the starry clusters bright, + Some bearded meteor, trailing light, + Moves over still Shalott. + + His broad clear brow in sunlight glow'd; + On burnished hooves his war-horse trode; + From underneath his helmet flow'd + His coal-black curls as on he rode, + As he rode down to Camelot. + From the bank and from the river + He flash'd into the crystal mirror, + "Tirra lirra," by the river + Sang Sir Lancelot. + + She left the web, she left the loom, + She made three paces thro' the room, + She saw the water-lily bloom, + She saw the helmet and the plume, + She look'd down to Camelot. + Out flew the web and floated wide; + The mirror crack'd from side to side; + "The curse is come upon me," cried + The Lady of Shalott. + + +PART IV + + In the stormy east-wind straining, + The pale yellow woods were waning, + The broad stream in his banks complaining, + Heavily the low sky raining + Over tower'd Camelot; + Down she came and found a boat + Beneath a willow left afloat, + And round about the prow she wrote + _The Lady of Shalott_. + + And down the river's dim expanse + Like some bold seër in a trance, + Seeing all his own mischance-- + With a glassy countenance + Did she look to Camelot. + And at the closing of the day + She loosed the chain and down she lay; + The broad stream bore her far away, + The Lady of Shalott. + + Lying, robed in snowy white + That loosely flew to left and right-- + The leaves upon her falling light-- + Thro' the noises of the night + She floated down to Camelot: + And as the boat-head wound along + The willowy hills and fields among, + They heard her singing her last song, + The Lady of Shalott. + + Heard a carol, mournful, holy, + Chanted loudly, chanted lowly, + Till her blood was frozen slowly, + And her eyes were darken'd wholly, + Turn'd to tower'd Camelot. + For ere she reach'd upon the tide + The first house by the water-side, + Singing in her song she died, + The Lady of Shalott. + + Under tower and balcony, + By garden-wall and gallery, + A gleaming shape she floated by, + Dead-pale between the houses high, + Silent into Camelot. + Out upon the wharfs they came, + Knight and burgher, lord and dame, + And round the prow they read her name, + _The Lady of Shalott_. + + Who is this? and what is here? + And in the lighted palace near + Died the sound of royal cheer; + And they cross'd themselves for fear, + All the knights at Camelot: + But Lancelot mused a little space; + He said, "She has a lovely face; + God in his mercy lend her grace, + The Lady of Shalott." + + --_Alfred Tennyson_ + + + PREPARATORY.--Compare the poet's treatment of the story + of _The Lady of Shalott_ with that given in _Lancelot + and Elaine_. + + Combine the smaller pictures in this poem into a number + of larger ones. + + Give to the larger pictures titles which suggest the + different stages in the development of the story. + + Exercises in Articulation. (Appendix A. See Examples) + + + PART I + + Stanza i, ll. 1 and 4. Where is the Pause in each line? + Why? (Introduction, p. 11.) + + Stanza iii, ll. 1 and 2. Account for the change in Time. + (Introduction, p. 13.) + + 2. Where is the Pause? + + 6-9. What is the Inflection in these questions? + (Introduction, p. 19.) + + Stanza iv, l. 3. HEAR. With what word should this be + connected? How? (Introduction, p. 16.) Note the Shading. + + 6. Where are the Pauses in this line? Account for them. + + 8-9. In what Quality of voice are these lines read? + (Introduction, p. 6.) Compare from this standpoint the + last lines of Parts II, III, and IV. + + + Part II + + Stanza i, ll. 3-5. Note the spontaneous imitation. + (Introduction, pp. 5 and 6.) + + AND THERE THE SURLY ... TWO AND TWO. Note the three + separate groups of passers-by. Which group has the most + significance in its bearing on the rest of the poem? How + does the voice indicate this relative significance? + (Introduction, pp. 24 and 30.) + + Stanza iii, l. 8. How is the transition made effective? + (Introduction, pp. 8, 9, and 25.) + + Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading. + (Introduction, p. 33.) + + + PART III + + HIS SHIELD, RODE DOWN, ARMOUR RUNG, SADDLE-LEATHER, + COAL-BLACK CURLS. (Appendix A, 6.) + + Stanza i, l. 4. Observe the Grouping. + + Stanza ii, l. 2. Where is the Pause? Explain. What is + the Inflection on STARS? + + Compare the Shading in ll. 6 and 7. + + Stanza iii. What are the central ideas of ll. 2 and 3? + How does the reader make them stand out? + + 6-8. Note the continuous Inflection. (Introduction, p. + 17.) + + Stanza iv, ll. 3 and 4. How does the Grouping here + affect the Pause and the Inflection? + + Stanza v, ll. 1-4. What change in the voice indicates + the abrupt transition? What atmosphere does the voice + create as a preparation for the climax of the last four + lines? + + 1. What is the central idea of this line? + + 6-7. What change in Force, Pitch, and Stress expresses + the sudden disaster? + + + PART IV + + Compare the atmosphere of the first four and a half + stanzas of this Part with the first four of Part III, + and also with the remainder of Part IV. What is the + difference in Pitch, Force, and Time? (Introduction, pp. + 22, 26, and 13.) + + * * * * * + + +HOME THEY BROUGHT HER WARRIOR DEAD + +From "The Princess" + + + Home they brought her warrior dead: + She nor swoon'd, nor utter'd cry: + All her maidens, watching, said, + "She must weep or she will die." + + Then they praised him, soft and low, + Call'd him worthy to be loved, + Truest friend and noblest foe; + Yet she neither spoke nor moved. + + Stole a maiden from her place, + Lightly to the warrior stept, + Took the face-cloth from the face; + Yet she neither moved nor wept. + + Rose a nurse of ninety years, + Set his child upon her knee-- + Like summer tempest came her tears-- + "Sweet my child, I live for thee." + + --_Alfred Tennyson_ + + + See Introduction, p. 6. + + * * * * * + + +THE SKY + +From "Modern Painters" + + +1. It is a strange thing how little in general people know about the +sky. It is the part of creation in which nature has done more for the +sake of pleasing man, more for the sole and evident purpose of talking +to him and teaching him, than in any other of her works, and it is +just the part in which we least attend to her. + +2. There are not many of her other works in which some more material +or essential purpose than the mere pleasing of man is not answered by +every part of their organization; but every essential purpose of the +sky might, so far as we know, be answered, if once in three days, or +thereabouts, a great ugly black rain-cloud were brought up over the +blue, and everything well watered, and so all left blue again till +next time, with perhaps a film of morning and evening mist for dew. + +3. And instead of this, there is not a moment of any day of our lives, +when nature is not producing scene after scene, picture after picture, +glory after glory, and working still upon such exquisite and constant +principles of the most perfect beauty, that it is quite certain it is +all done for us, and intended for our perpetual pleasure. And every +man, wherever placed, however far from other sources of interest or of +beauty, has this doing for him constantly. + +4. The noblest scenes of the earth can be seen and known but by few; +it is not intended that man should live always in the midst of them, +he injures them by his presence, he ceases to feel them if he be +always with them; but the sky is for all; bright as it is, it is not +"too bright, nor good, for human nature's daily food"; it is fitted in +all its functions for the perpetual comfort and exalting of the heart, +for the soothing it and purifying it from its dross and dust. +Sometimes gentle, sometimes capricious, sometimes awful, never the +same for two moments together; almost human in its passions, almost +spiritual in its tenderness, almost divine in its infinity, its appeal +to what is immortal in us, is as distinct, as its ministry of +chastisement or of blessing to what is mortal, is essential. + +5. And yet we never attend to it, we never make it a subject of +thought, but as it has to do with our animal sensations; we look upon +all by which it speaks to us more clearly than to brutes, upon all +which bears witness to the intention of the Supreme, that we are to +receive more from the covering vault than the light and the dew which +we share with the weed and the worm, only as a succession of +meaningless and monotonous accidents too common and too vain to be +worthy of a moment of watchfulness, or a glance of admiration. If in +our moments of utter idleness and insipidity, we turn to the sky as a +last resource, which of its phenomena do we speak of? + +6. One says it has been wet, and another it has been windy, and +another it has been warm. Who, among the whole chattering crowd, can +tell me of the forms and the precipices of the chain of tall white +mountains that girded the horizon at noon yesterday? Who saw the +narrow sunbeam that came out of the south, and smote upon their +summits until they melted and mouldered away in a dust of blue rain? +Who saw the dance of the dead clouds when the sunlight left them last +night, and the west wind blew them before it like withered leaves? + +7. All has passed, unregretted as unseen; or if the apathy be ever +shaken off, even for an instant, it is only by what is gross, or what +is extraordinary; and yet it is not in the broad and fierce +manifestations of the elemental energies, not in the clash of the +hail, nor the drift of the whirlwind, that the highest characters of +the sublime are developed. God is not in the earthquake, nor in the +fire, but in the still, small voice. + +8. They are but the blunt and the low faculties of our nature, which +can only be addressed through lamp-black and lightning. It is in +quiet and subdued passages of unobtrusive majesty, the deep, and the +calm, and the perpetual,--that which must be sought ere it is seen, +and loved ere it is understood,--things which the angels work out for +us daily, and yet vary eternally, which are never wanting, and never +repeated, which are to be found always yet each found but once; it is +through these that the lesson of devotion is chiefly taught, and the +blessing of beauty given. + + --_John Ruskin_ + + (_By arrangement with George Allen, Publisher_) + + + SPIRITUAL, PRECIPICES, SUMMITS, UNOBTRUSIVE. (Appendix + A, 8.) + + Par. 1. With what is LEAST ATTEND contrasted? + + Par. 2. Why is SKY an emphatic word? Give examples of + momentary completeness. (Introduction, p. 16.) + + Par. 3. What Inflection is placed on PERFECT BEAUTY? + + Par. 4. Point out the contrasts in the first sentence. + What word is contrasted with DISTINCT? + + Par. 5. With what is ONLY AS A SUCCESSION, ETC., + connected in sense? How does the voice make the + connection? (Introduction, p. 33.) + + Par. 7. UNREGRETTED, UNSEEN. Note the transferred + emphasis. (Introduction, p. 32.) + + Par. 7. AND YET IT IS NOT ... NOR IN THE FIRE. Account + for the Inflection. (Introduction, p. 17.) + + * * * * * + + +THE RETURN OF THE SWALLOWS + + + "Out in the meadows the young grass springs, + Shivering with sap," said the larks, "and we + Shoot into air with our strong young wings, + Spirally up over level and lea; + Come, O Swallows, and fly with us + Now that horizons are luminous! + Evening and morning the world of light, + Spreading and kindling, is infinite!" + + Far away, by the sea in the south, + The hills of olive and slopes of fern + Whiten and glow in the sun's long drouth, + Under the heavens that beam and burn; + And all the swallows were gather'd there + Flitting about in the fragrant air, + And heard no sound from the larks, but flew + Flashing under the blinding blue. + + Out of the depths of their soft rich throats + Languidly fluted the thrushes, and said: + "Musical thought in the mild air floats, + Spring is coming and winter is dead! + Come, O Swallows, and stir the air, + For the buds are all bursting unaware, + And the drooping eaves and the elm-trees long + To hear the sound of your low sweet song." + + Over the roofs of the white Algiers, + Flashingly shadowing the bright bazaar, + Flitted the swallows, and not one hears + The call of the thrushes from far, from far; + Sigh'd the thrushes; then, all at once, + Broke out singing the old sweet tones, + Singing the bridal of sap and shoot, + The tree's slow life between root and fruit. + + But just when the dingles of April flowers + Shine with the earliest daffodils, + When, before sunrise, the cold clear hours + Gleam with a promise that noon fulfils,-- + Deep in the leafage the cuckoo cried, + Perch'd on a spray by a rivulet-side, + "Swallows, O Swallows, come back again + To swoop and herald the April rain." + + And something awoke in the slumbering heart + Of the alien birds in their African air, + And they paused, and alighted, and twitter'd apart, + And met in the broad white dreamy square; + And the sad slave-woman, who lifted up + From the fountain her broad-lipp'd earthen cup, + Said to herself, with a weary sigh, + "To-morrow the swallows will northward fly!" + + --_Edmund William Gosse_ + + + How does the vocal expression of the descriptive parts + of the poem differ from that of the call of the birds? + Account for the difference. (Introduction, p. 22.) + + Point out the contrasts of thought and feeling in the + third and fourth stanzas respectively. Show a + corresponding contrast in vocal expression. + + What line expresses the central idea of the fifth + stanza? How is this shown? (Introduction, p. 33.) + + Account for the Pitch and the Force used in the + slave-woman's speech. + + Supply a background of thought for the last four lines. + How does this affect the Time? (Introduction, p. 14.) + + * * * * * + + +BARBARA FRIETCHIE + + + Up from the meadows rich with corn, + Clear in the cool September morn, + + The clustered spires of Frederick stand + Green walled by the hills of Maryland. + + Round about them orchards sweep, 5 + Apple-and peach-tree fruited deep,-- + + Fair as a garden of the Lord + To the eye of the famished rebel horde, + + On that pleasant morn of the early fall + When Lee march'd over the mountain-wall,-- 10 + + Over the mountains winding down, + Horse and foot, into Frederick town. + + Forty flags with their silver stars, + Forty flags with their crimson bars, + + Flapped in the morning wind: the sun 15 + Of noon looked down, and saw not one. + + Up rose old Barbara Frietchie then, + Bowed with her fourscore years and ten; + + Bravest of all in Frederick town, + She took up the flag the men hauled down; 20 + + In her attic window the staff she set, + To show that one heart was loyal yet. + + Up the street came the rebel tread, + Stonewall Jackson riding ahead. + + Under his slouched hat left and right 25 + He glanced; the old flag met his sight. + + "Halt!"--the dust-brown ranks stood fast. + "Fire!"--out blazed the rifle-blast. + + It shivered the window, pane and sash; + It rent the banner with seam and gash. 30 + + Quick, as it fell, from the broken staff + Dame Barbara snatched the silken scarf; + + She leaned far out on the window-sill, + And shook it forth with a royal will. + + "Shoot, if you must, this old gray head, 35 + But spare your country's flag!" she said. + + A shade of sadness, a blush of shame, + Over the face of the leader came; + + The nobler nature within him stirred + To life at that woman's deed and word: 40 + + "Who touches a hair of yon gray head, + Dies like a dog! March on!" he said. + + All day long through Frederick street + Sounded the tread of marching feet: + + All day long that free flag tossed 45 + Over the heads of the rebel host. + + Ever its torn folds rose and fell + On the loyal winds that loved it well; + + And, through the hill-gaps, sunset light + Shone over it with a warm good-night. 50 + + Barbara Frietchie's work is o'er, + And the Rebel rides on his raids no more. + + Honour to her! and let a tear + Fall, for her sake, on Stonewall's bier. + + Over Barbara Frietchie's grave, 55 + Flag of Freedom and Union wave! + + Peace and order and beauty draw + Round thy symbol of light and law; + + And ever the stars above look down + On thy stars below in Frederick town! 60 + + --_John Greenleaf Whittier_ + + + PREPARATORY.--Divide the poem into sections, giving each + a descriptive title. (Introduction, p. 10.) + + Describe the scene portrayed in the first fifteen lines, + supplementing your description by a black-board diagram. + + ll. 1-2. What is the Inflection? Why? + + l. 3. Note the Grouping and Pause. + + l. 3. STAND; l. 7, LORD; l. 8, HORDE. What is the + Inflection? Why? + + l. 15. (Introduction, p. 9.) + + l. 20. What are the emphatic words? Are both words of a + contrast necessarily emphatic? + + ll. 17-22. Note the change in nervous tension. What + effect has this on the key of the voice? (Introduction, + p. 25.) + + ll. 25-26. How do these lines illustrate the truth that + the Visualization of a scene is a necessary forerunner + of correct vocal expression? + + ll. 27-28. HALT! FIRE! What change in vocal expression + accompanies the transition to abrupt command? + + l. 31. With what do you connect FROM THE BROKEN STAFF? + How? (Introduction, p. 16.) + + ll. 31-36. What part should Imitation play here? + (Introduction, pp. 5 and 6.) + + ll. 37-38. (Introduction, p. 14.) + + l. 39. Note Grouping and Pause. + + ll. 41-42. (Introduction, p. 5.) + + l. 43. With what do you connect THROUGH FREDERICK + STREET? How? Where do you pause in this line? + + l. 51. (Introduction, p. 9.) + + * * * * * + + +BLESS THE LORD, O MY SOUL + +Psalm ciii + + + Bless the Lord, O my soul: + And all that is within me, bless his holy name + Bless the Lord, O my soul, + And forget not all his benefits: + Who forgiveth all thine iniquities; + Who healeth all thy diseases; + Who redeemeth thy life from destruction; + Who crowneth thee with lovingkindness and tender mercies: + Who satisfieth thy mouth with good things; + So that thy youth is renewed like the eagle's. + + The Lord executeth righteousness + And judgment for all that are oppressed. + He made known his ways unto Moses, + His acts unto the children of Israel. + The Lord is merciful and gracious, + Slow to anger, and plenteous in mercy. + He will not always chide: + Neither will he keep his anger for ever. + He hath not dealt with us after our sins; + Nor rewarded us according to our iniquities. + + For as the heaven is high above the earth, + So great is his mercy toward them that fear him. + As far as the east is from the west, + So far hath he removed our transgressions from us + Like as a father pitieth his children, + So the Lord pitieth them that fear him. + For he knoweth our frame; + He remembereth that we are dust. + + As for man, his days are as grass: + As a flower of the field, so he flourisheth. + For the wind passeth over it, and it is gone; + And the place thereof shall know it no more. + But the mercy of the Lord is from everlasting to everlasting + upon them that fear him, + And his righteousness unto children's children; + To such as keep his covenant, + And to those that remember his commandments to do them. + + The Lord hath prepared his throne in the heavens; + And his kingdom ruleth over all. + Bless the Lord, ye his angels, + That excel in strength, + That do his commandments, + Hearkening unto the voice of his word. + Bless ye the Lord, all ye his hosts; + Ye ministers of his, that do his pleasure. + Bless the Lord, all his works, + In all places of his dominion: + Bless the Lord, O my soul. + + --_As arranged by Richard G. Moulton_ + + + PREPARATORY.--What attitude of mind does the language of + this Psalm indicate? What Stress of voice is its natural + expression? (Introduction, p. 29.) + + Articulation. (Appendix A, 3.) + + * * * * * + + +THE ETERNAL GOODNESS + + + I know not what the future hath + Of marvel or surprise, + Assured alone that life and death + His mercy underlies. + + And if my heart and flesh are weak 5 + To bear an untried pain, + The bruised reed He will not break, + But strengthen and sustain. + + No offering of my own I have, + Nor works my faith to prove; 10 + I can but give the gifts He gave, + And plead His love for love. + + And so beside the Silent Sea + I wait the muffled oar; + No harm from Him can come to me 15 + On ocean or on shore. + + I know not where His islands lift + Their fronded palms in air; + I only know I cannot drift + Beyond His love and care. 20 + + --_John Greenleaf Whittier_ + + + PREPARATORY.--What attitude of mind is suggested by this + poem? + + How does it differ from that suggested by the preceding + selection? What is the difference in vocal expression? + + Account for the Inflection placed on the negative + statements in this poem. (Introduction, pp. 17 and 18.) + + * * * * * + + +THE KING OF GLORY + +Psalm xxiv + +(Anthems for the Inauguration of Jerusalem) + + +_I.--At the Foot of the Hill_ + +FIRST CHOIR + + The earth is the LORD'S, and the fulness thereof; + The world, and they that dwell therein. + For He hath founded it upon the seas, + And established it upon the floods. + Who shall ascend into the hill of the LORD? + And who shall stand in His holy place? + + +SECOND CHOIR + + He that hath clean hands, and a pure heart; + Who hath not lifted up his soul unto vanity, + And hath not sworn deceitfully. + He shall receive a blessing from the LORD, + And righteousness from the God of his salvation. + This is the generation of them that seek after Him, + That seek Thy face, O God of Jacob. + + +_II.--Before the Gates_ + +FIRST CHOIR + + Lift up your heads, O ye gates; + And be ye lift up, ye everlasting doors: + And the King of Glory shall come in. + + +SECOND CHOIR + + Who is the King of Glory? + + +FIRST CHOIR + + The LORD strong and mighty, + The LORD mighty in battle. + + +FIRST CHOIR + + Lift up your heads, O ye gates; + Yea, lift them up, ye everlasting doors: + And the King of Glory shall come in. + + +SECOND CHOIR + + Who is this King of Glory? + + +FIRST CHOIR + + The LORD of Hosts, + He is the King of Glory. + + --_As arranged by Richard G. Moulton_ + + * * * * * + + +THE FOUR-HORSE RACE + +From "Black Rock" + + +1. The great event of the day, however, was to be the four-horse race, +for which three teams were entered--one from the mines driven by +Nixon, Craig's friend, a citizens' team, and Sandy's. The race was +really between the miners' team and that from the woods, for the +citizens' team, though made up of speedy horses, had not been driven +much together, and knew neither their driver nor each other. In the +miners' team were four bays, very powerful, a trifle heavy perhaps, +but well matched, perfectly trained, and perfectly handled by their +driver. Sandy had his long rangy roans, and for leaders, a pair of +half-broken pinto bronchos. The pintos, caught the summer before upon +the Alberta prairies, were fleet as deer, but wicked and uncertain. +They were Baptiste's special care and pride. If they would only run +straight, there was little doubt that they would carry the roans and +themselves to glory; but one could not tell the moment they might +bolt or kick things to pieces. + +2. Being the only non-partisan in the crowd, I was asked to referee. +The race was about half a mile and return, the first and last quarters +being upon the ice. The course, after leaving the ice, led up from the +river by a long, easy slope to the level above; and at the further +end, curved somewhat sharply around the Old Fort. The only condition +attaching to the race was, that the teams should start from the +scratch, make the turn of the Fort, and finish at the scratch. There +were no vexing regulations as to fouls. The man making the foul would +find it necessary to reckon with the crowd, which was considered +sufficient guarantee for a fair and square race. Owing to the hazards +of the course, the result would depend upon the skill of the drivers +quite as much as the speed of the teams. The points of hazard were at +the turn round the Old Fort, and at a little ravine which led down to +the river, over which the road passed by means of a long, log bridge +or causeway. + +3. From a point upon the high bank of the river, the whole course lay +in open view. It was a scene full of life and vividly picturesque. +There were miners in dark clothes and peak caps; citizens in ordinary +garb; ranch-men in wide cowboy hats and buckskin shirts and leggings, +some with cartridge-belts and pistols; a few half-breeds and Indians +in half-native, half-civilized dress; and scattering through the +crowd, the lumbermen with gay scarlet and blue blanket coats, and some +with knitted tuques of the same colour. A very good-natured but +extremely uncertain crowd it was. At the head of each horse stood a +man, but at the pintos' heads Baptiste stood alone, trying to hold +down the off-leader, thrown into a frenzy of fear by the yelling of +the crowd. + +4. Gradually all became quiet, till, in the midst of absolute +stillness, came the words: "Are you ready?" then the pistol-shot, and +the great race had begun. Above the roar of the crowd came the shrill +cry of Baptiste, as he struck his broncho with the palm of his hand, +and swung himself into the sleigh beside Sandy, as it shot past. + +5. Like a flash the bronchos sprang to the front, two lengths before +the other teams; but, terrified by the yelling of the crowd, instead +of bending to the left bank up which the road wound, they wheeled to +the right and were almost across the river before Sandy could swing +them back into the course. + +6. Baptiste's cries, a curious mixture of French and English, +continued to strike through all other sounds, till they gained the top +of the slope to find the others almost a hundred yards in front, the +citizens' team leading, with the miners' following close. The moment +the pintos caught sight of the teams before them, they set off at a +terrific pace and steadily devoured the intervening space. Nearer and +nearer the turn came, the eight horses in front, running straight and +well within their speed. After them flew the pintos, running savagely +with ears set back, leading well the big roans, thundering along and +gaining at every bound. And now the citizens' team had almost reached +the Fort, running hard and drawing away from the bays. But Nixon knew +what he was about, and was simply steadying his team for the turn. The +event proved his wisdom, for in the turn the leading team left the +track, lost a moment or two in the deep snow, and before they could +regain the road, the bays had swept superbly past, leaving their +rivals to follow in the rear. On came the pintos, swiftly nearing the +Fort. Surely at that pace they cannot make the turn. But Sandy knows +his leaders. They have their eyes upon the teams in front, and need no +touch of rein. Without the slightest change in speed the nimble-footed +bronchos round the turn, hauling the big roans after them, and fall in +behind the citizens' team, which is regaining steadily the ground lost +in the turn. + +7. And now the struggle is for the bridge over the ravine. The bays in +front, running with mouths wide open, are evidently doing their best; +behind them, and every moment nearing them, but at the limit of their +speed too, come the lighter and fleeter citizens' team; while opposite +their driver are the pintos, pulling hard, eager and fresh. Their +temper is too uncertain to send them to the front; they run well +following, but when leading cannot be trusted, and besides, a broncho +hates a bridge; so Sandy holds them where they are, waiting and hoping +for his chance after the bridge is crossed. Foot by foot the citizens' +team creep up upon the flank of the bays, with the pintos in turn +hugging them closely, till it seems as if the three, if none slackens, +must strike the bridge together; and this will mean destruction to one +at least. This danger Sandy perceives, but he dare not check his +leaders. Suddenly, within a few yards of the bridge, Baptiste throws +himself upon the lines, wrenches them out of Sandy's hands, and, with +a quick swing, forces the pintos down the steep side of the ravine, +which is almost sheer ice with a thin coat of snow. It is a daring +course to take, for the ravine, though not deep, is full of +undergrowth, and is partially closed up by a brush heap at the further +end. But with a yell, Baptiste hurls his four horses down the slope, +and into the undergrowth. "Allons, mes enfants! Courage! vite, vite!" +cries their driver, and nobly do the pintos respond. Regardless of +bushes and brush heaps, they tear their way through; but as they +emerge, the hind bob-sleigh catches a root, and, with a crash, the +sleigh is hurled high into the air. Baptiste's cries ring out high and +shrill as ever, encouraging his team, and never cease till, with a +plunge and a scramble, they clear the brush heap lying at the mouth of +the ravine, and are out on the ice on the river, with Baptiste +standing on the front bob, the box trailing behind, and Sandy nowhere +to be seen. + +8. Three hundred yards of the course remain. The bays, perfectly +handled, have gained at the bridge, and in the descent to the ice, and +are leading the citizens' team by half a dozen sleigh lengths. Behind +both comes Baptiste. It is now or never for the pintos. The rattle of +the trailing box, together with the wild yelling of the crowd rushing +down the bank, excites the bronchos to madness, and, taking the bits +in their teeth, they do their first free running that day. Past the +citizens' team like a whirlwind they dash, clear the intervening +space, and gain the flanks of the bays. Can the bays hold them? Over +them leans their driver, plying for the first time the hissing lash. +Only fifty yards more. The miners begin to yell. But Baptiste, waving +his lines high in one hand, seizes his tuque with the other, whirls it +above his head and flings it with a fiercer yell than ever at the +bronchos. Like the bursting of a hurricane the pintos leap forward, +and with a splendid rush cross the scratch, winners by their own +length. + + --_By arrangement with the Westminster Co., Limited, + and Rev. C. W. Gordon (Ralph Connor)_ + + + PREPARATORY.--Make a black-board sketch of the + race-course, fixing the position of "the scratch," "the + Old Fort," "the high bank with the spectators," "the + bridge," etc. + + In what passages does the excitement reach its greatest + height? How are the Pitch and Time affected? + (Introduction, pp. 13 and 22.) + + What is the Stress employed throughout? Where is the + Stress most marked? Give reasons. (Introduction, pp. 27 + and 28.) + + * * * * * + + +MRS. MALAPROP'S VIEWS + +From "The Rivals" + + +The scene is Mrs. Malaprop's lodgings at Bath. Present, Lydia Languish. +Enter Mrs. Malaprop and Sir Anthony Absolute. + + +_Mrs. Malaprop._--There, Sir Anthony, there sits the deliberate +simpleton who wants to disgrace her family, and lavish herself on a +fellow not worth a shilling. + +_Lydia._--Madam, I thought you once-- + +_Mrs. Malaprop._--You thought, miss! I don't know any business you +have to think at all: thought does not become a young woman. But the +point we would request of you is, that you will promise to forget this +fellow; to illiterate him, I say, quite from your memory. + +_Lydia._--Ah, madam! our memories are independent of our wills. It is +not so easy to forget. + +_Mrs. Malaprop._--But I say it is, miss! there is nothing on earth so +easy as to forget, if a person chooses to set about it. I'm sure I +have as much forgot your poor dear uncle as if he had never +existed--and I thought it my duty so to do; and let me tell you, +Lydia, these violent memories don't become a young woman. + +_Sir Anthony._--Why, sure she won't pretend to remember what she's +ordered not! Ay, this comes of her reading! + +_Lydia._--What crime, madam, have I committed to be treated thus? + +_Mrs. Malaprop._--Now don't attempt to extirpate yourself from the +matter; you know I have proof controvertible of it. But tell me, will +you promise to do as you're bid? Will you take a husband of your +friends' choosing? + +_Lydia._--Madam, I must tell you plainly that had I no preference for +any one else, the choice you have made would be my aversion. + +_Mrs. Malaprop._--What business have you, miss, with preference and +aversion. They don't become a young woman; and you ought to know that +as both always wear off, 'tis safest in matrimony to begin with a +little aversion. I am sure I hated your poor dear uncle before +marriage as if he'd been a blackamoor; and yet, miss, you are sensible +what a wife I made? and when it pleased Heaven to release me from him, +'tis unknown what tears I shed! But suppose we were going to give you +another choice, will you promise us to give up this Beverley? + +_Lydia._--Could I belie my thoughts so far as to give that promise, my +actions would certainly as far belie my words. + +_Mrs. Malaprop._--Take yourself to your room. You are fit company for +nothing but your own ill-humours. + +_Lydia._--Willingly, ma'am--I cannot change for the worse. + (_Exit_) + +_Mrs. Malaprop._--There's a little intricate hussy for you! + +_Sir Anthony._--It is not to be wondered at, ma'am: all this is the +natural consequence of teaching girls to read. Had I a thousand +daughters, by heaven I'd as soon have them taught the black art as +their alphabet! + +_Mrs. Malaprop._--Nay, nay, Sir Anthony: you are an absolute +misanthropy. + +_Sir Anthony._--In my way hither, Mrs. Malaprop, I observed your +niece's maid coming forth from a circulating library! She had a book +in each hand; they were half-bound volumes with marble covers! From +that moment I guessed how full of duty I should see her mistress! + +_Mrs. Malaprop._--Those are vile places indeed! + +_Sir Anthony._--Madam, a circulating library in a town is an evergreen +tree of diabolical knowledge,--it blossoms through the year! And +depend on it, Mrs. Malaprop, that they who are so fond of handling the +leaves will long for the fruit at last. + +_Mrs. Malaprop._--Fy, fy, Sir Anthony! you surely speak laconically. + +_Sir Anthony._--Why, Mrs. Malaprop, in moderation now, what would you +have a woman know? + +_Mrs. Malaprop._--Observe me, Sir Anthony. I would by no means wish a +daughter of mine to be a progeny of learning; I don't think so much +learning becomes a young woman: for instance, I would never let her +meddle with Greek, or Hebrew, or algebra, or simony, or fluxions, or +paradoxes, or such inflammatory branches of learning; neither would it +be necessary for her to handle any of your mathematical, astronomical, +diabolical instruments. But, Sir Anthony, I would send her at nine +years old to a boarding-school, in order to learn a little ingenuity +and artifice. Then, sir, she should have a supercilious knowledge in +accounts; and as she grew up I would have her instructed in geometry, +that she might know something of the contagious countries: but above +all, Sir Anthony, she should be mistress of orthodoxy, that she might +not misspell and mispronounce words so shamefully as girls usually do; +and likewise that she might reprehend the true meaning of what she is +saying. This, Sir Anthony, is what I would have a woman know; and I +don't think there is a superstitious article in it. + +_Sir Anthony._--Well, well, Mrs. Malaprop, I will dispute the point no +further with you; though I must confess that you are a truly moderate +and polite arguer, for almost every third word you say is on my side +of the question. But, Mrs. Malaprop, to the more important point in +debate: you say you have no objection to my proposal? + +_Mrs. Malaprop._--None, I assure you. I am under no positive +engagement with Mr. Acres; and as Lydia is so obstinate against him, +perhaps your son may have better success. + +_Sir Anthony._--Well, madam, I will write for the boy directly. He +knows not a syllable of this yet, though I have for some time had the +proposal in my head. He is at present with his regiment. + +_Mrs. Malaprop._--We have never seen your son, Sir Anthony; but I hope +no objection on his side. + +_Sir Anthony._--Objection! let him object if he dare! No, no, Mrs. +Malaprop, Jack knows that the least demur puts me in a frenzy +directly. My process was always very simple: in their younger days, +'twas "Jack, do this"; if he demurred I knocked him down, and if he +grumbled at that I always sent him out of the room. + +_Mrs. Malaprop._--Ay, and the properest way, o'my conscience! Nothing +is so conciliating to young people as severity. Well, Sir Anthony, I +shall give Mr. Acres his discharge, and prepare Lydia to receive your +son's invocations; and I hope you will represent her to the captain as +an object not altogether illegible. + +_Sir Anthony._--Madam, I will handle the subject prudently. Well I +must leave you; and let me beg you, Mrs. Malaprop, to enforce this +matter roundly to the girl. Take my advice--keep a tight hand: if she +rejects this proposal, clap her under lock and key; and if you were +just to let the servants forget to bring her dinner for three or four +days, you can't conceive how she'd come about. (Exit) + +_Mrs. Malaprop._--Well, at any rate I shall be glad to get her from +under my intuition. She has somehow discovered my partiality for Sir +Lucius O'Trigger: sure Lucy can't have betrayed me! No, the girl is +such a simpleton, I should have made her confess it. (Calls) Lucy! +Lucy!--Had she been one of your artificial ones, I should never have +trusted her. + + --_Richard Brinsley Sheridan_ + + + What is the difference between Mrs. Malaprop's mental + attitude toward Lydia and toward Sir Anthony? How is + this difference indicated in the Stress of voice? + (Introduction, pp. 27 and 28.) + + * * * * * + + +THE GLOVE AND THE LIONS + + + King Francis was a hearty king, and lov'd a royal sport, + And one day, as his lions strove, sat looking on the court; + The nobles fill'd the benches round, the ladies by their side, + And 'mongst them Count de Lorge, with one he hoped to make + his bride; + And truly 'twas a gallant thing to see that crowning show, 5 + Valour and love, and a king above, and the royal beasts below. + + Ramp'd and roar'd the lions, with horrid laughing jaws; + They bit, they glared, gave blows like beams, a wind went with + their paws; + With wallowing might and stifled roar, they roll'd one on another, + Till all the pit, with sand and mane, was in a thund'rous smother; 10 + The bloody foam above the bars came whizzing through the air; + Said Francis then, "Good gentlemen, we're better here than there!" + + De Lorge's love o'erheard the King, a beauteous, lively dame, + With smiling lips, and sharp bright eyes, which always seem'd + the same: + She thought, "The Count, my lover, is as brave as brave can be; 15 + He surely would do desperate things to show his love of me! + King, ladies, lovers, all look on; the chance is wond'rous fine; + I'll drop my glove to prove his love; great glory will be mine!" + + She dropp'd her glove to prove his love: then looked on him + and smiled; + He bow'd, and in a moment leap'd among the lions wild: 20 + The leap was quick; return was quick; he soon regain'd his place; + Then threw the glove, but not with love, right in the lady's face! + "In truth!" cried Francis, "rightly done!" and he rose from where + he sat: + "No love," quoth he, "but vanity, sets love a task like that!" + + --_Leigh Hunt_ + + + PREPARATORY.--Divide the poem into four scenes, and + describe each scene. + + What are the difficulties of Articulation in ll. 2, 9, + 10, and 14. + + What attitude of mind is indicated by the King's first + speech? By his second speech? What difference in Stress? + (Introduction, pp. 27-29.) What is the Force in each + case? (Introduction, p. 25.) + + 15, 16, and 17. Use these lines as an illustration to + show that Visualization is necessary in order to secure + good vocal expression. + + In what Time do you read the lady's thoughts! + (Introduction, p. 13.) + + Give examples from stanzas ii, and iv, where the + sympathy with the picture may be sufficiently strong to + lead to imitation of movements or sounds. (Introduction, + pp. 5 and 6.) + + * * * * * + + +THE FICKLENESS OF A ROMAN MOB + +From "Julius Cæsar" Act I. Scene i. + +_Enter_ FLAVIUS, MARULLUS, _and certain Commoners over the Stage._ + + +_Flav._ Hence! home, you idle creatures, get you home. +Is this a holiday? What! know you not, +Being mechanical, you ought not walk +Upon a labouring day without the sign +Of your profession?--Speak, what trade art thou? 5 + +_1 Cit._ Why, sir, a carpenter. + +_Mar._ Where is thy leather apron, and thy rule? +What dost thou with thy best apparel on?-- +You, sir, what trade are you? + +_2 Cit._ Truly, sir, in respect of a fine workman, I am 10 +but, as you would say, a cobbler. + +_Mar._ But what trade are thou? Answer me directly. + +_2 Cit._ A trade, sir, that I hope I may use with a safe +conscience; which is, indeed, sir, a mender of bad soles. + +_Mar._ What trade, thou knave? thou naughty knave, 15 +what trade? + +_2 Cit._ Nay, I beseech you, sir, be not out with me; +yet, if you be out, sir, I can mend you. + +_Mar._ What mean'st thou by that? Mend me, thou saucy fellow? + +_2 Cit._ Why, sir, cobble you. 20 + +_Flav._ Thou art a cobbler, art thou? + +_2 Cit._ Truly, sir, all that I live by is with the awl. +I meddle with no tradesman's matters, nor women's +matters, but with all. I am, indeed, sir, a surgeon to +old shoes; when they are in great danger, I re-cover 25 +them. As proper men as ever trod upon neat's leather +have gone upon my handiwork. + +_Flav._ But wherefore art not in thy shop to-day? +Why dost thou lead these men about the streets? + +_2 Cit._ Truly, sir, to wear out their shoes, to get 30 +myself into more work. But, indeed, sir, we make +holiday to see Cæsar, and to rejoice in his triumph. + +_Mar._ Wherefore rejoice? What conquest brings he home? +What tributaries follow him to Rome, +To grace in captive bonds his chariot wheels? 35 +You blocks, you stones, you worse than senseless things! +O, you hard hearts, you cruel men of Rome, +Knew you not Pompey? Many a time and oft +Have you climbed up to walls and battlements, +To towers and windows, yea, to chimney-tops, 40 +Your infants in your arms, and there have sat +The livelong day, with patient expectation, +To see great Pompey pass the streets of Rome; +And when you saw his chariot but appear, +Have you not made an universal shout, 45 +That Tiber trembled underneath her banks, +To hear the replication of your sounds +Made in her concave shores? +And do you now put on your best attire? +And do you now cull out a holiday? 50 +And do you now strew flowers in his way +That comes in triumph over Pompey's blood? +Be gone! +Run to your houses, fall upon your knees, +Pray to the gods to intermit the plague 55 +That needs must light on this ingratitude. + +_Flav._ Go, go, good countrymen, and for this fault +Assemble all the poor men of your sort; +Draw them to Tiber banks, and weep your tears +Into the channel, till the lowest stream 60 +Do kiss the most exalted shores of all. + +[_Exeunt all the Commoners_] + +See, whe'r their basest metal be not moved! +They vanish tongue-tied in their guiltiness. +Go you down that way towards the Capitol; +This way will I. Disrobe the images, 65 +If you do find them deck'd with ceremonies. + +_Mar._ May we do so? +You know it is the feast of Lupercal. + +_Flav._ It is no matter; let no images +Be hung with Cæsar's trophies. I'll about, 70 +And drive away the vulgar from the streets; +So do you too, where you perceive them thick. +These growing feathers pluck'd from Cæsar's wing +Will make him fly an ordinary pitch, +Who else would soar above the view of men, 75 +And keep us all in servile fearfulness. + +[_Exeunt]_ + + --_Shakespeare_ + + + In what Stress do Flavius and Marullus speak when + questioning the citizens? Why? + + What Stress does the first citizen use? + + How does the mental attitude of the second citizen + influence his Stress and Inflection? (Introduction, pp. + 21, 22, and 30.) Where does he change his Stress? For + what reason? + + WHEREFORE REJOICE? Point out the various examples of + Climax in this speech, and show how the voice indicates + them. (Introduction, p. 31.) + + Account for the Inflection on the various questions. + (Introduction, pp. 18 and 19.) + + SEE WHE'R THEIR BASEST METAL, ETC. Note the change in + tension and energy. What change in Pitch and Force is + the natural result? (Introduction, pp. 25 and 26.) + + * * * * * + + +SIR PETER AND LADY TEAZLE + +From "The School for Scandal" + + +_Sir Peter._--Lady Teazle, Lady Teazle, I'll not bear it! + +_Lady Teazle._--Sir Peter, Sir Peter, you may bear it or not, as you +please; but I ought to have my own way in everything, and, what's +more, I will, too. What though I was educated in the country, I know +very well that women of fashion in London are accountable to nobody +after they are married. + +_Sir Peter._--Very well, ma'am, very well; so a husband is to have no +influence, no authority? + +_Lady Teazle._--Authority! No, to be sure: if you wanted authority +over me, you should have adopted me and not married me: I am sure you +were old enough. + +_Sir Peter._--Old enough!--ay, there it is. Well, well, Lady Teazle, +though my life may be made unhappy by your temper, I'll not be ruined +by your extravagance! + +_Lady Teazle._--My extravagance! I'm sure I'm not more extravagant +than a woman of fashion ought to be. + +_Sir Peter._--No, no, madam, you shall throw away no more sums on such +unmeaning luxury. To spend as much to furnish your dressing room with +flowers in winter as would suffice to turn the Pantheon into a +greenhouse, and give a fête champêtre at Christmas! + +_Lady Teazle._--And am I to blame, Sir Peter, because flowers are dear +in cold weather? You should find fault with the climate, and not with +me. For my part, I'm sure I wish it was spring all the year round, +and that roses grew under our feet! + +_Sir Peter._--Oons! madam--if you had been born to this, I shouldn't +wonder at your talking thus; but you forget what your situation was +when I married you. + +_Lady Teazle._--No, no, I don't; 'twas a very disagreeable one, or I +should never have married you. + +_Sir Peter._--Yes, yes, madam, you were then in somewhat a humbler +style--the daughter of a plain country squire. Recollect, Lady Teazle, +when I saw you first sitting at your tambour, in a pretty figured +linen gown, with a bunch of keys at your side, your hair combed smooth +over a roll, and your apartment hung round with fruits in worsted, of +your own working. + +_Lady Teazle._--Oh, yes! I remember it very well, and a curious life I +led. My daily occupation to inspect the dairy, superintend the +poultry, make extracts from the family receipt book, and comb my aunt +Deborah's lap-dog. + +_Sir Peter._--Yes, yes, ma'am, 'twas so indeed. + +_Lady Teazle._--And then, you know, my evening amusements! To draw +patterns for ruffles, which I had not materials to make up; to play +Pope Joan with the curate; to read a sermon to my aunt; or to be stuck +down to an old spinet to strum my father to sleep after a fox chase. + +_Sir Peter._--I am glad you have so good a memory. Yes, madam, these +were the recreations I took you from; but now you must have your +coach--_vis-à-vis_--and three powdered footmen before your chair; and, +in the summer, a pair of white cats to draw you to Kensington Gardens. +No recollection, I suppose, when you were content to ride double, +behind the butler, on a docked coach horse. + +_Lady Teazle._--No--I swear I never did that: I deny the butler and +the coach horse. + +_Sir Peter._--This, madam, was your situation; and what have I done +for you? I have made you a woman of fashion, of fortune, of rank,--in +short, I have made you my wife. + +_Lady Teazle._--Well, then, and there is but one thing more you can +make me to add to the obligation, that is-- + +_Sir Peter._--My widow, I suppose? + +_Lady Teazle._--Hem! hem! + +_Sir Peter._--I thank you, madam--but don't flatter yourself, for, +though your ill conduct may disturb my peace of mind, it shall never +break my heart, I promise you: however, I am equally obliged to you +for the hint. + +_Lady Teazle._--Then why will you endeavour to make yourself so +disagreeable to me, and thwart me in every little elegant expense. + +_Sir Peter._--Oons! madam, I say, had you any of these little elegant +expenses when you married me? + +_Lady Teazle._--Lud, Sir Peter! would you have me be out of the +fashion? + +_Sir Peter._--The fashion, indeed! what had you to do with the fashion +before you married me? + +_Lady Teazle._--For my part, I should think you would like to have +your wife thought a woman of taste. + +_Sir Peter._--Ay--there again--taste! Zounds! madam, you had no taste +when you married me! + +_Lady Teazle._--That's very true, indeed, Sir Peter! and, after +having married you, I should never pretend to taste again, I allow. +But now, Sir Peter, since we have finished our daily jangle, I presume +I may go to my engagement at Lady Sneerwell's. + +_Sir Peter._--Ay, there's another precious circumstance--a charming +set of acquaintance you have made there. + +_Lady Teazle._--Nay, Sir Peter, they are all people of rank and +fortune, and remarkably tenacious of reputation. + +_Sir Peter._--Yes, they are tenacious of reputation with a vengeance; +for they don't choose anybody should have a character but themselves! +Such a crew! Ah! many a wretch has rid on a hurdle who has done less +mischief than these utterers of forged tales, coiners of scandal, and +clippers of reputation. + +_Lady Teazle._--What! would you restrain the freedom of speech? + +_Sir Peter._--Ah! they have made you just as bad as any one of the +society. + +_Lady Teazle._--Why, I believe I do bear a part with a tolerable +grace. + +_Sir Peter._--Grace indeed! + +_Lady Teazle._--But I vow I bear no malice against the people I abuse: +when I say an ill-natured thing, 'tis out of pure good humour: and I +take it for granted they deal exactly the same with me. But, Sir +Peter, you know you promised to come to Lady Sneerwell's too. + +_Sir Peter._--Well, well, I'll call in, just to look after my own +character. + +_Lady Teazle._--Then, indeed, you must make haste after me, or you'll +be too late. So good-bye to ye. (_Exit_) + +_Sir Peter._--So--I have gained much by my intended expostulation! +Yet with what a charming air she contradicts everything I say, and how +pleasantly she shows her contempt for my authority! Well, though I +can't make her love me, there is great satisfaction in quarrelling +with her; and I think she never appears to such advantage as when she +is doing everything in her power to plague me. _(Exit_) + + --_Richard Brinsley Sheridan_ + + + Select the passages where Lady Teazle tries to enforce + her opinion by (a) strong assertion, (b) peevishness and + whining. + + In what passages does her desire to taunt and ridicule + Sir Peter predominate? + + In what passages does she address Sir Peter in the tone + of ordinary conversation? + + What Stress is used in each case? (Introduction, pp. + 28-30.) + + HAD YOU ANY OF THESE LITTLE ELEGANT EXPENSES? What + Stress is placed on the last four words? + + * * * * * + + +THE PARTING OF MARMION AND DOUGLAS + +From "Marmion" + + + Not far advanced was morning day, + When Marmion did his troop array + To Surrey's camp to ride; + He had safe-conduct for his band, + Beneath the royal seal and hand, 5 + And Douglas gave a guide. + + The ancient Earl, with stately grace, + Would Clara on her palfrey place, + And whispered in an undertone, + "Let the hawk stoop, his prey is flown." 10 + The train from out the castle drew, + But Marmion stopped to bid adieu: + "Though something I might plain," he said, + "Of cold respect to stranger guest, + Sent hither by your King's behest, 15 + While in Tantallon's towers I stayed; + Part we in friendship from your land, + And, noble earl, receive my hand." + + But Douglas round him drew his cloak, + Folded his arms, and thus he spoke: 20 + "My manors, halls, and bowers, shall still + Be open, at my Sovereign's will, + To each one whom he lists, howe'er + Unmeet to be the owner's peer. + My castles are my King's alone, 25 + From turret to foundation-stone: + The hand of Douglas is his own; + And never shall, in friendly grasp, + The hand of such as Marmion clasp." + + Burned Marmion's swarthy cheek like fire, 30 + And shook his very frame for ire; + And--"This to me," he said, + "An't were not for thy hoary beard, + Such hand as Marmion's had not spared + To cleave the Douglas' head! 35 + And, first, I tell thee, haughty peer, + He who does England's message here, + Although the meanest in her state, + May well, proud Angus, be thy mate: + And, Douglas, more I tell thee here, 40 + Even in thy pitch of pride + Here in thy hold, thy vassals near + (Nay, never look upon your lord, + And lay your hands upon your sword,) + I tell thee, thou'rt defied! 45 + And if thou saidst, I am not peer + To any lord in Scotland here, + Lowland or Highland, far or near, + Lord Angus, thou hast lied!" + + On the Earl's cheek the flush of rage 50 + O'ercame the ashen hue of age: + Fierce he broke forth: "And darest thou, then, + To beard the lion in his den, + The Douglas in his hall? + And hopest thou hence unscathed to go?-- 55 + No, by Saint Bride of Bothwell, no!-- + Up drawbridge, grooms!--what, Warder, ho! + Let the portcullis fall." + + Lord Marmion turned,--well was his need,-- + And dashed the rowels in his steed, 60 + Like arrow through the archway sprung, + The ponderous grate behind him rung: + To pass there was such scanty room, + The bars, descending, grazed his plume. + + The steed along the drawbridge flies, 65 + Just as it trembles on the rise; + Nor lighter does the swallow skim + Along the smooth lake's level brim: + And when Lord Marmion reached his band, + He halts, and turns with clenched hand, 70 + And shout of loud defiance pours, + And shook his gauntlet at the towers. + + "Horse! horse!" the Douglas cried, "and chase!" + But soon he reined his fury's pace: + "A royal messenger he came, 75 + Though most unworthy of the name. + A letter forged! Saint Jude to speed! + Did ever knight so foul a deed! + At first, in heart, it liked me ill, + When the King praised his clerkly skill. 80 + Thanks to Saint Bothan, son of mine, + Save Gawain, ne'er could pen a line. + Saint Mary mend my fiery mood! + Old age ne'er cools the Douglas blood; + I thought to slay him where he stood. 85 + 'Tis pity of him, too," he cried: + "Bold can he speak, and fairly ride: + I warrant him a warrior tried."-- + With this his mandate he recalls, + And slowly seeks his castle halls. 90 + + --_Sir Walter Scott_ + + + In what Quality of voice should the following passages + of this poem be read: (_a_) the descriptive parts; (_b_) + l. 10; (_c_) the first speeches of Marmion and Douglas, + ll. 14-18, and ll. 21-29; (_d_) the second speeches of + Marmion and Douglas, ll. 32-49, and ll. 52-56; (_e_) ll. + 57-58, and ll. 75-88? + + * * * * * + + +COLUMBUS + + + Behind him lay the gray Azores. + Behind him the gates of Hercules; + Before him not the ghost of shores, + Before him only shoreless seas. + The good mate said: "Now we must pray, 5 + For, lo! the very stars are gone. + Brave Adm'r'l, speak; what shall I say?" + "Why, say: 'Sail on! sail on! and on!'" + + "My men grow mutinous day by day; + My men grow ghastly wan and weak." 10 + The stout mate thought of home; a spray + Of salt wave washed his swarthy cheek. + "What shall I say, brave Adm'r'l, say, + If we sight naught but seas at dawn?" + "Why, you shall say, at break of day: 15 + 'Sail on! sail on! sail on! and on!'" + + They sailed and sailed as winds might blow, + Until at last the blanched mate said: + "Why, now not even God would know + Should I and all my men fall dead. 20 + These very winds forget the way, + For God from these dread seas is gone. + Now speak, brave Adm'r'l, speak and say--" + He said: "Sail on! sail on! and on!" + + They sailed. They sailed. Then spake the mate: 25 + "This mad sea shows his teeth to-night; + He curls his lip, he lies in wait, + With lifted teeth as if to bite: + Brave Adm'r'l, say but one good word; + What shall we do when hope is gone?" 30 + The words leapt as a leaping sword: + "Sail on! sail on! sail on! and on!" + + Then, pale and worn, he kept his deck + And peered through darkness. Ah, that night + Of all dark nights! And then, a speck-- 35 + A light! a light! a light! a light! + It grew, a starlit flag unfurled! + It grew to be Time's burst of dawn. + He gained a world; he gave that world + Its greatest lesson; "On! sail on!" 40 + + --_Joaquin Miller_ + + --_By permission of the publishers, Whitaker & Ray-Wiggin Co._ + + + WHAT, SHALL, WHY. (Appendix A, 7 and 8.) + + Give examples of words or phrases which when repeated + become (1) unemphatic, (2) more emphatic, (3) equivalent + to a climax. (Introduction, pp. 31 and 32.) + + Compare the mate's attitude of mind with that of the + Admiral. How is the difference indicated by the Stress? + + * * * * * + + +FROM THE "APOLOGY" OF SOCRATES + +From "The Dialogues of Plato" + + +1. Not much time will be gained, O Athenians, in return for the evil +name which you will get from the detractors of the city, who will say +that you killed Socrates, a wise man; for they will call me wise, even +although I am not wise, when they want to reproach you. If you had +waited a little while, your desire would have been fulfilled in the +course of nature. For I am far advanced in years, as you may perceive, +and not far from death. I am speaking now only to those of you who +have condemned me to death. And I have another thing to say to them: +You think that I was convicted through deficiency of words--I mean, +that if I had thought fit to leave nothing undone, nothing unsaid, I +might have gained an acquittal. Not so; the deficiency which led to +my conviction was not of words--certainly not. But I had not the +boldness or impudence or inclination to address you as you would have +liked me to address you, weeping and wailing and lamenting, and saying +and doing many things which you have been accustomed to hear from +others, and which, as I say, are unworthy of me. But I thought that I +ought not to do anything common or mean in the hour of danger; nor do +I now repent of the manner of my defence, and I would rather die +having spoken after my manner, than speak in your manner and live. For +neither in war nor yet at law ought any man to use every way of +escaping death. For often in battle there is no doubt that if a man +will throw away his arms, and fall on his knees before his pursuers, +he may escape death; and in other dangers there are other ways of +escaping death, if a man is willing to say and do anything. The +difficulty, my friends, is not in avoiding death, but in avoiding +unrighteousness; for that runs faster than death. I am old and move +slowly, and the slower runner has overtaken me, and my accusers are +keen and quick, and the faster runner, who is unrighteousness, has +overtaken them. And now I depart hence, condemned by you to suffer the +penalty of death, and they too go their ways, condemned by the truth +to suffer the penalty of villainy and wrong; and I must abide by my +reward--let them abide by theirs. I suppose that these things may be +regarded as fated,--and I think that they are well. + +2. And now, O men who have condemned me, I would fain prophesy to you; +for I am about to die, and that is the hour in which men are gifted +with prophetic power. And I prophesy to you who are my murderers, +that immediately after my death punishment far heavier than you have +inflicted on me will surely await you. Me you have killed because you +wanted to escape the accuser, and not to give an account of your +lives. But that will not be as you suppose: far otherwise. For I say +that there will be more accusers of you than there are now; accusers +whom hitherto I have restrained: and as they are younger they will be +more severe with you, and you will be more offended at them. For if +you think that by killing men you can avoid the accuser censuring your +lives, you are mistaken; that is not a way of escape which is either +possible or honourable; the easiest and the noblest way is not to be +crushing others, but to be improving yourselves. This is the prophecy +which I utter before my departure to the judges who have condemned me. + +3. Friends, who would have acquitted me, I would like also to talk +with you about this thing which has happened, while the magistrates +are busy, and before I go to the place at which I must die. Stay then +a while, for we may as well talk with one another while there is time. +You are my friends, and I should like to show you the meaning of this +event which has happened to me. O my judges--for you I may truly call +judges--I should like to tell you of a wonderful circumstance. +Hitherto the familiar oracle within me has constantly been in the +habit of opposing me even about trifles, if I was going to make a slip +or error about anything; and now, as you see, there has come upon me +that which may be thought, and is generally believed to be, the last +and worst evil. But the oracle made no sign of opposition, either as I +was leaving my house and going out in the morning, or when I was going +up into this court, or while I was speaking, at anything which I was +going to say; and yet I have often been stopped in the middle of a +speech, but now in nothing I either said or did touching this matter +has the oracle opposed me. What do I take to be the explanation of +this? I will tell you. I regard this as a proof that what has happened +to me is a good, and that those of us who think that death is an evil +are in error. This is a great proof to me of what I am saying, for the +customary sign would surely have opposed me had I been going to evil +and not to good. + +4. Let us reflect in another way, and we shall see that there is a +great reason to hope that death is a good, for one of two things: +either death is a state of nothingness and utter unconsciousness, or, +as men say, there is a change and migration of the soul from this +world to another. Now if you suppose that there is no consciousness, +but a sleep like the sleep of him who is undisturbed even by the sight +of dreams, death will be an unspeakable gain. For if a person were to +select the night in which his sleep was undisturbed even by dreams, +and were to compare with this the other days and nights of his life, +and then were to tell us how many days and nights he had passed in the +course of his life better and more pleasantly than this one, I think +that any man, I will not say a private man, but even the great king +will not find many such days or nights, when compared with the others. +Now if death is like this, I say that to die is gain; for eternity is +then only a single night. But if death is the journey to another +place, and there, as men say, all the dead are, what good, O my +friends and judges, can be greater than this? If indeed when the +pilgrim arrives in the world below, he is delivered from the +professors of justice in this world, and finds the true judges who +are said to give judgment there, Minos and Rhadamanthus, and Aeacus, +and Triptolemus, and other sons of God who were righteous in their own +life, that pilgrimage will be worth making. What would not a man give +if he might converse with Orpheus and Musaeus and Hesiod and Homer? +Nay, if this be true, let me die again and again. I, too, shall have a +wonderful interest in a place where I can converse with Palamedes, and +Ajax the son of Telamon, and other heroes of old, who have suffered +death through an unjust judgment; and there will be no small pleasure, +as I think, in comparing my own sufferings with theirs. Above all, I +shall be able to continue my search into true and false knowledge; as +in this world, so also in that; I shall find out who is wise, and who +pretends to be wise and is not. What would not a man give, O judges, +to be able to examine the leader of the great Trojan expedition; or +Odysseus, or Sisyphus, or numberless others, men and women too! What +infinite delight would there be in conversing with them and asking +them questions! For in that world they do not put a man to death for +this; certainly not. For besides being happier in that world than in +this, they will be immortal, if what is said is true. + +5. Wherefore, O judges, be of good cheer about death, and know this of +a truth--that no evil can happen to a good man, either in life or +after death. He and his are not neglected by the gods; nor has my own +approaching end happened by mere chance. But I see clearly that to die +and be released was better for me; and therefore the oracle gave no +sign. For which reason, also, I am not angry with my accusers or my +condemners; they have done me no harm, although neither of them meant +to do me any good; and for this I may gently blame them. + +6. Still I have a favour to ask of them. When my sons are grown up, I +would ask you, O my friends, to punish them and I would have you +trouble them, as I have troubled you, if they seem to care about +riches, or anything, more than about virtue; or if they pretend to be +something when they are really nothing,--then reprove them, as I have +reproved you, for not caring about that for which they ought to care, +and thinking that they are something when they are really nothing. And +if you do this, I and my sons will have received justice at your +hands. + +7. The hour of departure has arrived, and we go our ways--I to die, +and you to live. Which is better God only knows. + + --_Benjamin Jowett_ + + + Illustrate from this extract the general principle that + incompleteness is expressed by means of the Rising, and + completeness by means of the Falling Inflection. + + Par. 1. FOR NEITHER IN WAR NOR YET AT LAW ... DEATH. + Explain the Inflection placed on this negative + statement. Give a similar example from Par. 2. + + I MUST ABIDE BY MY AWARD ... LET THEM ABIDE BY THEIRS. + Explain the opposite Inflections on antithetical words + and phrases. If one part of the antithesis is a + negation, what is the Inflection? (Introduction, pp. 19 + and 20.) Give examples from Par. 2. + + I AM OLD AND MOVE SLOWLY ... WRONG. Explain the Emphasis + in these sentences. Which one of a pair of contrasted + words is necessarily emphatic? Give examples from this + and the following paragraph, in which both are emphatic, + and explain why. (Introduction, pp. 30-32.) + + Par. 4. Explain the Inflection on the questions. + (Introduction, pp. 18 and 19.) + + What clauses in this paragraph are really parenthetical + in force? How does the voice subordinate them? Give + similar examples from other paragraphs. (Introduction, + pp. 24 and 25.) + + * * * * * + + +HIGHLAND HOSPITALITY + +From "The Lady of the Lake" + + + The shades of eve come slowly down, + The woods are wrapt in deeper brown, + The owl awakens from her dell, + The fox is heard upon the fell; + Enough remains of glimmering light 5 + To guide the wanderer's steps aright, + Yet not enough from far to show + His figure to the watchful foe. + With cautious step, and ear awake, + He climbs the crag and threads the brake; 10 + And not the summer solstice there, + Tempered the midnight mountain air, + But every breeze that swept the wold, + Benumbed his drenched limbs with cold. + In dread, in danger, and alone, 15 + Famished and chilled, through ways unknown, + Tangled and steep, he journeyed on; + Till, as a rock's huge point he turned, + A watch-fire close before him burned. + + Beside its embers red and clear, 20 + Basked, in his plaid, a mountaineer; + And up he sprung with sword in hand,-- + "Thy name and purpose! Saxon, stand!"-- + "A stranger."--"What dost thou require?"-- + "Rest and a guide, and food and fire. 25 + My life's beset, my path is lost. + The gale has chilled my limbs with frost."-- + "Art thou a friend to Roderick?"--"No."-- + "Thou darest not call thyself a foe?"-- + "I dare! to him and all the band 30 + He brings to aid his murderous hand."-- + "Bold words!--but, though the beast of game + The privilege of chase may claim, + Though space and law the stag we lend, + Ere hound we slip, or bow we bend, 35 + Who ever recked, where, how, or when, + The prowling fox was trapped or slain? + Thus, treacherous scouts,--yet sure they lie, + Who say thou camest a secret spy!"-- + "They do, by Heaven!--Come Roderick Dhu, 40 + And of his clan the boldest two, + And let me but till morning rest, + I write the falsehood on their crest."-- + "If by the blaze I mark aright, + Thou bear'st the belt and spur of Knight."-- 45 + "Then, by these tokens mayest thou know, + Each proud oppressor's mortal foe."-- + "Enough, enough; sit down and share + A soldier's couch, a soldier's fare."-- + + He gave him of his Highland cheer, 50 + The hardened flesh of mountain deer; + Dry fuel on the fire he laid, + And bade the Saxon share his plaid. + He tended him like welcome guest, + Then thus his further speech addressed:-- 55 + "Stranger, I am to Roderick Dhu + A clansman born, a kinsman true; + Each word against his honour spoke, + Demands of me avenging stroke; + Yet more,--upon thy fate, 'tis said, 60 + A mighty augury is laid. + It rests with me to wind my horn, + Thou art with numbers overborne; + It rests with me, here, brand to brand, + Worn as thou art, to bid thee stand: 65 + But not for clan, nor kindred's cause, + Will I depart from honour's laws; + To assail a wearied man were shame, + And stranger is a holy name; + Guidance and rest, and food and fire, 70 + In vain he never must require. + Then rest thee here till dawn of day; + Myself will guide thee on the way, + O'er stock and stone, through watch and ward. + Till past Clan-Alpine's outmost guard, 75 + As far as Coilantogle's ford; + From thence thy warrant is thy sword."-- + "I take thy courtesy, by Heaven, + As freely as 'tis nobly given!"-- + "Well, rest thee; for the bittern's cry 80 + Sings us the lake's wild lullaby." + With that he shook the gathered heath, + And spread his plaid upon the wreath; + And the brave foemen, side by side, + Lay peaceful down, like brothers tried, 85 + And slept until the dawning beam + Purpled the mountain and the stream. + + --_Sir Walter Scott_ + + + PREPARATORY.--Connect this scene with the rest of the + poem. + + Give a dramatic form to this extract, describing + definitely the scenery and stage-setting. One reader may + render the descriptive parts, another the speeches of + Roderick Dhu, and a third those of Fitz-James. + + WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS, + BOLDEST TWO. (Appendix A, 6.) + + 25 and 70. (Appendix A, 5.) 1-4. Note the word-pictures. + How do they affect the Pause? (Introduction, pp. 7 and + 8.) + + 7. NOT ENOUGH. With what is it contrasted? Which word is + emphatic? Where do the Pauses occur in this line? + + 9. What is the atmosphere of this line? What is the + Quality of voice? (Introduction, p. 34.) + + 10-11. What Inflection? Why? What is the Shading when + compared with the two following lines? (Introduction, p. + 24.) + + 16-17. Give an example of Grouping. + + 18-19. Compare the Shading of these two lines. + + 22. What feeling and movement are here expressed? How + does the voice give expression to them? (Introduction, + pp. 5, 6, and 27.) + + Describe the mental attitude of each of the speakers. + What is the Stress in each case? (Introduction, pp. + 27-29.) + + 38. THE PROWLING FOX ... SCOUTS. What is the mental + attitude here? What Stress is the result? (Introduction, + p. 28.) How does the rest of the speech differ from the + preceding? What is the Inflection? (Introduction, p. + 18.) + + What is the Stress of ordinary conversation? Illustrate + from the above selection. + + 32-39. BOLD WORDS ... SPY. (Introduction, p. 24.) + + 48. Why should SIT DOWN be kept distinct from SHARE? How + is this effected? + + 60. 'TIS SAID. How does the voice subordinate this + phrase? (Introduction, p. 24.) + + 66-69. Which are the emphatic words and why are they + emphatic? + + 77. What feeling is introduced here? How does the voice + express it? + + * * * * * + + +THE OUTLAW + +From "Rokeby" + + + O, Brignall banks are wild and fair, + And Greta woods are green, + And you may gather garlands there, + Would grace a summer queen. + + And as I rode by Dalton-Hall, 5 + Beneath the turrets high, + A Maiden on the castle wall + Was singing merrily,-- + + "O, Brignall banks are fresh and fair, + And Greta woods are green; 10 + I'd rather rove with Edmund there + Than reign our English queen."-- + + "If, Maiden, thou would'st wend with me, + To leave both tower and town, + Thou first must guess what life lead we 15 + That dwell by dale and down. + And if thou canst that riddle read, + As read full well you may, + Then to the greenwood shalt thou speed + As blithe as Queen of May."-- 20 + + Yet sung she, "Brignall banks are fair, + And Greta woods are green; + I'd rather rove with Edmund there. + Than reign our English queen. + + "I read you by your bugle-horn, 25 + And by your palfrey good, + I read you for a Ranger sworn, + To keep the king's greenwood."-- + "A Ranger, lady, winds his horn, + And 'tis at peep of light; 30 + His blast is heard at merry morn, + And mine at dead of night."-- + + Yet sung she, "Brignall banks are fair, + And Greta woods are gay; + I would I were with Edmund there, 35 + To reign his Queen of May! + + "With burnish'd brand and musketoon, + So gallantly you come, + I read you for a bold Dragoon, + That lists the tuck of drum."-- 40 + "I list no more the tuck of drum, + No more the trumpet hear; + But when the beetle sounds his hum + My comrades take the spear. + + "And O! though Brignall banks be fair 45 + And Greta woods be gay, + Yet mickle must the maiden dare + Would reign my Queen of May! + + "Maiden! a nameless life I lead, + A nameless death I'll die! 50 + The fiend whose lantern lights the mead + Were better mate than I! + And when I'm with my comrades met + Beneath the greenwood bough, + What once we were we all forget, 55 + Nor think what we are now. + + "Yet Brignall banks are fresh and fair, + And Greta woods are green, + And you may gather garlands there + Would grace a summer queen." 60 + + --_Sir Walter Scott_ + + + PREPARATORY.--"The Life of an Outlaw." Speak on this + subject, illustrating from such characters as Rob Roy, + Robin Hood, etc., and emphasizing the pathos of such a + life. + + For dramatic rendering see preparatory notes on + _Highland Hospitality_. + + 1-4. What Stress indicates the state of mind reflected + by these lines? (Introduction, p. 29.) + + 3, 11. What Inflection is placed on THERE? + (Introduction, p. 16.) + + 12. What word may be supplied after REIGN? How is this + indicated in the reading? (Introduction, p. 10.) + + 13-20. Read these lines with a view to Perspective. + (Introduction, p. 33.) + + Give examples of Grouping throughout the poem and show + how the Pause is affected. (Introduction, p. 11.) + + What words in stanza iii are emphatic through contrast? + In stanza v? + + What feeling in the last half of stanza v? + (Introduction, pp. 10-12.) In what Time, Pitch, and + Force are these lines read? Give your reasons. + + * * * * * + + +OF STUDIES + +From the "Essays" + + +Studies serve for delight, for ornament, and for ability. Their chief +use for delight, is in privateness and retiring; for ornament, is in +discourse; and for ability, is in the judgment and disposition of +business. For expert men can execute, and perhaps judge of +particulars, one by one; but the general counsels, and the plots, and +marshalling of affairs, come best from those that are learned. + +To spend too much time in studies, is sloth; to use them too much for +ornament, is affectation; to make judgment wholly by their rules, is +the humour of a scholar. They perfect nature and are perfected by +experience: for natural abilities are like natural plants, that need +pruning by study; and studies themselves do give forth directions too +much at large, except they be bounded in by experience. + +Crafty men contemn studies; simple men admire them; and wise men use +them; for they teach not their own use; but that is a wisdom without +them, and above them, won by observation. Read not to contradict and +confute; nor to believe and take for granted; nor to find talk and +discourse; but to weigh and consider. + +Some books are to be tasted, others to be swallowed, and some few to +be chewed and digested; that is, some books are to be read only in +parts; others to be read, but not curiously; and some few to be read +wholly, and with diligence and attention. Some books also may be read +by deputy, and extracts made of them by others; but that would be only +in the less important arguments, and the meaner sort of books; else +distilled books are like common distilled waters, flashy things. + +Reading maketh a full man; conference a ready man; and writing an +exact man. And therefore, if a man write little, he had need have a +good memory, if he confer little, he had need have a present wit; and +if he read little, he had need have much cunning, to seem to know that +he doth not. + +If a man's wit be wandering, let him study the mathematics; for in +demonstrations, if his wit be called away never so little, he must +begin again; if his wits be not apt to distinguish or find +differences, let him study the schoolmen; if he be not apt to beat +over matters, and to call up one thing to prove and illustrate +another, let him study the lawyers' cases. So every defect of the mind +may have a special receipt. + + --_Lord Bacon_ + + + Preparatory.--Observe the sentence structure employed + throughout this extract, and make a list of the + antithetical words and phrases. + + This lesson may be used as an exercise to illustrate the + principle of Inflection as applied to antithetical words + or phrases and to series of words or phrases parallel in + construction. (Introduction, p. 20.) + + * * * * * + + +THE INFLUENCE OF ATHENS + +From essay "On Mitford's History of Greece" + + +If we consider merely the subtlety of disquisition, the force of +imagination, the perfect energy and elegance of expression, which +characterize the great works of Athenian genius, we must pronounce +them intrinsically most valuable. But what shall we say when we +reflect that from hence have sprung, directly or indirectly, all the +noblest creations of the human intellect; that from hence were the +vast accomplishments and the brilliant fancy of Cicero, the withering +fire of Juvenal, the plastic imagination of Dante, the humour of +Cervantes, the comprehension of Bacon, the wit of Butler, the supreme +and universal excellence of Shakespeare? + +All the triumphs of truth and genius over prejudice and power, in +every country and in every age, have been the triumphs of Athens. +Wherever a few great minds have made a stand against violence and +fraud, in the cause of liberty and reason, there has been her spirit +in the midst of them; inspiring, encouraging, consoling;--by the +lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune +of Mirabeau, in the cell of Galileo, on the scaffold of Sidney. + +But who shall estimate her influence on private happiness? Who shall +say how many thousands have been made wiser, happier, and better, by +those pursuits in which she has taught mankind to engage; to how many +the studies which took their rise from her have been wealth in +poverty, liberty in bondage, health in sickness, society in solitude? + +Her power is, indeed, manifested at the bar, in the senate, in the +field of battle, in the schools of philosophy. But these are not her +glory. Wherever literature consoles sorrow, or assuages pain; wherever +it brings gladness to eyes which fail with wakefulness and tears, and +ache for the dark house and the long sleep,--there is exhibited, in +its noblest form, the immortal influence of Athens. + +The dervish, in the Arabian tale, did not hesitate to abandon to his +comrade the camels with their loads of jewels and gold, while he +retained the casket of that mysterious juice which enabled him to +behold at one glance all the hidden riches of the universe. Surely it +is no exaggeration to say that no external advantage is to be compared +with that purification of the intellectual eye which gives us to +contemplate the infinite wealth of the mental world, all the hoarded +treasures of its primeval dynasties, all the shapeless ore of its yet +unexplored mines. This is the gift of Athens to man. + +Her freedom and her power have, for more than twenty centuries, been +annihilated; her people have degenerated into timid slaves; her +language, into a barbarous jargon; her temples have been given up to +the successive depredations of Romans, Turks, and Scotchmen; but her +intellectual empire is imperishable. + +And when those who have rivalled her greatness shall have shared her +fate; when civilization and knowledge shall have fixed their abode in +distant continents; when the sceptre shall have passed away from +England; when, perhaps, travellers from distant regions shall in vain +labour to decipher on some mouldering pedestal the name of our +proudest chief, shall hear savage hymns chaunted to some misshapen +idol over the ruined dome of our proudest temple, and shall see a +single naked fisherman wash his nets in the river of the ten thousand +masts,--her influence and her glory will still survive,--fresh in +eternal youth, exempt from mutability and decay, immortal as the +intellectual principle from which they derived their origin, and over +which they exercise their control. + + --_Macaulay_ + + + Illustrate from this lesson the principle of Inflection + as applied to (1) a series of words parallel in + construction; (2) rhetorical questions. + + How should the principal clause in the last paragraph be + made prominent by the voice? (Introduction, p. 33.) + + * * * * * + + +NATIONAL MORALITY + + +1. I believe there is no permanent greatness to a nation except it be +based upon morality. I do not care for military greatness or military +renown. I care for the condition of the people among whom I live. +There is no man in England who is less likely to speak irreverently of +the Crown and Monarchy of England than I am; but crowns, coronets, +mitres, military display, the pomp of war, wide colonies, and a huge +empire, are, in my view, all trifles light as air, and not worth +considering, unless with them you can have a fair share of comfort, +contentment, and happiness, among the great body of the people. +Palaces, baronial castles, great halls, stately mansions, do not make +a nation. The nation in every country dwells in the cottage; and +unless the light of your Constitution can shine there, unless the +beauty of your legislation and the excellence of your statesmanship +are impressed there on the feelings and condition of the people, rely +upon it, you have yet to learn the duties of government. + +2. I have not pleaded, as you have observed, that this country should +remain without adequate and scientific means of defence. I acknowledge +it to be the duty of your statesmen, acting upon the known opinions +and principles of ninety-nine out of every one hundred persons in the +country, at all times, with all possible moderation, but with all +possible efficiency, to take steps which shall preserve order within +and on the confines of your kingdom. But I shall repudiate and +denounce the expenditure of every shilling, the engagement of every +man, the employment of every ship which has no object but +intermeddling in the affairs of other countries and endeavouring to +extend the boundaries of an Empire which is already large enough to +satisfy the greatest ambition, and I fear is much too large for the +highest statesmanship to which any man has yet attained. + +3. The most ancient of profane historians has told us that the +Scythians of his time were a very warlike people, and that they +elevated an old scimitar upon a platform as a symbol of Mars, for to +Mars alone, I believe, they built altars and offered sacrifices. To +this scimitar they offered sacrifices of horses and cattle, the main +wealth of the country, and more costly sacrifices than to all the rest +of their gods. I often ask myself whether we are at all advanced in +one respect beyond those Scythians. What are our contributions to +charity, to education, to morality, to religion, to justice, and to +civil government, when compared with the wealth we expend in +sacrifices to the old scimitar? + +4. Two nights ago I addressed in this hall a vast assembly composed to +a great extent of your countrymen, who have no political power, who +are at work from the dawn of the day to the evening, and who have +therefore limited means of informing themselves on these great +subjects. Now I am privileged to speak to a somewhat different +audience. You represent those of your great community who have a more +complete education, who have on some points greater intelligence, and +in whose hands reside the power and influence of the district. I am +speaking, too, within the hearing of those whose gentle nature, whose +finer instincts, whose purer minds, have not suffered as some of us +have suffered in the turmoil and strife of life. You can mould +opinion, you can create political power,--you cannot think a good +thought on this subject and communicate it to your neighbours,--you +cannot make these points topics of discussion in your social circles +and more general meetings, without affecting sensibly and speedily the +course which the government of your country will pursue. May I ask +you, then, to believe, as I do most devoutly believe, that the moral +law was not written for men alone in their individual character, but +that it was written as well for nations, and for nations great as this +of which we are citizens. If nations reject and deride that moral law, +there is a penalty which will inevitably follow. It may not come at +once, it may not come in our lifetime; but, rely upon it, the great +Italian is not a poet only, but a prophet, when he says: + + The sword of heaven is not in haste to smite, + Nor yet doth linger. + +5. We have experience, we have beacons, we have landmarks enough. We +know what the past has cost us, we know how much and how far we have +wandered, but we are not left without a guide. It is true, we have +not, as an ancient people had, Urim and Thummin--those oraculous gems +in Aaron's breast--from which to take counsel, but we have the +unchangeable and eternal principles of the moral law to guide us, and +only so far as we walk by that guidance can we be permanently a great +nation, or our people a happy people. + + --_The Right Honourable John Bright_ + + + BARONIAL, CASTLES, CHARACTER, PAST. (Appendix A, 1.) + + Par. 1. MILITARY GREATNESS, MILITARY RENOWN. Note the + transferred Emphasis. (Introduction, pp. 31 and 32.) + + CROWNS, CORONETS, ETC. Explain the Inflection on each + member of this series. Give similar examples from this + paragraph and from Pars. 3, 4, and 5. + + UNLESS WITH THEM, ETC. How does the voice prepare the + listener for this clause? Give a similar example from + Par. 4. + + YOU HAVE YET TO LEARN, ETC. How is this clause made + prominent? + + Par. 2. Give an analysis of the second sentence from the + standpoint of Perspective. + + THE EXPENDITURE ... SHIP. How is the Climax brought out? + + FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give + another example from this sentence. + + Par. 4. NATIONS. What Inflection on this word? With what + is it contrasted? + + * * * * * + + +HAMLET'S ADVICE TO THE PLAYERS + +Act III. Scene 2 + + +Speak the speech, I pray you, as I pronounced it to +you, trippingly on the tongue: but if you mouth it, as +many of your players do, I had as lief the town-crier +spoke my lines. Nor do not saw the air too much with +your hand, thus; but use all gently: for in the very 5 +torrent, tempest, and, as I may say, the whirlwind of +passion, you must acquire and beget a temperance that +may give it smoothness. O, it offends me to the soul to +hear a robustious periwig-pated fellow tear a passion to +tatters, to very rags, to split the ears of the groundlings, 10 +who, for the most part, are capable of nothing but +inexplicable dumb-shows and noise: I would have such +a fellow whipped for o'erdoing Termagant; it out-herods +Herod: pray you, avoid it. + +Be not too tame neither, but let your own discretion 15 +be your tutor: suit the action to the word, the word to +the action; with this special observance, that you o'erstep +not the modesty of nature: for anything so overdone +is from the purpose of playing, whose end, both at the +first and now, was and is, to hold, as 'twere, the mirror 20 +up to nature; to show virtue her own feature, scorn her +own image, and the very age and body of the time his +form and pressure. Now, this overdone or come tardy +off, though it make the unskilful laugh, cannot but make +the judicious grieve; the censure of the which one 25 +must, in your allowance, o'erweigh a whole theatre of +others. O, there be players that I have seen play, and +heard others praise, and that highly, not to speak it +profanely, that neither having the accent of Christains +nor the gait of Christain, pagan, nor man, have so 30 +strutted and bellowed, that I have thought some of +nature's journeymen had made men, and not made them +well, they imitated humanity so abominably. + + --_Shakespeare_ + + + MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words + emphatic? (Introduction, p. 30.) + + Explain FROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE + CENSURE OF THE WHICH ... OTHERS. What are the emphatic + words in each? + + TORRENT, TEMPEST, WHIRLWIND. Observe the Climax. + + Give other examples of Climax from this selection and + show how the Emphasis is employed. (Introduction, p. + 31.) + + Select parenthetical clauses and show how they are + subordinated. (Introduction, p. 24.) + + Read the last two sentences with a view to Perspective. + (Introduction, p. 33.) + + * * * * * + + +ROSABELLE + + From "The Lay of the Last Minstrel" + + + O listen, listen, ladies gay! + No haughty feat of arms I tell; + Soft is the note, and sad the lay + That mourns the lovely Rosabelle. + + "Moor, moor the barge, ye gallant crew! + And, gentle ladye, deign to stay! + Rest thee in Castle Ravensheuch, + Nor tempt the stormy firth to-day. + + "The blackening wave is edged with white; + To inch and rock the sea-mews fly; + The fishers have heard the Water-Sprite, + Whose screams forebode that wreck is =nigh=. + + "Last night the gifted Seer did view + A wet shroud swathed round ladye gay; + Then stay thee, Fair, in Ravensheuch; + Why cross the gloomy firth to-day?"-- + + "'Tis not because Lord Lindesay's heir + To-night at Roslin leads the ball, + But that my ladye-mother there + Sits lonely in her castle-hall. + + "'Tis not because the ring they ride, + And Lindesay at the ring rides well, + But that my sire the wine will chide + If 'tis not fill'd by Rosabelle."-- + + O'er Roslin all that dreary night + A wondrous blaze was seen to gleam; + 'Twas broader than the watch-fire's light, + And redder than the bright moonbeam. + + It glared on Roslin's castled rock, + It ruddied all the copse-wood glen; + 'Twas seen from Dryden's groves of oak, + And seen from cavern'd Hawthornden. + + Seem'd all on fire that chapel proud, + Where Roslin's chiefs uncoffin'd lie, + Each Baron, for a sable shroud, + Sheathed in his iron panoply. + + Seem'd all on fire within, around, + Deep sacristy and altar's pale; + Shone every pillar foliage-bound, + And glimmer'd all the dead men's mail. + + Blazed battlement and pinnet high, + Blazed every rose-carved buttress fair-- + So still they blaze, when fate is nigh + The lordly line of high Saint Clair. + + There are twenty of Roslin's barons bold + Lie buried within that proud chapelle; + Each one the holy vault doth hold-- + But the sea holds lovely Rosabelle! + + And each Saint Clair was buried there + With candle, with book, and with knell; + But the sea-caves rung, and the wild winds sung + The dirge of lovely Rosabelle! + + --_Sir Walter Scott_ + + + PREPARATORY.--Describe the scene suggested by the first + stanza. + + Make three scenes of the rest of the poem, and give a + descriptive title to each. + + Articulation. (Appendix A, 1, 3, and 6.) + + Stanza i. How is the ellipsis in l. 3 indicated? + + Stanza ii. What is the difference between the way the + speaker addresses the crew and that in which he + addresses the lady? + + Stanzas iii-iv. How does the reader make prominent the + four different arguments of the speaker in ll. 9-15, at + the same time showing that each is a stronger warning + than the last? (Introduction, pp. 24, 25, and 31.) + + Stanzas v-vi. What is the Inflection on the negative + statements in the first two lines of each stanza? + + Stanzas vii-xi. What feeling pervades the description of + the ominous light over Roslyn? What Quality of voice is + the natural outcome? (Introduction, p. 34.) + + What are the central ideas in stanzas vii, ix, and x? + + How is the break in the thought after FAIR, (stanza xi) + shown? (Introduction, pp. 8, 9, and 25.) + + Stanzas xii-xiii. What phrases contrast the burial of + the Saint Clairs with that of Rosabelle? What contrast + of feeling? + + * * * * * + + +THE ISLAND OF THE SCOTS + +December, 1697 + + + The Rhine is running deep and red, the island lies before,-- + "Now is there one of all the host will dare to venture o'er? + For not alone the river's sweep might make a brave man quail; + The foe are on the further side, their shot comes fast as hail. + God help us, if the middle isle we may not hope to win; 5 + Now is there any of the host will dare to venture in?" + "The ford is deep, the banks are steep, the island-shore lies wide; + Nor man nor horse could stem its force, or reach the further side. + See there! amidst the willow-boughs the serried bayonets gleam; + They've flung their bridge,--they've won the isle; the foe have + cross'd the stream! 10 + Their volley flashes sharp and strong,--by all the saints! I trow + There never yet was soldier born could force that passage now!" + + So spoke the bold French Mareschal with him who led the van, + Whilst rough and red before their view the turbid river ran. + Nor bridge nor boat had they to cross the wild and swollen Rhine, 15 + And thundering on the other bank far stretch'd the German line. + Hard by there stood a swarthy man was leaning on his sword, + And a sadden'd smile lit up his face as he heard the Captain's word. + "I've seen a wilder stream ere now than that which rushes there; + I've stemm'd a heavier torrent yet and never thought to dare. 20 + If German steel be sharp and keen, is ours not strong and true? + There may be danger in the deed, but there is honour too." + + The old lord in his saddle turn'd, and hastily he said, + "Hath bold Duguesclin's fiery heart awaken'd from the dead? + Thou art the leader of the Scots,--now well and sure I know, 25 + That gentle blood in dangerous hour ne'er yet ran cold nor slow, + And I have seen ye in the fight do all that mortal may: + If honour is the boon ye seek, it may be won this day,-- + The prize is in the middle isle, there lies the adventurous way, + And armies twain are on the plain, the daring deed to see,-- 30 + Now ask thy gallant company if they will follow thee!" + + Right gladsome look'd the Captain then, and nothing did he say, + But he turn'd him to his little band, O, few, I ween, were they! + The relics of the bravest force that ever fought in fray. + No one of all that company but bore a gentle name, 35 + Not one whose fathers had not stood in Scotland's fields of fame. + All they had march'd with great Dundee to where he fought and fell, + And in the deadly battle-strife had venged their leader well; + And they had bent the knee to earth when every eye was dim, + As o'er their hero's buried corpse they sang the funeral hymn; 40 + And they had trod the Pass once more, and stoop'd on either side. + To pluck the heather from the spot where he had dropp'd and died; + And they had bound it next their hearts, and ta'en a last farewell + Of Scottish earth and Scottish sky, where Scotland's glory fell. + Then went they forth to foreign lands like bent and broken men, 45 + Who leave their dearest hope behind, and may not turn again. + + "The stream," he said, "is broad and deep, and stubborn is + the foe,-- + Yon island-strength is guarded well,--say, brothers, will ye go? + From home and kin for many a year our steps have wander'd wide, + And never may our bones be laid our fathers' graves beside. 50 + No children have we to lament, no wives to wail our fall; + The traitor's and the spoiler's hand have reft our hearths of all. + But we have hearts, and we have arms, as strong to will and dare + As when our ancient banners flew within the northern air. + Come, brothers! let me name a spell shall rouse your souls again, 55 + And send the old blood bounding free through pulse and heart + and vein. + Call back the days of bygone years,--be young and strong once more; + Think yonder stream, so stark and red, is one we've cross'd before. + + Rise, hill and glen! rise, crag and wood! rise up on either hand,-- + Again upon the Garry's banks, on Scottish soil we stand! 60 + Again I see the tartans wave, again the trumpets ring; + Again I hear our leader's call: 'Upon them for the King!' + Stay'd we behind that glorious day for roaring flood or linn? + The soul of Græme is with us still,--now, brothers, will ye in?" + + No stay,--no pause. With one accord, they grasp'd each + other's hand, 65 + Then plunged into the angry flood, that bold and dauntless band. + High flew the spray above their heads, yet onward still they bore, + Midst cheer, and shout, and answering yell, and shot, + and cannon-roar,-- + "Now, by the Holy Cross! I swear, since earth and sea began, + Was never such a daring deed essay'd by mortal man!" 70 + Thick blew the smoke across the stream, and faster flash'd + the flame: + The water plash'd in hissing jets as ball and bullet came. + Yet onward push'd the Cavaliers all stern and undismay'd, + With thousand armed foes before, and none behind to aid + Once, as they near'd the middle stream, so strong + the torrent swept, 75 + That scarce that long and living wall their dangerous footing kept. + Then rose a warning cry behind, a joyous shout before: + "The current's strong,--the way is long,--they'll never reach + the shore! + See, see! they stagger in the midst, they waver in their line! + Fire on the madmen! break their ranks, and whelm them + in the Rhine!" 80 + + Have you seen the tall trees swaying when the blast is sounding + shrill, + And the whirlwind reels in fury down the gorges of the hill? + How they toss their mighty branches struggling with + the tempest's shock; + How they keep their place of vantage, cleaving firmly to the rock? + Even so the Scottish warriors held their own against the river; 85 + Though the water flashed around them, not an eye was seen to quiver; + Though the shot flew sharp and deadly, not a man relax'd his hold; + For their hearts were big and thrilling with the mighty thoughts + of old. + One word was spoken among them, and through the ranks it spread,-- + "Remember our dead Claverhouse!" was all the Captain said. 90 + Then, sternly bending forward, they wrestled on a while, + Until they clear'd the heavy stream, then rush'd toward the isle. + + The German heart is stout and true, the German arm is strong; + The German foot goes seldom back where armed foemen throng. + But never had they faced in field so stern a charge before, 95 + And never had they felt the sweep of Scotland's broad claymore. + Not fiercer pours the avalanche adown the steep incline, + That rises o'er the parent springs of rough and rapid Rhine,-- + Scarce swifter shoots the bolt from heaven than came + the Scottish band + Right up against the guarded trench, and o'er it sword in hand. 100 + In vain their leaders forward press,--they meet the deadly brand! + + O lonely island of the Rhine,--where seed was never sown, + What harvest lay upon thy sands, by those strong reapers thrown? + What saw the winter moon that night, as, struggling through + the rain, + She pour'd a wan and fitful light on marsh, and stream, + and plain? 105 + A dreary spot with corpses strewn, and bayonets glistening round; + A broken bridge, a stranded boat, a bare and batter'd mound; + And one huge watch-fire's kindled pile, that sent its + quivering glare + To tell the leaders of the host the conquering Scots were there. + + And did they twine the laurel-wreath, for those who fought + so well? 110 + And did they honour those who liv'd, and weep for those who fell? + What meed of thanks was given to them let agèd annals tell. + Why should they bring the laurel-wreath,--why crown the cup + with wine? + It was not Frenchmen's blood that flow'd so freely on the Rhine,-- + A stranger band of beggar'd men had done the venturous deed: 115 + The glory was to France alone, the danger was their meed. + And what cared they for idle thanks from foreign prince and peer? + What virtue had such honey'd words the exiled heart to cheer? + What matter'd it that men should vaunt and loud and fondly swear, + + That higher feat of chivalry was never wrought elsewhere? 120 + They bore within their breasts the grief that fame + can never heal,-- + The deep, unutterable woe which none save exiles feel. + Their hearts were yearning for the land they ne'er might + see again,-- + For Scotland's high and heather'd hills, for mountains, + loch and glen-- + For those who haply lay at rest beyond the distant sea, 125 + Beneath the green and daisied turf where they would gladly be! + + Long years went by. The lonely isle in Rhine's tempestuous flood + Has ta'en another name from those who bought it with their blood: + And, though the legend does not live,--for legends lightly die-- + The peasant, as he sees the stream in winter rolling by, 130 + And foaming o'er its channel-bed between him and the spot + Won by the warriors of the sword, still calls that deep + and dangerous ford + The Passage of the Scot. + + --_William Edmondstoune Aytoun_ + + + PREPARATORY.--Narrate briefly the events of this poem, + and show by a blackboard diagram the situation of the + island, the position of the armies, etc. + + Into how many dramatic scenes can the poem be divided? + Describe each one, showing what part of the poem it + covers. + + For exercise in dramatic rendering, see notes on + _Highland Hospitality_, pp. 153 and 154. + + In what state of mind are the first two speakers? + Compare their speeches in this respect with the first + speech of the Scottish Captain--"I'VE SEEN A WILDER," + ETC. What is the difference in Time, Pitch, and Stress? + + 3. RIVER'S SWEEP, FOE. Which is more emphatic? Compare + MAN and HORSE, l. 8. + + 10-12. Give some examples of Climax in the second stanza + and show how the Force and the Pitch are affected. + + 24. "HATH BOLD DUGUESCLIN'S," ETC. Supply the + undercurrent of thought between the first line of this + speech and the second. How is this suggested in reading? + (Introduction, p. 14.) + + 33. HE TURNED HIM TO HIS LITTLE BAND--O FEW, ETC. How + can the break in the thought be indicated? + (Introduction, pp. 8, 9, and 25.) + + 33-46. O FEW I WEEN ... NOT TURN AGAIN. What two + feelings predominate? + + Compare the first part of the Captain's speech with the + second part from the standpoint of energy. What is the + difference in Force and Pitch? (Introduction, pp. 23 and + 26.) + + 65. NO STAY,--NO PAUSE, ETC. What part does spontaneous + Imitation play here, and in the following stanza? + (Introduction, pp. 4 and 5.) + + 69. NOW, BY THE HOLY CROSS! ETC. Where should the + longest Pause be made in this line? + + 78. THE CURRENT'S STRONG, ETC. What are the Pitch, + Force, and Stress? (Introduction, pp. 22, 26, and 29.) + + 93. THE GERMAN HEART, ETC. Emphasis. (Introduction, p. + 31.) + + 96. AND NEVER HAD THEY FELT, ETC. Note Grouping and + Pause. + + 99. SCARCE SWIFTER, ETC. What is the Stress? Why? + (Introduction, p. 28.) + + 101. IN VAIN. Note the transition at this line. + (Introduction, pp. 8, 9, and 25.) + + 113. WHY SHOULD THEY BRING, ETC. How does the voice + indicate the insincerity of thought in these lines? + (Introduction, pp. 21, 22, and 30.) + + What Inflection is used on the various questions in this + and the preceding stanzas? (Introduction, pp. 18 and + 19.) + + 127-133. Note the Grouping and the Shading. + (Introduction, p. 33.) + + * * * * * + + +CRANFORD SOCIETY + +From "Cranford" + + +In the first place, Cranford is in possession of the Amazons; all the +holders of houses above a certain rent are women. If a married couple +come to settle in the town, somehow the gentleman disappears; he is +either fairly frightened to death by being the only man in the +Cranford evening parties, or he is accounted for by being with his +regiment, his ship, or closely engaged in business all the week in the +great neighbouring commercial town of Drumble, distant only twenty +miles on a railway. In short, whatever does become of the gentlemen, +they are not at Cranford. What could they do if they were there? The +surgeon has his round of thirty miles, and sleeps at Cranford; but +every man cannot be a surgeon. For keeping the trim gardens full of +choice flowers without a weed to speck them; for frightening away +little boys who look wistfully at the said flowers through the +railings; for rushing out at the geese that occasionally venture into +the gardens if the gates are left open; for deciding all questions of +literature and politics without troubling themselves with unnecessary +reasons or arguments; for obtaining clear and correct knowledge of +everybody's affairs in the parish; for keeping their neat maidservants +in admirable order; for kindness (somewhat dictatorial) to the poor, +and real tender good offices to each other whenever they are in +distress--the ladies of Cranford are quite sufficient. "A man," as one +of them observed to me once, "is _so_ in the way in the house!" +Although the ladies of Cranford know all each other's proceedings, +they are exceedingly indifferent to each other's opinions. Indeed, as +each has her own individuality, not to say eccentricity, pretty +strongly developed, nothing is so easy as verbal retaliation; but, +somehow, good-will reigns among them to a considerable degree. + +Then there were rules and regulations for visiting and calls; and they +were announced to any young people who might be staying in the town, +with all the solemnity with which the old Manx laws were read once a +year on the Tinwald Mount. + +"Our friends have sent to inquire how you are after your journey +to-night, my dear" (fifteen miles in a gentleman's carriage). "They +will give you some rest to-morrow; but the next day, I have no doubt, +they will call; so be at liberty after twelve--from twelve to three +are our calling hours." + +Then, after they had called-- + +"It is the third day, I dare say your mamma has told you, my dear, +never to let more than three days elapse between receiving a call and +returning it; and also, that you are never to stay longer than a +quarter of an hour." + +"But am I to look at my watch? How am I to find out when a quarter of +an hour has passed?" + +"You must keep thinking about the time, my dear, and not allow +yourself to forget it in conversation." + +As everybody had this rule in their minds, whether they received or +paid a call, of course no absorbing subject was ever spoken about. We +kept ourselves to short sentences of small talk, and were punctual to +our time. + +I imagine that a few of the gentlefolks of Cranford were poor, and had +some difficulty in making both ends meet; but they were like the +Spartans, and concealed their smart under a smiling face. We none of +us spoke of money, because that subject savoured of commerce and +trade; and though some might be poor, we were all aristocratic. The +Cranfordians had that kindly _esprit de corps_ which made them +overlook all deficiencies in success when some among them tried to +conceal their poverty. When Mrs. Forrester, for instance, gave a party +in her baby-house of a dwelling, and the little maiden disturbed the +ladies on the sofa by a request that she might get the tea-tray out +from underneath, every one took this novel proceeding as the most +natural thing in the world, and talked on about household forms and +ceremonies as if we all believed that our hostess had a regular +servants' hall, second table, with house-keeper and steward, instead +of the one little charity-school maiden, whose short ruddy arms could +never have been strong enough to carry the tray upstairs, if she had +not been assisted in private by her mistress, who now sat in state, +pretending not to know what cakes were sent up, though she knew, and +we knew, and she knew that we knew, and we knew that she knew that we +knew, she had been busy all morning making tea-bread and +sponge-cakes. + +There were one or two consequences arising from this general but +unacknowledged poverty, and this very much acknowledged gentility, +which were not amiss, and which might be introduced into many circles +of society to their great improvement. For instance, the inhabitants +of Cranford kept early hours, and clattered home in their pattens, +under the guidance of a lantern-bearer, about nine o'clock at night; +and the whole town was abed and asleep by half-past ten. Moreover, it +was considered "vulgar" (a tremendous word in Crawford) to give +anything expensive, in the way of eatable or drinkable, at the evening +entertainments. Wafer bread-and-butter and sponge-biscuits were all +that the Honourable Mrs. Jamieson gave; and she was sister-in-law to +the late Earl of Glenmire, although she did practise such "elegant +economy." + +"Elegant economy!" How naturally one falls back into the phraseology +of Cranford! There, economy was always "elegant," and money-spending +always "vulgar and ostentatious;" a sort of sour-grapeism which made +us very peaceful and satisfied. I never shall forget the dismay felt +when a certain Captain Brown came to live at Cranford, and openly +spoke about his being poor--not in a whisper to an intimate friend, +the doors and windows being previously closed, but in the public +street, in a loud military voice, alleging his poverty as a reason for +not taking a particular house. The ladies of Cranford were already +rather moaning over the invasion of their territories by a man and a +gentleman. He was a half-pay captain, and had obtained some situation +on a neighbouring railway, which had been vehemently petitioned +against by the little town; and if, in addition to his masculine +gender, and his connection with the obnoxious railway, he was so +brazen as to talk of being poor--why, then, indeed, he must be sent to +Coventry. Death was as true and as common as poverty; yet people never +spoke about that loud out in the streets. It was a word not to be +mentioned to ears polite. We had tacitly agreed to ignore that any +with whom we associated on terms of visiting equality could ever be +prevented by poverty from doing anything that they wished. If we +walked to or from a party, it was because the night was _so_ fine, or +the air _so_ refreshing, not because sedan-chairs were expensive. If +we wore prints instead of summer silks, it was because we preferred a +washing material; and so on, till we blinded ourselves to the vulgar +fact that we were, all of us, people of very moderate means. Of +course, then, we did not know what to make of a man who could speak of +poverty as if it was not a disgrace. Yet, somehow, Captain Brown made +himself respected in Cranford, and was called upon, in spite of all +resolutions to the contrary. + + --_Mrs. Gaskell_ + + + Give examples of momentary completeness in the second + and sixth sentences of Par. 1. (Introduction, p. 16.) + + What Inflection is placed on the Interrogative sentence + in Par. 1? (Introduction, p. 19.) + + Select words throughout the lesson which are emphatic + through contrast and tell what Inflection is placed on + them. (Introduction, pp. 20 and 21.) + + How are the parenthetical clauses kept in the + background? (Introduction, p. 24.) + + WHEN MRS FORRESTER ... SPONGE-CAKES. Account for the + Inflection on the various phrases and clauses of this + sentence. + + THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW THAT WE KNEW. + Explain the Emphasis. (Introduction, pp. 30-32.) + + * * * * * + + +SIR GALAHAD + + + My good blade carves the casques of men, + My tough lance thrusteth sure, + My strength is as the strength of ten, + Because my heart is pure. + The shattering trumpet shrilleth high, 5 + The hard brands shiver on the steel, + The splinter'd spear-shafts crack and fly, + The horse and rider reel: + They reel, they roll in clanging lists, + And when the tide of combat stands, 10 + Perfume and flowers fall in showers, + That lightly rain from ladies' hands. + + How sweet are looks that ladies bend + On whom their favours fall! + For them I battle till the end, 15 + To save from shame and thrall: + But all my heart is drawn above, + My knees are bow'd in crypt and shrine: + I never felt the kiss of love, + Nor maiden's hand in mine. 20 + More bounteous aspects on me beam, + Me mightier transports move and thrill; + So keep I fair thro' faith and prayer + A virgin heart in work and will. + + When down the stormy crescent goes, 25 + A light before me swims, + Between dark stems the forest glows, + I hear a noise of hymns: + Then by some secret shrine I ride; + I hear a voice but none are there; 30 + The stalls are void, the doors are wide, + The tapers burning fair. + Fair gleams the snowy altar-cloth, + The silver vessels sparkle clean, + The shrill bell rings, the censer swings, 35 + And solemn chaunts resound between. + + Sometimes on lonely mountain-meres + I find a magic bark; + I leap on board: no helmsman steers: + I float till all is dark. 40 + A gentle sound, an awful light! + Three angels bear the Holy Grail; + With folded feet, in stoles of white, + On sleeping wings they sail. + Ah, blessed vision! blood of God! 45 + My spirit beats her mortal bars, + As down dark tides the glory slides, + And star-like mingles with the stars. + + When on my goodly charger borne + Thro' dreaming towns I go, 50 + The cock crows ere the Christmas morn, + The streets are dumb with snow. + The tempest crackles on the leads, + And, ringing, springs from brand and mail; + But o'er the dark a glory spreads, 55 + And gilds the driving hail. + I leave the plain, I climb the height; + No branchy thicket shelter yields; + But blessed forms in whistling storms + Fly o'er waste fens and windy fields. 60 + + A maiden knight--to me is given + Such hope, I know not fear; + I yearn to breathe the airs of heaven + That often meet me here. + I muse on joy that will not cease. 65 + Pure spaces clothed in living beams, + Pure lilies of eternal peace, + Whose odours haunt my dreams; + And, stricken by an angel's hand, + This mortal armour that I wear, 70 + This weight and size, this heart and eyes, + Are touch'd, are turn'd to finest air. + + The clouds are broken in the sky, + And thro' the mountain-walls + A rolling organ-harmony 75 + Swells up, and shakes and falls. + Then move the trees, the copses nod, + Wings flutter, voices hover clear: + "O just and faithful knight of God! + Ride on! the prize is near." 80 + So pass I hostel, hall, and grange; + By bridge and ford, by park and pale, + All-arm'd I ride, whate'er betide, + Until I find the Holy Grail. + + --_Alfred Tennyson_ + + + PREPARATORY.--Point out the contrast of scene in stanza + i. How has the poet obtained contrast of sound? Note the + difficulties of Articulation. + + Enumerate the manifestations by means of which Sir + Galahad apprehends the continual proximity of the Holy + Grail. + + Select the lines in which the mystical element is most + strongly marked. What feeling is aroused in reading + these lines? + + In what Quality of voice does this feeling find + expression? (Introduction, p. 34.) + + What is the prevailing Quality of voice? + + A ROLLING ORGAN-HARMONY, ETC. What idea predominates? + How does it affect the Quality of voice? + + * * * * * + + +SONG FOR SAINT CECILIA'S DAY + +November 22, 1687 + + + From harmony, from heavenly harmony + This universal frame began; + When Nature underneath a heap + Of jarring atoms lay, + And could not heave her head, 5 + The tuneful voice was heard from high, + Arise ye more than dead. + Then cold, and hot, and moist, and dry, + In order to their stations leap, + And Music's power obey. 10 + From harmony, from heavenly harmony, + This universal frame began; + From harmony to harmony + Through all the compass of the notes it ran, + The diapason closing full in Man. 15 + + What passion cannot Music raise and quell? + When Jubal struck the chorded shell, + His listening brethren stood around, + And, wondering, on their faces fell + To worship that celestial sound; 20 + Less than a God they thought there could not dwell + Within the hollow of that shell, + That spoke so sweetly and so well. + What passion cannot Music raise and quell? + + The trumpet's loud clangour 25 + Excites us to arms + With shrill notes of anger + And mortal alarms. + The double double double beat + Of the thundering drum 30 + Cries, Hark! the foes come; + Charge, charge, 'tis too late to retreat! + + The soft complaining flute + In dying notes discovers + The woes of hopeless lovers, 35 + Whose dirge is whisper'd by the warbling lute. + Sharp violins proclaim + Their jealous pangs and desperation, + Fury, frantic indignation, + Depth of pains, and height of passion 40 + For the fair, disdainful dame. + + But oh! what art can teach, + What human voice can reach + The sacred organ's praise? + Notes inspiring holy love, 45 + Notes that wing their heavenly ways + To mend the choirs above. + + Orpheus could lead the savage race, + And trees unrooted left their place, + Sequacious of the lyre: 50 + But bright Cecilia rais'd the wonder higher: + When to her organ vocal breath was given + An angel heard, and straight appear'd + Mistaking Earth for Heaven. + + +GRAND CHORUS + + As from the power of sacred lays 55 + The spheres began to move, + And sung the great Creator's praise + To all the blessed above; + So when the last and dreadful hour + This crumbling pageant shall devour, 60 + The trumpet shall be heard on high, + The dead shall live, the living die, + And Music shall untune the sky. + + --_John Dryden_ + + + What feeling pervades the first and last stanzas? The + second stanza? In what Quality of voice does each of + these feelings find expression? (Introduction, pp. + 33-35.) + + Illustrate by means of the third, fourth, and fifth + stanzas the extent to which Imitation enters into + reading. (Introduction, pp. 4 and 5.) + + Account for the gradually increasing Emphasis in ll. + 11-15, 48-54, and 60-63. (Introduction, p. 31.) + + 3-6. What is the Shading and Inflection? (Introduction, + pp. 16 and 33.) Compare with these ll. 55-61. + + 16. What is the Inflection on this question? + (Introduction, p. 19.) Compare with this ll. 42-44. + + 21. THEY THOUGHT. How does the reader give to these + words the force of a parenthetical clause? + (Introduction, p. 33.) + + 22-23. Note the Grouping. + + 31. How does the voice make the transition to direct + discourse? (Introduction, p. 24.) + + 42-54. What is the mental attitude? What is the + corresponding Stress? (Introduction, p. 29.) + + 44. ORGAN'S. Account for the marked Emphasis on this + word. Compare BRIGHT CECILIA, l. 51. + + * * * * * + + +THE DAY WAS LINGERING + + + The day was lingering in the pale northwest, + And night was hanging o'er my head,-- + Night where a myriad stars were spread; + While down in the east, where the light was least, + Seem'd the home of the quiet dead. 5 + And, as I gazed on the field sublime, + To watch the bright, pulsating stars, + Adown the deep where the angels sleep + Came drawn the golden chime + Of those great spheres that sound the years 10 + For the horologe of time. + Millenniums numberless they told, + Millenniums a million-fold + From the ancient hour of prime. + + --_Charles Heavysege_ + + + PREPARATORY.--Compare other passages from literature + which suggest the "music of the spheres," for example: + Dryden's _Song for Saint Cecilia's Day, The Moonlight + Scene_ from _The Merchant of Venice_, Milton's _The + Hymn_. + + What is the atmosphere of ll. 1-4? Of ll. 5-14? In what + two different Qualities of voice do the corresponding + feelings find expression? + + Read ll. 6-11, with a view to Perspective. + + Note the Grouping in ll. 9-11. + + * * * * * + + +ON FIRST LOOKING INTO CHAPMAN'S HOMER + + + Much have I travelled in the realms of gold, + And many goodly states and kingdoms seen; + Round many western islands have I been, + Which bards in fealty to Apollo hold. + Oft of one wide expanse had I been told 5 + That deep-browed Homer ruled as his demesne; + Yet never did I breathe its pure serene + Till I heard Chapman speak out loud and bold: + Then felt I like some watcher of the skies + When a new planet swims into his ken; 10 + Or like stout Cortez when with eagle eyes + He stared at the Pacific--and all his men + Looked at each other with a wild surmise-- + Silent, upon a peak in Darien. + + --_John Keats_ + + + PREPARATORY.--How is the fundamental idea of this sonnet + illustrated in _The Key to Human Happiness?_ (p. 266.) + + What feeling pervades the last six lines? In which line + is this feeling most marked? In what Quality of voice + does it find expression? (Introduction, pp. 33-35.) + + Select the words which are emphatic through contrast, + expressed or implied. (Introduction, p. 32.) + + * * * * * + + +GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR + + + Great things were ne'er begotten in an hour; + Ephemerons in birth, are such in life; + And he who dareth, in the noble strife + Of intellects, to cope for real power,-- + Such as God giveth as His rarest dower 5 + Of mastery, to the few with greatness rife,-- + Must, ere the morning mists have ceased to lower + Till the long shadows of the night arrive, + Stand in the arena. Laurels that are won, + Plucked from green boughs, soon wither; those that last 10 + Are gather'd patiently, when sultry noon + And summer's fiery glare in vain are past. + Life is the hour of labour; on Earth's breast + Serene and undisturb'd shall be thy rest. + + --_Sir Daniel Wilson (By permission)_ + + + PREPARATORY.--What is the essential thought in this + sonnet? Quote corresponding passages. Give illustrations + from history and fiction. + + What words are emphatic because of (_a_) contrast + expressed, (_b_) contrast implied? (Introduction, pp. 30 + and 32.) + + Read ll. 3-9, with a view to Perspective. (Introduction, + p. 33.) + + * * * * * + + +A WOOD LYRIC + + + Into the stilly woods I go, + Where the shades are deep and the wind-flowers blow, + And the hours are dreamy and lone and long, + And the power of silence is greater than song. + Into the stilly woods I go, 5 + Where the leaves are cool and the wind-flowers blow. + + When I go into the stilly woods, + And know all the flowers in their sweet, shy hoods, + The tender leaves in their shimmer and sheen + Of darkling shadow, diaphanous green, 10 + In those haunted halls where my footstep falls, + Like one who enters cathedral walls, + A spirit of beauty floods over me, + As over a swimmer the waves of the sea, + That strengthens and glories, refreshens and fills, 15 + Till all mine inner heart wakens and thrills + With a new and a glad and a sweet delight, + And a sense of the infinite out of sight, + Of the great unknown that we may not know, + But only feel with an inward glow 20 + When into the great, glad woods we go. + + O life-worn brothers, come with me + Into the wood's hushed sanctity, + Where the great, cool branches are heavy with June, + And the voices of summer are strung in tune; 25 + Come with me, O heart out-worn, + Or spirit whom life's brute-struggles have torn, + Come, tired and broken and wounded feet, + Where the walls are greening, the floors are sweet, + The roofs are breathing and heaven's airs meet. 30 + Come, wash earth's grievings from out of the face, + The tear and the sneer and the warfare's trace, + Come, where the bells of the forest are ringing, + Come, where the oriole's nest is swinging, + Where the brooks are foaming in amber pools, 35 + The mornings are still and the noonday cools. + Cast off earth's sorrows and know what I know, + When into the glad, deep woods I go. + + --_William Wilfred Campbell (By permission)_ + + + PREPARATORY.--"An Afternoon alone in the Woods." Tell + what one may see, and think, and feel. Illustrate by + quotations from the poets. + + Give numerous examples of momentary completeness + throughout the poem. (Introduction, p. 16.) + + How does the reader show that ll. 7-12 are merely + anticipative? (Introduction, p. 17.) + + What change is made in the Force in l. 13? + (Introduction, p. 33.) + + How is l. 15 connected with l. 13? + + Observe the transition from description to appeal in l. + 22. What is the change in vocal expression? + + * * * * * + + +TO NIGHT + + + Swiftly walk over the western wave, + Spirit of Night! + Out of the misty eastern cave, + Where, all the long and lone daylight, + Thou wovest dreams of joy and fear, 5 + Which make thee terrible and dear,-- + Swift be thy flight! + + Wrap thy form in a mantle gray, + Star-inwrought! + Blind with thine hair the eyes of Day, 10 + Kiss her until she be wearied out, + Then wander o'er city, and sea, and land, + Touching all with thine opiate wand-- + Come, long-sought! + + When I arose and saw the dawn, 15 + I sighed for thee; + When light rode high, and the dew was gone, + And noon lay heavy on flower and tree, + And the weary Day turned to his rest, + Lingering like an unloved guest, 20 + I sighed for thee. + + Thy brother Death came, and cried, + Wouldst thou me? + Thy sweet child Sleep, the filmy-eyed, + Murmured like a noontide bee 25 + Shall I nestle near thy side? + Wouldst thou me?--And I replied, + No, not thee! + + Death will come when thou art dead, + Soon, too soon-- 30 + Sleep will come when thou art fled; + Of neither would I ask the boon + I ask of thee, belovèd Night-- + Swift be thine approaching flight, + Come soon, soon! 35 + + --_Percy Bysshe Shelley_ + + * * * * * + + +THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS + +From "Essay on Warren Hastings" + + +On the 13th of February, 1788, the sittings of the Court commenced. +There have been spectacles more dazzling to the eye, more gorgeous +with jewelry and cloth of gold, more attractive to grown-up children, +than that which was then exhibited at Westminster; but, perhaps, there +never was a spectacle so well calculated to strike a highly +cultivated, a reflecting, an imaginative mind. All the various kinds +of interest which belong to the near and to the distant, to the +present and to the past, were collected on one spot and in one hour. +All the talents and all the accomplishments which are developed by +liberty and civilization were now displayed with every advantage that +could be derived both from co-operation and from contrast. Every step +in the proceedings carried the mind either backward, through many +troubled centuries, to the days when the foundations of our +constitution were laid; or far away, over boundless seas and deserts, +to dusky nations living under strange stars, worshipping strange gods, +and writing strange characters from right to left. The High Court of +Parliament was to sit, according to forms handed down from the days of +the Plantagenets, on an Englishman accused of exercising tyranny over +the lord of the holy city of Benares and over the ladies of the +princely house of Oude. + +The place was worthy of such a trial. It was the great hall of William +Rufus, the hall which had resounded with acclamations at the +inauguration of thirty kings, the hall which had witnessed the just +sentence of Bacon and the just absolution of Somers, the hall where +the eloquence of Strafford had for a moment awed and melted a +victorious party inflamed with just resentment, the hall where Charles +had confronted the High Court of Justice with the placid courage which +has half redeemed his fame. + +Neither military nor civil pomp was wanting. The avenues were lined +with grenadiers. The streets were kept clear by cavalry. The peers, +robed in gold and ermine, were marshalled by the heralds under Garter +King-at-Arms. The judges in their vestments of state attended to give +advice on points of law. Near a hundred and seventy lords, three +fourths of the Upper House as the Upper House then was, walked in +solemn order from their usual place of assembling to the tribunal. The +junior Baron present led the way, George Eliott, Lord Heathfield, +recently ennobled for his memorable defence of Gibraltar against the +fleets and armies of France and Spain. The long procession was closed +by the Duke of Norfolk, Earl Marshal of the realm, by the great +dignitaries, and by the brothers and sons of the King. Last of all +came the Prince of Wales, conspicuous by his fine person and noble +bearing. + +The gray old walls were hung with scarlet. The long galleries were +crowded by an audience such as has rarely excited the fears or the +emulation of an orator. There were gathered together, from all parts +of a great, free, enlightened and prosperous empire, grace and female +loveliness, wit and learning, the representatives of every science and +of every art. There were seated round the Queen, the fair-haired young +daughters of the house of Brunswick. There the Ambassadors of great +Kings and Commonwealths gazed with admiration on a spectacle which no +other country in the world could present. There Siddons, in the prime +of her majestic beauty, looked with emotion on a scene surpassing all +the imitations of the stage. There the historian of the Roman Empire +thought of the days when Cicero pleaded the cause of Sicily against +Verres, and when, before a senate which still retained some show of +freedom, Tacitus thundered against the oppressor of Africa. + +There were seen, side by side, the greatest painter and the greatest +scholar of the age. The spectacle had allured Reynolds from that easel +which has preserved to us the thoughtful foreheads of so many writers +and statesmen, and the sweet smiles of so many noble matrons. It had +induced Parr to suspend his labours in that dark and profound mine +from which he had extracted a vast treasure of erudition--a treasure +too often buried in the earth, too often paraded with injudicious and +inelegant ostentation; but still precious, massive, and splendid. +There appeared the voluptuous charms of her to whom the heir of the +throne had in secret plighted his faith. There too was she, the +beautiful mother of a beautiful race, the Saint Cecilia, whose +delicate features, lighted up by love and music, art has rescued from +the common decay. There were the members of that brilliant society +which quoted, criticised, and exchanged repartees under the rich +peacock hangings of Mrs. Montague. And there the ladies, whose lips, +more persuasive than those of Fox himself, had carried the Westminster +election against palace and treasury, shone round Georgiana, Duchess +of Devonshire. + +The Serjeants made proclamation. Hastings advanced to the bar and bent +his knee. The culprit was indeed not unworthy of that great presence. +He had ruled an extensive and populous country, had made laws and +treaties, had sent forth armies, had set up and pulled down princes. +And in his high place he had so borne himself that all had feared him, +that most had loved him, and that hatred itself could deny him no +title to glory except virtue. He looked like a great man and not like +a bad man. A person small and emaciated, yet deriving dignity from a +carriage which, while it indicated deference to the court, indicated +also habitual self-possession and self-respect; a high and +intellectual forehead; a brow pensive, but not gloomy; a mouth of +inflexible decision; a face pale and worn, but serene, on which was +written, as legibly as under the picture in the council-chamber at +Calcutta, _Mens aequa in arduis_; such was the aspect with which the +great Proconsul presented himself to his judges. + +His counsel accompanied him, men all of whom were afterwards raised by +their talents and learning to the highest posts in their +profession--the bold and strong-minded Law, afterwards Chief-Justice +of the King's Bench; the more humane and eloquent Dallas, afterwards, +Chief-Justice of the Common Pleas; and Plomer, who, near twenty years +later, successfully conducted in the same high court the defence of +Lord Melville, and subsequently became Vice-chancellor and Master of +the Rolls. + +But neither the culprit nor his advocates attracted so much notice as +the accusers. In the midst of the blaze of red drapery, a space had +been fitted up with green benches and tables for the Commons. The +managers, with Burke at their head, appeared in full dress. The +collectors of gossip did not fail to remark that even Fox, generally +so regardless of his appearance, had paid to the illustrious tribunal +the compliment of wearing a bag and sword. Pitt had refused to be one +of the conductors of the impeachment; and his commanding, copious, and +sonorous eloquence was wanting to that great muster of various +talents. Age and blindness had unfitted Lord North for the duties of a +public prosecutor; and his friends were left without the help of his +excellent sense, his tact, and his urbanity. + +But in spite of the absence of these two distinguished members of the +Lower House, the box in which the managers stood contained an array of +speakers such as perhaps had not appeared together since the great age +of Athenian eloquence. There were Fox and Sheridan, the English +Demosthenes and the English Hyperides. There was Burke, ignorant, +indeed, or negligent of the art of adapting his reasonings and his +style to the capacity and taste of his hearers, but in amplitude of +comprehension and richness of imagination superior to every orator, +ancient or modern. + +There, with eyes reverentially fixed on Burke, appeared the finest +gentleman of the age--his form developed by every manly exercise, his +face beaming with intelligence and spirit--the ingenious, the +chivalrous, the high-souled Windham. Nor, though surrounded by such +men, did the youngest manager pass unnoticed. At an age when most of +those who distinguish themselves in life are still contending for +prizes and fellowships at college, he had won for himself a +conspicuous place in Parliament. No advantage of fortune or connection +was wanting that could set off to the height his splendid talents and +his unblemished honour. At twenty-three he had been thought worthy to +be ranked with the veteran statesmen who appeared as the delegates of +the British Commons at the bar of the British nobility. All who stood +at the bar, save him alone, are gone--culprit, advocates, accusers. To +the generation which is now in the vigour of life, he is the sole +representative of a great age which has passed away. But those who, +within the last ten years, have listened with delight till the morning +sun shone on the tapestries of the House of Lords, to the lofty and +animated eloquence of Charles, Earl Grey, are able to form some +estimate of the powers of a race of men among whom he was not the +foremost. + +The charges, and the answers of Hastings, were first read. The +ceremony occupied two whole days, and was rendered less tedious than +it would otherwise have been by the silver voice and just emphasis of +Cowper, the clerk of the court, near relation of the amiable poet. On +the third day Burke rose. Four sittings were occupied by his opening +speech, which was intended to be a general introduction to all the +charges. With an exuberance of thought and splendour of diction which +more than satisfied the highly raised expectations of the audience, he +described the character and institutions of the natives of India; +recounted the circumstances in which the Asiatic empire of Britain had +originated; and set forth the constitution of the Company and of the +English Presidencies. Having thus attempted to communicate to his +hearers an idea of Eastern society, as vivid as that which existed in +his own mind, he proceeded to arraign the administration of Hastings, +as systematically conducted in defiance of morality and public law. + +The energy and pathos of the great orator extorted expressions of +unwonted admiration from the stern and hostile Chancellor, and, for a +moment, seemed to pierce even the resolute heart of the defendant. The +ladies in the galleries, unaccustomed to such displays of eloquence, +excited by the solemnity of the occasion, and perhaps not unwilling to +display their taste and sensibility, were in a state of uncontrollable +emotion. Handkerchiefs were pulled out, smelling-bottles were handed +round; hysterical sobs and screams were heard; and Mrs. Sheridan was +carried out in a fit. At length the orator concluded. Raising his +voice till the old arches of Irish oak resounded: "Therefore," said +he, "hath it with all confidence been ordered by the Commons of Great +Britain, that I impeach Warren Hastings of high crimes and +misdemeanours. I impeach him in the name of the Commons' House of +Parliament, whose trust he has betrayed. I impeach him in the name of +the English nation, whose ancient honour he has sullied. I impeach him +in the name of the people of India, whose rights he has trodden under +foot and whose country he has turned into a desert. Lastly in the name +of human nature itself, in the name of both sexes, in the name of +every age, in the name of every rank, I impeach the common enemy and +oppressor of all." + + --_Macaulay_ + + + This lesson is an exercise on Inflection, especially as + it occurs on antithetical words or phrases and on series + of words or phrases parallel in construction. + (Introduction, pp. 19 and 20.) + + * * * * * + + +PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS + + +1. In the name of the Commons of England, I charge all this villainy +upon Warren Hastings, in this last moment of my application to you. + +2. My Lords, what is it that we want here to a great act of national +justice. Do we want a cause, my Lords? You have the cause of oppressed +princes, of undone women of the first rank, of desolated provinces, +and of wasted kingdoms. + +3. Do you want a criminal, my Lords? When was there so much iniquity +ever laid to the charge of any one? No, my Lords, you must not look to +punish any other such delinquent from India. Warren Hastings has not +left substance enough in India to nourish such another delinquent. + +4. My Lords, is it a prosecutor you want? You have before you the +Commons of Great Britain as prosecutors; and I believe, my Lords, that +the sun, in his beneficent progress round the world, does not behold a +more glorious sight than that of men, separated from a remote people +by the material bounds and barriers of nature, united by the bond of a +social and moral community--all the Commons of England resenting, as +their own, the indignities and cruelties that are offered to all the +people of India. + +5. Do we want a tribunal? My Lords, no example of antiquity, nothing +in the modern world, nothing in the range of human imagination, can +supply us with a tribunal like this. My Lords, here we see virtually, +in the mind's eye, that sacred majesty of the Crown, under whose +authority you sit and whose power you exercise. We have here all the +branches of the royal family, in a situation between majesty and +subjection, between the sovereign and the subject--offering a pledge +in that situation, for the support of the rights of the Crown and the +liberties of the people, both which extremities they touch. + +6. My Lords, we have a great hereditary peerage here; those who have +their own honour, the honour of their ancestors, and of their +posterity, to guard, and who will justify, as they always have +justified, that precision in the Constitution by which justice is made +an hereditary office. My Lords, we have here a new nobility, who have +risen and exalted themselves by various merits, by great civil and +military services, which have extended the fame of this country from +the rising to the setting sun. My Lords, you have here, also, the +lights of our religion; you have the bishops of England. My Lords, you +have that true image of the primitive church in its ancient form, in +its ancient ordinances, purified from the superstitions and vices +which a long succession of ages will bring upon the best institutions. + +7. My Lords, these are the securities which we have in all the +constituent parts of the body of this House. We know them, we reckon, +we rest upon them, and commit safely the interests of India and of +humanity into your hands. Therefore, it is with confidence that, +ordered by the Commons, I impeach Warren Hastings, Esquire, of high +crimes and misdemeanours. I impeach him in the name of the Commons of +Great Britain in Parliament assembled, whose parliamentary trust he +has betrayed. I impeach him in the name of all the Commons of Great +Britain, whose national character he has dishonoured. I impeach him in +the name of the people of India, whose laws, rights, and liberties he +has subverted, whose property he has destroyed, whose country he has +laid waste and desolate. I impeach him in the name and by virtue of +those eternal laws of justice which he has violated. I impeach him in +the name of human nature itself, which he has cruelly outraged, +injured and oppressed, in both sexes, in every age, rank, situation, +and condition of life. + + --_Edmund Burke_ + + + What effect would the solemnity of the occasion and the + gravity of the accusation have on the Quality of the + speaker's voice? (Introduction, p. 34.) + + Par. 2. CAUSE. What words in Pars. 3, 4, and 5 are + emphatic through contrast with this word? Point out + similar contrasts in Par. 6. + + Account for the Inflection on the various questions. + + How are the Climaxes in Pars. 2, 5, and 7 interpreted + vocally? (Introduction, p. 31.) + + * * * * * + + +THE SONG MY PADDLE SINGS + + + West wind, blow from your prairie nest, + Blow from the mountains, blow from the west. + The sail is idle, the sailor too; + O! wind of the west, we wait for you. + Blow, blow! 5 + I have wooed you so, + But never a favour you bestow. + You rock your cradle the hills between, + But scorn to notice my white lateen. + + I stow the sail, unship the mast: 10 + I wooed you long, but my wooing's past; + My paddle will lull you into rest. + O! drowsy wind of the drowsy west, + Sleep, sleep, + By your mountain steep, 15 + Or down where the prairie grasses sweep! + Now fold in slumber your laggard wings, + For soft is the song my paddle sings. + + August is laughing across the sky, + Laughing while paddle, canoe, and I, 20 + Drift, drift, + Where the hills uplift + On either side of the current swift. + + The river rolls in its rocky bed; + My paddle is plying its way ahead 25 + Dip, dip, + While the waters flip + In foam as over their breast we slip. + + And oh, the river runs swifter now; + The eddies circle about my bow. 30 + Swirl, swirl! + How the ripples curl + In many a dangerous pool awhirl! + + And forward far the rapids roar, + Fretting their margin for evermore. 35 + Dash, dash, + With a mighty crash, + They seethe, and boil, and bound, and splash. + + Be strong, O paddle! be brave, canoe! + The reckless waves you must plunge into. 40 + Reel, reel, + On your trembling keel, + But never a fear my craft will feel. + + We've raced the rapid, we're far ahead! + The river slips through its silent bed. 45 + Sway, sway, + As the bubbles spray + And fall in tinkling tunes away. + + And up on the hills against the sky, + A fir-tree rocking its lullaby, 50 + Swings, swings, + Its emerald wings, + Swelling the song that my paddle sings. + + --_E. Pauline Johnson (Tekahionwake)_ + (_By arrangement with the Author_) + + + By examples from the above poem show to what extent + Imitation enters into vocal expression. (Introduction, + pp. 4-6.) + + * * * * * + + +THE DEFENCE OF THE BRIDGE + +From "Horatius" + + + ... The Consul's brow was sad, + And the Consul's speech was low, + And darkly looked he at the wall + And darkly at the foe. + "Their van will be upon us 5 + Before the bridge goes down; + And if they once may win the bridge, + What hope to save the town?" + + Then out spake brave Horatius, + The Captain of the Gate: 10 + "To every man upon this earth + Death cometh soon or late. + And how can man die better + Than facing fearful odds, + For the ashes of his fathers, 15 + And the temples of his gods? + + "Hew down the bridge, Sir Consul, + With all the speed ye may; + I, with two more to help me, + Will hold the foe in play. 20 + In yon straight path a thousand + May well be stopped by three. + Now who will stand on either hand, + And keep the bridge with me?" + + Then out spake Spurius Lartius,-- 25 + A Ramnian proud was he,-- + "Lo, I will stand at thy right hand, + And keep the bridge with thee." + And out spake strong Herminius,-- + Of Titian blood was he,-- 30 + "I will abide on thy left side, + And keep the bridge with thee." + + "Horatius," quoth the Consul, + "As thou sayest, so let it be." + And straight against that great array 35 + Forth went the dauntless Three. + For Romans in Rome's quarrel + Spared neither land nor gold, + Nor son nor wife, nor limb nor life, + In the brave days of old. 40 + + Then none was for a party; + Then all were for the state; + Then the great man helped the poor, + And the poor man loved the great: + Then lands were fairly portioned; 45 + Then spoils were fairly sold: + The Romans were like brothers + In the brave days of old. + + Now, Roman is to Roman + More hateful than a foe, 50 + And the Tribunes beard the high, + And the Fathers grind the low. + As we wax hot in faction, + In battle we wax cold: + Wherefore men fight not as they fought 55 + In the brave days of old. + + Now while the Three were tightening + Their harness on their backs, + The Consul was the foremost man + To take in hand an axe: 60 + And Fathers mixed with Commons + Seized hatchet, bar, and crow, + And smote upon the planks above, + And loosed the props below. + + Meanwhile the Tuscan army, 65 + Right glorious to behold, + Came flashing back the noonday light, + Rank behind rank, like surges bright + Of a broad sea of gold. + Four hundred trumpets sounded 70 + A peal of warlike glee, + As that great host with measured tread, + And spears advanced, and ensigns spread, + Rolled slowly towards the bridge's head, + Where stood the dauntless Three. 75 + + The Three stood calm and silent, + And looked upon the foes, + And a great shout of laughter + From all the vanguard rose: + And forth three chiefs came spurring 80 + Before that deep array; + To earth they sprang, their swords they drew, + And lifted high their shields, and flew + To win the narrow way; + + Aunus from green Tifernum, 85 + Lord of the Hill of Vines; + And Seius, whose eight hundred slaves + Sicken in Ilva's mines; + And Picus, long to Clusium + Vassal in peace and war, 90 + Who led to fight his Umbrian powers + From that gray crag where, girt with towers, + The fortress of Nequinum lowers + O'er the pale waves of Nar. + + Stout Lartius hurled down Aunus 95 + Into the stream beneath; + Herminius struck at Seius, + And clove him to the teeth; + At Picus brave Horatius + Darted one fiery thrust; 100 + And the proud Umbrian's gilded arms + Clashed in the bloody dust. + + Then Ocnus of Falerii + Rushed on the Roman Three; + And Lausulus of Urgo, 105 + The rover of the sea; + And Aruns of Volsinium, + Who slew the great wild boar, + The great wild boar that had his den + Amidst the reeds of Cosa's fen, 110 + And wasted fields, and slaughtered men, + Along Albinia's shore. + + Herminius smote down Aruns; + Lartius laid Ocnus low; + Right to the heart of Lausulus 115 + Horatius sent a blow. + "Lie there," he cried, "fell pirate! + No more, aghast and pale, + From Ostia's walls the crowd shall mark + The track of thy destroying bark. 120 + No more Campania's hinds shall fly + To woods and caverns when they spy + Thy thrice accursèd sail." + + But now no sound of laughter + Was heard among the foes. 125 + A wild and wrathful clamour + From all the vanguard rose. + Six spears' lengths from the entrance + Halted that deep array, + And for a space no man came forth 130 + To win the narrow way. + + But hark! the cry is Astur: + And lo! the ranks divide, + And the great Lord of Luna + Comes with his stately stride. 135 + Upon his ample shoulders + Clangs loud the fourfold shield, + And in his hand he shakes the brand + Which none but he can wield. + + He smiled on those bold Romans 140 + A smile serene and high; + He eyed the flinching Tuscans, + And scorn was in his eye. + Quoth he: "The she-wolf's litter + Stand savagely at bay; 145 + But will ye dare to follow + If Astur clears the way?" + + Then, whirling up his broadsword + With both hands to the height, + He rushed against Horatius, 150 + And smote with all his might. + With shield and blade Horatius + Right deftly turned the blow. + The blow, though turned, came yet too nigh; + It missed his helm, but gashed his thigh: 155 + The Tuscans raised a joyful cry + To see the red blood flow. + + He reeled, and on Herminius + He leaned one breathing-space; + Then, like a wild cat mad with wounds, 160 + Sprang right at Astur's face. + Through teeth, and skull, and helmet, + So fierce a thrust he sped, + The good sword stood a hand-breadth out + Behind the Tuscan's head. 165 + + And the great Lord of Luna + Fell at that deadly stroke, + As falls on Mount Alvernus + A thunder-smitten oak. + Far o'er the crashing forest 170 + The giant arms lie spread; + And the pale augurs, muttering low, + Gaze on the blasted head. + + On Astur's throat Horatius + Right firmly pressed his heel, 175 + And thrice and four times tugged amain, + Ere he wrenched out the steel. + "And see," he cried, "the welcome, + Fair guests, that waits you here! + What noble Lucumo comes next, 180 + To taste our Roman cheer?" + + But at his haughty challenge + A sullen murmur ran, + Mingled of wrath, and shame, and dread, + Along that glittering van. 185 + There lacked not men of prowess, + Nor men of lordly race; + For all Etruria's noblest + Were round the fatal place. + But all Etruria's noblest 190 + Felt their hearts sink to see + On the earth the bloody corpses, + In the path the dauntless Three. + + Yet one man for one moment + Strode out before the crowd; 195 + Well known was he to all the Three, + And they gave him greeting loud. + "Now welcome, welcome, Sextus! + Now welcome to thy home! + Why dost thou stay, and turn away? 200 + Here lies the road to Rome." + + Thrice looked he at the city; + Thrice looked he at the dead; + And thrice came on in fury, + And thrice turned back in dread; 205 + And, white with fear and hatred, + Scowled at the narrow way + Where, wallowing in a pool of blood, + The bravest Tuscans lay. + + But meanwhile axe and lever 210 + Have manfully been plied; + And now the bridge hangs tottering + Above the boiling tide. + "Come back, come back, Horatius!" + Loud cried the Fathers all. 215 + "Back Lartius! back Herminius! + Back, ere the ruin fall!" + + Back darted Spurius Lartius; + Herminius darted back: + And, as they passed beneath their feet 220 + They felt the timbers crack. + But when they turned their faces. + And on the farther shore + Saw brave Horatius stand alone, + They would have crossed once more. 225 + + But with a crash like thunder + Fell every loosened beam, + And, like a dam, the mighty wreck + Lay right athwart the stream: + And a long shout of triumph 230 + Rose from the walls of Rome, + As to the highest turret-tops + Was splashed the yellow foam. + + Alone stood brave Horatius, + But constant still in mind; 235 + Thrice thirty thousand foes before, + And the broad flood behind. + "Down with him!" cried false Sextus, + With a smile on his pale face, + "Now yield thee," cried Lars Porsena, 240 + "Now yield thee to our grace." + + Round turned he, as not deigning + Those craven ranks to see; + Naught spake he to Lars Porsena, + To Sextus naught spake he: 245 + But he saw on Palatinus + The white porch of his home; + And he spake to the noble river + That rolls by the towers of Rome: + + "Oh, Tiber! Father Tiber! 250 + To whom the Romans pray, + A Roman's life, a Roman's arms, + Take thou in charge this day!" + So he spake, and speaking sheathed + The good sword by his side, 255 + And with his harness on his back, + Plunged headlong in the tide. + + No sound of joy or sorrow + Was heard from either bank; + But friends and foes in dumb surprise, 260 + With parted lips and straining eyes, + Stood gazing where he sank; + And when above the surges + They saw his crest appear, + All Rome sent forth a rapturous cry, 265 + And even the ranks of Tuscany + Could scarce forbear to cheer. + + But fiercely ran the current, + Swollen high by months of rain: + And fast his blood was flowing, 270 + And he was sore in pain, + And heavy with his armour, + And spent with changing blows: + And oft they thought him sinking, + But still again he rose. 275 + + Never, I ween, did swimmer, + In such an evil case + Struggle through such a raging flood + Safe to the landing-place: + But his limbs were borne up bravely 280 + By the brave heart within, + And our good Father Tiber + Bore bravely up his chin. + + "Curse on him!" quoth false Sextus: + "Will not the villain drown? 285 + But for this stay, ere close of day + We should have sacked the town!" + "Heaven help him!" quoth Lars Porsena, + "And bring him safe to shore; + For such a gallant feat of arms 290 + Was never seen before." + + And now he feels the bottom; + Now on dry earth he stands; + Now round him throng the Fathers + To press his gory hands; 295 + And now, with shouts and clapping, + And noise of weeping loud, + He enters through the River-Gate, + Borne by the joyous crowd. + + --_Macaulay_ + + + PREPARATORY.--What is the historic back-ground of the + ballad from which this selection is taken? Narrate + briefly the events as told by Macaulay in _Horatius_. + Where is the scene of the dramatic events here + portrayed? Who are the chief actors? Who are the + speakers? + + Show whether the words and phrases repeated in the + following lines are accompanied by increased Emphasis or + whether the Emphasis is transferred: ll. 1-4, 41-46, + 108-109, 118-121, 188-190, 198-199, 202-205, 214-217, + 240-241, 244-245, 252, 292-295. (Introduction, pp. + 30-32.) Give examples of Emphasis through contrast, + throughout the selection. + + What Inflection is placed on the questions in ll. 8, + 13-16, 23-24? Give reasons. + + Compare the mental attitude of Horatius in ll. 11-16, + and ll. 17-24. What is the difference in Stress? + + ll. 38-39. What Inflection and Emphasis on the series of + words? (Introduction, pp. 20 and 31.) + + In what way does Imitation enter into the reading of ll. + 72-75, 82-84, 95-100, 160-163, 218-221, 292-299? How are + the Time and Stress affected? How does Imitation affect + the Pitch in ll. 230-233, 156-157, 172-173, 238-241, + 265-267, 284-291? + + ll. 144-147. In what Quality of voice should Astur's + speech be read? + + l. 153. What is the most important word? + + ll. 178-181, 196-201. How does the derision affect the + Stress and the Inflection? (Introduction, pp. 21, 22, + and 30.) + + ll. 186-187. Explain the Inflection on this negative + statement. + + ll. 238-241, 284-291. Compare the feelings of Sextus + with those of Lars Porsena. How is the difference shown + in the Quality of voice? (Introduction, pp. 33-35.) + + * * * * * + + +ON THE DEATH OF KING EDWARD VII + +Delivered in the British House of Commons, May 12th, 1910 + + +The late King, who has been suddenly taken away from us, had, at the +time of his death, not yet completed the tenth year of his reign. +Those years were crowded with moving and stirring events, both abroad, +in the Empire, and here at home. In our relations with foreign +countries they have been years of growing friendships, of new +understandings, of stronger and surer safeguards for the peace of +mankind. Within the Empire during the same time the sense of +interdependence, the consciousness of common interests and common +risks, the ever-tightening bonds of corporate unity have been +developed and vivified as they had never been before. Here at home, as +though it were by way of contrast, controversial issues of the gravest +kind--economic, social, and constitutional--have ripened into a rapid +maturity. + +Sir, in all these multiform manifestations of our national and +imperial life, history will assign a part of singular dignity and +authority to the great Ruler whom we have lost. In external affairs +his powerful personal influence was steadily and zealously directed to +the avoidance not only of war, but of the causes and pretexts of war, +and he well earned the title by which he will always be remembered, +"the Peacemaker of the World." + +Within the boundaries of his own Empire, by his intimate knowledge of +its component parts, by his broad and elastic sympathy not only with +ambitions, and aspirations, but with the sufferings and the hardships +of his people, by his response to any and every appeal whether to the +sense of justice or the spirit of compassion, he won a degree of +loyalty, affection, and confidence which few Sovereigns have ever +enjoyed. At home, we all recognize that, above the din and dust of our +hard-fought controversies, detached from party and attached only to +the common interests, we had in him an arbiter ripe in experience, +judicial in temper, at once a reverent worshipper of our traditions +and a watchful guardian of our constitutional liberties. + +One is tempted, indeed constrained, on such an occasion as this to ask +what were the qualities which enabled a man called comparatively late +in life to new duties of unexampled complexity--what were the +qualities which in practice proved him so admirably fitted to the +task, and have given him an enduring and illustrious record among the +rulers and governors of the nations? I should be disposed to assign +the first place to what sounds a commonplace--but in its persistent +and unfailing exercise is one of the rarest of virtues--his strong, +abiding, dominating sense of public duty. + +King Edward, be it remembered, was a man of many and varied interests. +He was a sportsman in the best sense, an ardent and discriminating +patron of the Arts, and as well equipped as any man of his time for +the give-and-take of social intercourse; wholly free from the +prejudices and narrowing rules of caste; at home in all companies; an +enfranchised citizen of the world. To such a man, endowed as he was by +nature, placed where he was by fortune and by circumstances, there +was open, if he had chosen to enter it, an unlimited field for +self-indulgence. But, Sir, as every one will acknowledge who was +brought into daily contact with him in the sphere of affairs, his duty +to the State always came first. In this great business community there +was no better man of business, no man by whom the humdrum +obligations--punctuality, method, preciseness, and economy of time and +speech--were more keenly recognized or more severely practised. I +speak with the privilege of close experience when I say that wherever +he was, whatever may have been his apparent preoccupations, in the +transactions of the business of the State there were never any +arrears, there was never any trace of confusion, there was never any +moment of avoidable delay. + +Next to these, Sir--I am still in the domain of practice and +administration--I should put his singular, perhaps an unrivalled, tact +in the management of men, and a judgment of intuitive shrewdness as to +the best outlet from perplexed and often baffling situations. He had, +in its highest and best development, the genius of common sense. These +rare gifts of practical efficiency were, during the whole of his +Kingship, yoked to the service of a great ideal. He was animated every +day of his Sovereignty by the thought that he was at once the head and +the chief servant of that vast complex organism which we call the +British Empire. He recognized in the fullest degree both the powers +and the limitations of a Constitutional Monarch. Here, at home, he +was, though no politician, as every one knows, a keen Social Reformer. +He loved his people at home and over the seas. Their interests were +his interests; their fame was his fame. He had no self apart from +them. + +I will not touch for more than a moment on more delicate and sacred +ground--on his personal charm, the warmth and wealth of his humanity; +his unfailing considerateness for all who in any capacity were +permitted to work for him. I will only say, in this connection that no +man in our time has been more justly beloved by his family and his +friends, and no Ruler in our or in any time has been more sincerely +true, more unswervingly loyal, more uniformly kind to his advisers and +his servants. By the unsearchable counsels of the Disposer of Events +he has been called suddenly, and without warning, to his account. We +are still dazed under the blow which has befallen us. It is too soon, +as yet, even to attempt to realize its full meaning, but this, at +least, we may say at once and with full assurance, that he has left to +his people a memory and an example which they will never forget, a +memory of great opportunities greatly employed, and an example which +the humblest of his subjects may treasure and strive to follow, of +simplicity, courage, self-denial, tenacious devotion up to the last +moment of conscious life to work, to duty, and to service. + + --_The Right Honourable Herbert Henry Asquith_ + + + WITHIN THE BOUNDARIES ... ENJOYED. Make an analysis of + this sentence with a view to Perspective. (Introduction, + p. 33.) + + DETACHED ... INTERESTS. Note the contrasts and indicate + the Inflection on each. + + TEMPTED, ... CONSTRAINED. What difference in Emphasis? + (Introduction, p. 31.) Compare SINGULAR, PERHAPS + UNRIVALLED; IN OUR OR IN ANY TIME. + + * * * * * + + +THE HEROES OF MAGERSFONTEIN + +Dec. 11, 1899 + + +1. During the night it was considered expedient that the Highland +Brigade, 4,000 strong, under General Wauchope, should get close enough +to the lines of the foe to make it possible to charge the heights. At +midnight the gallant but ill-fated men moved cautiously through the +darkness toward the kopje where the Boers were most strongly +intrenched. They were led by a guide who was supposed to know every +inch of the country, out into the darkness of an African night. + +2. So onward until three of the clock on the Monday. Then out of the +darkness a rifle rang sharp and clear, a herald of disaster--a soldier +had tripped in the dark over the hidden wires laid down by the enemy. +In a second, in the twinkling of an eye, the searchlights of the Boers +fell broad and clear as the noonday sun on the ranks of the doomed +Highlanders, though it left the enemy concealed in the shadows of the +frowning mass of hills behind them. For one brief moment the Scots +seemed paralysed by the suddenness of their discovery, for they knew +that they were huddled together like sheep within fifty yards of the +trenches of the foes. + +3. Then clear above the confusion rolled the voice of the General: +"Steady, men, steady!"--and like an echo to the veterans out came the +crash of nearly a thousand rifles not fifty paces from them. The +Highlanders reeled before the shock like trees before the tempest; +their best, their bravest, fell in that wild hail of lead. General +Wauchope was down, riddled with bullets; yet gasping, dying, bleeding +from every vein, the Highland chief raised himself on his hands and +knees and cheered his men forward. Men and officers fell in heaps +together. + +4. The Black Watch charged, and the Gordons and the Seaforths, with a +yell that stirred the British camp below, rushed onward to death or +disaster. The accursed wires caught them around the legs until they +floundered like trapped wolves, and all the time the rifles of the foe +sang the song of death in their ears. They fell back broken and +beaten, leaving nearly 1,300 dead and wounded, just where the broad +breast of the grassy veldt melts into the embrace of the rugged +African hills; and an hour later, the dawning came of the dreariest +day that Scotland has known for a generation past. + +5. Of her officers, the flower of her chivalry, the pride of her +breeding, but few remained to tell the tale--a sad tale truly, but one +untinted with dishonour nor smirched with disgrace, for up these +heights under similar circumstances, even a brigade of devils could +scarce have hoped to pass. All that mortal man could do the Scots did; +they tried, they failed, they fell, and there is nothing left us now +but to revere their memory and give them a place of honour in the +pages of history. + +6. Three hundred yards to the rear of the little township of Modder +River, just as the sun was sinking in a blaze of African splendour, on +the evening of Tuesday, the 12th of December, a long shallow grave lay +exposed in the breast of the veldt. To the westward, the broad river +fringed with trees runs murmuringly; to the eastward, the heights +still held by the enemy, scowled menacingly; north and south the veldt +undulated peacefully; a few paces to the northward of that grave, +fifty dead Highlanders lay dressed as they had fallen on the field of +battle: they had followed their chief to the field, and they were to +follow him to the grave. + +7. How grim and stern these men looked as they lay face upward to the +sky, with great hands clutched in the last agony, and brows still knit +with the stern lust of the strife in which they had fallen. The +plaids, dear to every Highland clan, were represented there, and out +of the distance came the sound of pipes. It was the General coming to +join his men. There, right under the eyes of the enemy, moved with +slow and solemn tread all that remained of the Highland Brigade. In +front of them walked the chaplain, with bared head, dressed in his +robes of office; then came the pipers with their pipes, sixteen in +all, and behind them, with arms reversed, moved the Highlanders, +dressed in all the regalia of their regiments, and in the midst the +dead General, borne by four of his comrades. Out swelled the pipes to +the strains of "The Flowers of the Forest," now ringing proud and high +until the soldier's head went back in haughty defiance--and eyes +flashed through tears like sunlight on steel, now sinking to moaning +wail like a woman mourning for her first-born, until the proud heads +drooped forward till they rested on heaving chests, and tears rolled +down the wan and scarred faces, and the choking sobs broke through the +solemn rhythm of the march of death. + +8. Right up to the grave they marched, then broke away in companies, +until the General lay in the shallow grave with a Scottish square of +armed men around him. Only the dead man's son and a small remnant of +his officers stood with the chaplain and the pipers, while the solemn +service of the church was spoken. + +9. Then once again the pipes pealed out, and "Lochaber No More" cut +through the stillness like a cry of pain until one could almost hear +the widow in her Highland home mourning for the soldier she would +welcome back no more. + +10. Then, as if touched with the magic of one thought, the soldiers +turned their tear-damped eyes from the still form in the shallow grave +toward the height where Cronje, the Lion of Africa, and his soldiers +stood. Then every cheek flushed crimson, and strong jaws set like +steel, and the veins on the hands that clasped the rifle handles +swelled almost to bursting with the fervour of the grip, and that look +from those silent, armed men spoke more eloquently than ever spoke the +tongues of orators. For on each frowning face the spirit of vengeance +sat, and each sparkling eye asked silently for blood. + +11. At the head of the grave, at the point nearest the enemy, the +General was laid to sleep, his officers grouped around him, while in +line behind him, his soldiers were laid in a double row wrapped in +their blankets. No shots were fired over the dead men resting so +peacefully, only the salute was given, and then the men marched +campwards as the darkness of an African night rolled over the +far-stretching breadth of the veldt. + + --_From "The London Daily News" (By permission)_ + + + Par. 1. Note the Grouping, Pause, and Shading in the + last sentence. Compare the Grouping in the preceding + sentence, in the last sentence of Par. 4, in the first + sentence of Par. 7, and in the second sentence of Par. + 10. + + Explain the Inflection and Emphasis on the phrases + parallel in construction, in the fifth and sixth + sentences of Par. 7, and the second sentence of Par. 10. + + * * * * * + + +THE FUNERAL OF JULIUS CÆSAR + +From "Julius Cæsar," Act III. Scene ii. + +The Forum. _Enter Brutus, Cassius, and a throng of Citizens._ + +_All._ We will be satisfied; let us be satisfied. + +_Bru._ Then follow me, and give me audience, friends.-- +Cassius, go you into the other street, +And part the numbers.-- +Those that will hear me speak, let them stay here; +Those that will follow Cassius, go with him; +And public reasons shall be rendered +Of Cæsar's death. + +_1 Cit._ I will hear Brutus speak. + +_2 Cit._ I will hear Cassius; and compare their reasons, +When severally we hear them rendered. 10 + +[_Exit Cassius, with some of the Citizens. Brutus goes +into the rostrum._] + +_3 Cit._ The noble Brutus is ascended: silence! + +_Bru._ Be patient till the last. +Romans, countrymen, and lovers! hear me for my cause; +and be silent, that you may hear: believe me for mine +honour; and have respect to mine honour, that you may +believe: censure me in your wisdom; and awake your +senses, that you may the better judge. If there be any +in this assembly, any dear friend of Cæsar's, to him I +say, that Brutus' love to Cæsar was no less than his. If +then that friend demand why Brutus rose against Cæsar, 20 +this is my answer.--Not that I loved Cæsar less, but that +I loved Rome more. Had you rather Cæsar were living, +and die all slaves, than that Cæsar were dead, to live +all free men? As Cæsar loved me, I weep for him; as +he was fortunate, I rejoice at it; as he was valiant, I +honour him: but, as he was ambitious, I slew him. +There is tears for his love; joy for his fortune; honour +for his valour; and death for his ambition. Who is here +so base that would be a bondman? If any, speak; for +him have I offended. Who is here so rude that would 30 +not be a Roman? If any, speak; for him have I offended. +Who is here so vile that will not love his country? If +any, speak; for him have I offended. I pause for a +reply. + +_All._ None, Brutus, none. + +_Bru._ Then none have I offended. I have done no more +to Cæsar than you shall do to Brutus. The question of +his death is enrolled in the Capitol; his glory not extenuated, +wherein he was worthy; nor his offences enforced, +for which he suffered death. 40 + +[_Enter Antony and others, with Cæsar's body._] + +Here comes his body, mourned by Mark Antony: who, +though he had no hand in his death, shall receive the +benefit of his dying, a place in the commonwealth; as +which of you shall not? With this I depart,--that, as +I slew my best lover for the good of Rome, I have the +same dagger for myself, when it shall please my country +to need my death. + +_All._ Live, Brutus, live! live! + +_1 Cit._ Bring him with triumph home unto his house. + +_2 Cit._ Give him a statue with his ancestors. 50 + +_3 Cit._ Let him be Cæsar. + +_4 Cit._ Cæsar's better parts +Shall now be crown'd in Brutus. + +_1 Cit._ We'll bring him to his house with shouts and +clamours. + +_Bru._ My countrymen,-- + +_2 Cit._ Peace! silence! Brutus speaks. + +_1 Cit._ Peace, ho! + +_Bru._ Good countrymen, let me depart alone, +And, for my sake, stay here with Antony: +Do grace to Cæsar's corpse, and grace his speech 60 +Tending to Cæsar 's glories; which Mark Antony, +By our permission, is allow'd to make. +I do entreat you, not a man depart, +Save I alone, till Antony have spoke. [_Exit_] + +_1 Cit._ Stay, ho! and let us hear Mark Antony. + +_3 Cit._ Let him go up into the public chair; +We'll hear him.--Noble Antony, go up. + +_Ant._ For Brutus' sake, I am beholding to you. + +[_He goes up into the rostrum._] + +_4 Cit._ What does he say of Brutus? + +_3 Cit._ He says, for Brutus' sake, 70 +He finds himself beholding to us all. + +_4 Cit._ 'T were best to speak no harm of Brutus here. + +_1 Cit._ This Cæsar was a tyrant. + +_3 Cit._ Nay, that's certain: +We are blest that Rome is rid of him. + +_2 Cit._ Peace! let us hear what Antony can say. + +_Ant._ You gentle Romans,-- + +_All._ Peace, ho! let us hear him. + +_Ant._ Friends, Romans, countrymen, lend me your ears; +I come to bury Cæsar, not to praise him. 80 +The evil that men do lives after them; +The good is oft interred with their bones; +So let it be with Cæsar. The noble Brutus +Hath told you, Cæsar was ambitious: +If it were so, it was a grievous fault, +And grievously hath Cæsar answer'd it. +Here, under leave of Brutus and the rest,-- +For Brutus is an honourable man; +So are they all, all honourable men.-- +Come I to speak in Cæsar's funeral. 90 +He was my friend, faithful and just to me: +But Brutus says he was ambitious; +And Brutus is an honourable man. +He hath brought many captives home to Rome, +Whose ransoms did the general coffers fill: +Did this in Cæsar seem ambitious? +When that the poor have cried, Cæsar hath wept: +Ambition should be made of sterner stuff: +Yet Brutus says he was ambitious; +And Brutus is an honourable man. 100 +You all did see that on the Lupercal +I thrice presented him a kingly crown, +Which he did thrice refuse: was this ambition? +Yet Brutus says he was ambitious; +And, sure, he is an honourable man. +I speak not to disprove what Brutus spoke, +But here I am to speak what I do know. +You all did love him once, not without cause: +What cause withholds you then to mourn for him? +O judgment, thou art fled to brutish beasts, 110 +And men have lost their reason!--Bear with me; +My heart is in the coffin there with Cæsar, +And I must pause till it come back to me. + +_1 Cit._ Methinks there is much reason in his sayings. + +_2 Cit._ If thou consider rightly of the matter, +Cæsar has had great wrong. + +_3 Cit._ Has he, masters? +I fear there will a worse come in his place. + +_4 Cit._ Mark'd ye his words? He would not take the +crown; +Therefore 't is certain he was not ambitious. 120 + +_1 Cit._ If it be found so, some will dear abide it. + +_2 Cit._ Poor soul! his eyes are red as fire with weeping. + +_3 Cit._ There's not a nobler man in Rome than Antony. + +_4 Cit._ Now mark him, he begins again to speak. + +_Ant._ But yesterday the word of Cæsar might +Have stood against the world: now lies he there, +And none so poor to do him reverence. +O masters! if I were dispos'd to stir +Your hearts and minds to mutiny and rage, +I should do Brutus wrong, and Cassius wrong, 130 +Who, you all know, are honourable men; +I will not do them wrong; I rather choose +To wrong the dead, to wrong myself, and you, +Than I will wrong such honourable men. +But here's a parchment, with the seal of Cæsar; +I found it in his closet, 'tis his will: +Let but the commons hear this testament,-- +Which, pardon me, I do not mean to read,-- +And they would go and kiss dead Cæsar's wounds, +And dip their napkins in his sacred blood. 140 +Yea, beg a hair of him for memory, +And, dying, mention it within their wills, +Bequeathing it as a rich legacy +Unto their issue. + +_4 Cit._ We'll hear the will: read it, Mark Antony. + +_All._ The will, the will! we will hear Cæsar's will. + +_Ant._ Have patience, gentle friends, I must not read it; +It is not meet you know how Cæsar lov'd you. +You are not wood, you are not stones, but men; +And, being men, hearing the will of Cæsar, 150 +It will inflame you, it will make you mad: +'Tis good you know not that you are his heirs; +For, if you should, O, what would come of it! + +_4 Cit._ Read the will; we'll hear it, Antony; +You shall read us the will,--Cæsar's will. + +_Ant._ Will you be patient? will you stay awhile? +I have o'ershot myself to tell you of it. +I fear I wrong the honourable men +Whose daggers have stabb'd Cæsar-, I do fear it. + +_4 Cit._ They were traitors: honourable men! 160 + +_All._ The will! the testament! + +_2 Cit._ They were villains, murderers: the will! read +the will! + +_Ant._ You will compel me, then, to read the will? +Then make a ring about the corpse of Cæsar, +And let me show you him that made the will. +Shall I descend? and will you give me leave? + +_All._ Come down. + +_2 Cit._ Descend. + +_3 Cit._ You shall have leave. + +[_He comes down from the rostrum._] + +_4 Cit._ A ring; stand round. 170 + +_1 Cit._ Stand from the hearse, stand from the body. + +_2 Cit._ Room for Antony!--most noble Antony. + +_Ant._ Nay, press not so upon me; stand far off. + +_All._ Stand back! room! bear back! + +_Ant._ If you have tears, prepare to shed them now. +You all do know this mantle; I remember +The first time ever Cæsar put it on; +'T was on a summer's evening, in his tent, +That day he overcame the Nervii:-- +Look! in this place ran Cassius' dagger through: 180 +See, what a rent the envious Casca made: +Through this, the well-beloved Brutus stabb'd; +And, as he pluck'd his cursed steel away, +Mark how the blood of Cæsar follow'd it, +As rushing out of doors, to be resolv'd +If Brutus so unkindly knock'd, or no; +For Brutus, as you know, was Cæsar's angel: +Judge, O you gods, how dearly Cæsar lov'd him! +This was the most unkindest cut of all; +For when the noble Cæsar saw him stab, 190 +Ingratitude, more strong than traitors' arms, +Quite vanquish'd him: then burst his mighty heart; +And, in his mantle muffling up his face, +Even at the base of Pompey's statue, +Which all the while ran blood, great Cæsar fell. +O, what a fall was there, my countrymen! +Then I, and you, and all of us fell down, +Whilst bloody treason flourish'd over us. +O, now you weep; and I perceive, you feel +The dint of pity: these are gracious drops. 200 +Kind souls, what, weep you, when you but behold +Our Cæsar's vesture wounded? Look you here. +Here is himself, marr'd, as you see, with traitors. + +_1 Cit._ O piteous spectacle! + +_2 Cit._ O noble Cæsar! + +_3 Cit._ O woeful day! + +_4 Cit._ O traitors, villains! + +_1 Cit._ O most bloody sight! + +_2 Cit._ We will be revenged. + +_All._ Revenge! About,--seek,--burn,--fire,--kill,--slay! 210 +Let not a traitor live! + +_Ant._ Stay, countrymen. + +_1 Cit._ Peace there! Hear the noble Antony. + +_2 Cit._ We'll hear him, we'll follow him, we'll die with +him. + +_Ant._ Good friends, sweet friends, let me not stir you up +To such a sudden flood of mutiny. +They that have done this deed are honourable; +What private griefs they have, alas! I know not, +That made them do it; they are wise and honourable, +And will, no doubt, with reasons answer you. 220 +I come not, friends, to steal away your hearts: +I am no orator, as Brutus is; +But as you know me all, a plain blunt man, +That love my friend; and that they know full well +That gave me public leave to speak of him. +For I have neither wit, nor words, nor worth, +Action, nor utterance, nor the power of speech, +To stir men's blood: I only speak right on; +I tell you that which you yourselves do know; +Show you sweet Cæsar's wounds, poor, poor dumb mouths, 230 +And bid them speak for me: but were I Brutus, +And Brutus Antony, there were an Antony +Would ruffle up your spirits, and put a tongue +In every wound of Cæsar, that should move +The stones of Rome to rise and mutiny. + +_All._ We'll mutiny! + +_1 Cit._ We'll burn the house of Brutus! + +_3 Cit._ Away, then! come, seek the conspirators. + +_Ant._ Yet hear me, countrymen; yet hear me speak. + +_All._ Peace, ho! Hear Antony, most noble Antony. 240 + +_Ant._ Why, friends, you go to do you know not what: +Wherein hath Cæsar thus deserv'd your loves? +Alas, you know not: I must tell you then: +You have forgot the will I told you of. + +_All._ Most true;--the will!--let's stay, and hear the +will. + +_Ant._ Here is the will, and under Cæsar's seal. +To every Roman citizen he gives, +To every several man, seventy-five drachmas. + +_2 Cit._ Most noble Cæsar!--we'll revenge his death. + +_3 Cit._ O royal Caesar! 250 + +_Ant._ Hear me with patience. + +_All._ Peace, ho! + +_Ant._ Moreover, he hath left you all his walks, +His private arbours, and new-planted orchards, +On this side Tiber; he hath left them you, +And to your heirs for ever,--common pleasures, +To walk abroad, and recreate yourselves. +Here was a Cæsar! when comes such another? + +_1 Cit._ Never, never!--Come, away, away! +We'll burn his body in the holy place, 260 +And with the brands fire the traitors' houses. +Take up the body. + +_2 Cit._ Go, fetch fire. + +_3 Cit._ Pluck down benches. + +_4 Cit._ Pluck down forms, windows, anything. + +[_Exeunt all, with the body._] + +_Ant._ Now let it work! Mischief, thou art afoot, +Take thou what course thou wilt! + + --_Shakespeare_ + + + PREPARATORY.--For dramatic rendering see notes on + _Highland Hospitality_ pp. 153 and 154. + + The long speeches of Brutus and Antony may be practised + by themselves as exercises in Emphasis and Inflection. + + 88-89. How is the parenthetical clause subordinated? + Give other examples from the extracts. + + 153-154. Select the emphatic words. + + 160. What Stress is placed on TRAITORS and HONOURABLE + respectively? Account for the difference. + + 210. ABOUT, ... SLAY! What is the Stress? Compare ll. + 236-237, and ll. 259-265. + + * * * * * + + +THE REVENGE + +A Ballad of the Fleet, 1591 + + + At Flores in the Azores Sir Richard Grenville lay, + And a pinnace, like a flutter'd bird, came flying from far away: + "Spanish ships of war at sea! we have sighted fifty-three!" + Then sware Lord Thomas Howard: "'Fore God I am no coward; + But I cannot meet them here, for my ships are out of gear, 5 + And the half my men are sick. I must fly, but follow quick. + We are six ships of the line; can we fight with fifty-three?" + + Then spake Sir Richard Grenville: "I know you are no coward; + You fly them for a moment to fight with them again. + But I've ninety men and more that are lying sick ashore. 10 + + I should count myself the coward if I left them, my Lord Howard, + To these Inquisition dogs and the devildoms of Spain." + + So Lord Howard past away with five ships of war that day, + Till he melted like a cloud in the silent summer heaven; + But Sir Richard bore in hand all his sick men from the land 15 + Very carefully and slow, + Men of Bideford in Devon, + And we laid them on the ballast down below; + For we brought them all aboard, + And they blest him in their pain, that they were not left + to Spain, 20 + To the thumbscrew and the stake, for the glory of the Lord. + + He had only a hundred seamen to work the ship and to fight, + And he sailed away from Flores till the Spaniard came in sight, + With his huge sea-castles heaving upon the weather bow. + "Shall we fight or shall we fly? 25 + Good Sir Richard, tell us now, + For to fight is but to die! + There'll be little of us left by the time this sun be set." + And Sir Richard said again: "We be all good English men. + Let us bang these dogs of Seville, the children of the devil, 30 + For I never turn'd my back upon Don or devil yet." + + Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so + The little Revenge ran on sheer into the heart of the foe, + With her hundred fighters on deck, and her ninety sick below; + For half of their fleet to the right and half to the left + were seen, 35 + And the little Revenge ran on thro' the long sea-lane between. + + Thousands of their soldiers look'd down from their decks + and laugh'd, + Thousands of their seamen made mock at the mad little craft + Running on and on, till delay'd + By their mountain-like San Philip that, of fifteen hundred tons, 40 + And up-shadowing high above us with her yawning tiers of guns, + Took the breath from our sails, and we stay'd. + + And while now the great San Philip hung above us like a cloud + Whence the thunderbolt will fall + Long and loud, 45 + Four galleons drew away + From the Spanish fleet that day, + And two upon the larboard and two upon the starboard lay, + And the battle-thunder broke from them all. + + But anon the great San Philip she bethought herself and went 50 + Having that within her womb that had left her ill-content; + And the rest they came aboard us, and they fought us hand to hand, + For a dozen times they came with their pikes and musqueteers, + And a dozen times we shook 'em off as a dog that shakes his ears + When he leaps from the water to the land. 55 + + And the sun went down, and the stars came out far over + the summer sea, + But never a moment ceased the fight of the one and the fifty-three. + Ship after ship, the whole night long, their high-built + galleons came, + Ship after ship, the whole night long, with their battle-thunder + and flame; + Ship after ship, the whole night long, drew back with her dead + and her shame: 60 + For some were sunk and many were shatter'd, and so could fight + us no more-- + God of battles, was ever a battle like this in the world before? + + For he said "Fight on! fight on!" + Tho' his vessel was all but a wreck; + And it chanced that, when half of the short summer night + was gone, 65 + With a grisly wound to be drest he had left the deck, + + But a bullet struck him that was dressing it suddenly dead, + And himself he was wounded again in the side and the head, + And he said, "Fight on! fight on!" + + And the night went down, and the sun smiled out far over + the summer sea, 70 + And the Spanish fleet with broken sides lay round us all in a ring; + But they dar'd not touch us again, for they fear'd that we still + could sting, + So they watch'd what the end would be. + And we had not fought them in vain, + But in perilous plight were we, 75 + Seeing forty of our poor hundred were slain, + And half of the rest of us maim'd for life + In the crash of the cannonades and the desperate strife; + And the sick men down in the hold were most of them stark and cold, + And the pikes were all broken or bent, and the powder was all + of it spent; 80 + And the masts and the rigging were lying over the side; + But Sir Richard cried in his English pride, + "We have fought such a fight for a day and a night + As may never be fought again! + We have won great glory, my men! 85 + And a day less or more + At sea or ashore, + We die--does it matter when? + Sink me the ship, Master Gunner--sink her, split her in twain! + Fall into the hands of God, not into the hands of Spain!" 90 + + And the gunner said "Ay, ay," but the seamen made reply: + "We have children, we have wives, + And the Lord hath spared our lives. + We will make the Spaniard promise, if we yield, to let us go; + We shall live to fight again and to strike another blow." 95 + And the lion there lay dying, and they yielded to the foe. + + And the stately Spanish men to their flagship bore him then + Where they laid him by the mast, old Sir Richard caught at last, + And they praised him to his face with their courtly foreign grace; + But he rose upon their decks, and he cried: 100 + "I have fought for Queen and Faith like a valiant man and true; + I have only done my duty as a man is bound to do: + With a joyful spirit I Sir Richard Grenville die!" + And he fell upon their decks, and he died. + + And they stared at the dead that had been so valiant and true, 105 + And had holden the power and glory of Spain so cheap + That he dared her with one little ship and his English few; + Was he devil or man? He was devil for aught they knew, + But they sank his body with honour down into the deep, + + And they mann'd the Revenge with a swarthier alien crew, 110 + And away she sail'd with her loss and long'd for her own; + When a wind from the lands they had ruin'd awoke from sleep, + And the water began to heave and the weather to moan, + And or ever that evening ended a great gale blew, + And a wave like the wave that is raised by an earthquake grew, 115 + Till it smote on their hulls and their sails and their masts + and their flags, + And the whole sea plunged and fell on the shot-shatter'd navy + of Spain, + And the little Revenge herself went down by the island crags + To be lost evermore in the main. + + --_Alfred Tennyson_ + + + PREPARATORY.--Give a series of titles suggestive of the + events narrated in this ballad; describe the picture + that each title calls up, and tell on what part of the + poem it is based. + + What different ideals of bravery are brought out in this + ballad, and by whom is each presented? Compare them with + those set forth in _The Private of the Buffs_ (Fourth + Reader), and _Horatius_. + + 1, 3, and 13. (Appendix A, 1 and 6.) + + 'FORE GOD ... sick. What Inflection prevails? + (Introduction, pp. 17 and 18.) + + What Inflection is placed on the questions in ll. 7, 25, + 62, 88, and 108? (Introduction, pp. 18 and 19.) + + FOR THE GLORY OF THE LORD. How is the irony brought out + by the voice? (Introduction, pp. 21, 22, and 30.) + + 25-28. (Introduction, p. 18.) + + Compare the speech of the men (ll. 25-28) with that of + Sir Richard (ll. 29-31) from the standpoint of mental + attitude. How is this difference indicated by Stress? + + 32. Which are the emphatic words? Give your reasons. + Select words that are emphatic because of contrast from + ll. 34, 35, and 91. What Inflection is placed on the + emphatic words in each case? + + How does repetition affect the Emphasis in ll. 37-38, + 53-54, 58-60, 63, and 89? (Introduction, pp. 31-33.) + + 40. With what word is THAT connected in sense? How does + the voice make the connection? (Introduction, p. 33.) + + 43-47. Analyse these lines from the standpoint of + Perspective. + + 66-67. Where do the Pauses occur? How does the Grouping + affect them? + + 68. Why is HIMSELF emphatic? + + 75-81. Give examples of "momentary completeness". + + 93. Which is the most emphatic word in this line? Give + your reason. + + 101-103. To what extent should Imitation enter into the + reading of this speech? (Introduction, pp. 4 and 5.) + + 112-117. How can the effect of this Climax be brought + out by the voice? (Introduction, p. 31.) + + 118. Note the transition in thought and feeling. By what + change in Time, Pitch, and Force is it accompanied? + + * * * * * + + +HERVÉ RIEL + + + On the sea and at the Hogue, sixteen hundred ninety-two, + Did the English fight the French,--woe to France! + And the thirty-first of May, helter-skelter through the blue, + Like a crowd of frightened porpoises a shoal of sharks pursue, + Came crowding ship on ship to St. Malo on the Rance, 5 + With the English fleet in view. + + 'Twas the squadron that escaped, with the victor in full chase; + First and foremost of the drove, in his great ship, Damfreville: + Close on him fled, great and small, + Twenty-two good ships in all; 10 + And they signalled to the place, + "Help the winners of a race! + Get us guidance, give us harbour, take us quick--or, quicker still, + Here's the English can and will!" + + Then the pilots of the place put out brisk and leapt on board; 15 + "Why, what hope or chance have ships like these to pass?" + laughed they: + "Rocks to starboard, rocks to port, all the passage scarred + and scored, + Shall the _Formidable_ here, with her twelve and eighty guns, + Think to make the river-mouth by the single narrow way, + Trust to enter where 'tis ticklish for a craft of twenty tons, 20 + And with flow at full beside? + Now 'tis slackest ebb of tide. + Reach the mooring? Rather say, + While rock stands or water runs, + Not a ship will leave the bay!" 25 + + Then was called a council straight. + Brief and bitter the debate: + "Here's the English at our heels; would you have them take in tow + All that's left us of the fleet, linked together stern and bow, + For a prize to Plymouth Sound? 30 + Better run the ships aground!" + (Ended Damfreville his speech.) + Not a minute more to wait! + "Let the captains all and each + Shove ashore, then blow up, burn the vessels on the beach! 35 + France must undergo her fate. + + Give the word!" But no such word + Was ever spoke or heard; + For up stood, for out stepped, for in struck amid all these,-- + A Captain? a Lieutenant? a Mate--first, second, third? 40 + No such man of mark, and meet + With his betters to compete! + But a simple Breton sailor pressed by Tourville for the fleet, + A poor coasting-pilot he, Hervé Riel the Croisickese. + + And, "What mockery or malice have we here?" cries Hervé Riel: 45 + "Are you mad, you Malouins? Are you cowards, fools, or rogues? + Talk to me of rocks and shoals, me who took the soundings, tell + On my fingers every bank, every shallow, every swell + 'Twist the offing here and Grève, where the river disembogues? + Are you bought by English gold? Is it love the lying's for? 50 + Morn and eve, night and day, + Have I piloted your bay, + Entered free and anchored fast, at the foot of Solidor. + Burn the fleet and ruin France? That were worse than fifty Hogues! + Sirs, they know I speak the truth! Sirs, believe me there's + a way! 55 + Only let me lead the line, + Have the biggest ship to steer, + Get this _Formidable_ clear, + Make the others follow mine, + And I lead them, most and least, by a passage I know well, 60 + Right to Solidor past Grève, + And there lay them safe and sound; + And if one ship misbehave-- + Keel so much as grate the ground-- + Why, I've nothing but my life,--here's my head!" cries + Hervé Riel. 65 + + Not a minute more to wait. + "Steer us in, then, small and great! + Take the helm, lead the line, save the squadron!" cried its chief. + Captains, give the sailor place! + He is Admiral, in brief. 70 + Still the north wind, by God's grace! + See the noble fellow's face + As the big ship, with a bound, + Clears the entry like a hound. + Keeps the passage, as its inch of way were the wide sea's + profound! 75 + See, safe through shoal and rock, + How they follow in a flock, + Not a ship that misbehaves, not a keel that grates the ground, + Not a spar that comes to grief! + The peril, see, is past, 80 + All are harboured to the last, + And just as Hervé Riel hollas "Anchor!"--sure as fate, + Up the English come--too late. + + So, the storm subsides to calm: + They see the green trees wave 85 + On the heights o'erlooking Grève. + Hearts that bled are stanched with balm. + "Just our rapture to enhance, + Let the English rake the bay, + Gnash their teeth and glare askance 90 + As they cannonade away! + 'Neath rampired Solidor pleasant riding on the Rance!" + How hope succeeds despair on each captain's countenance! + Out burst all with one accord, + "This is Paradise for Hell! 95 + Let France, let France's King, + Thank the man that did the thing!" + What a shout, and all one word, + "Hervé Riel!" + As he stepped in front once more, 100 + Not a symptom of surprise + In the frank, blue Breton eyes, + Just the same man as before. + + Then said Damfreville, "My friend, + I must speak out at the end, 105 + Though I find the speaking hard. + Praise is deeper than the lips: + You have saved the King his ships, + You must name your own reward. + 'Faith, our sun was near eclipse! 110 + Demand whate'er you will, + France remains your debtor still. + Ask to heart's content and have! or my name's not Damfreville." + + Then a beam of fun outbroke + On the bearded mouth that spoke, 115 + As the honest heart laughed through + Those frank eyes of Breton blue: + "Since I needs must say my say, + Since on board the duty's done, + And from Malo Roads to Croisic Point, what is it but a run?-- 120 + Since 'tis ask and have, I may-- + Since the others go ashore-- + Come! A good whole holiday! + Leave to go and see my wife, whom I call the Belle Aurore!" + That he asked and that he got,--nothing more. 125 + + Name and deed alike are lost: + Not a pillar nor a post + In his Croisic keeps alive the feat as it befell; + Not a head in white and black + On a single fishing-smack, 130 + In memory of the man but for whom had gone to wrack + All that France saved from the fight whence England bore the bell. + Go to Paris: rank on rank + Search the heroes flung pell-mell + On the Louvre, face and flank! 135 + You shall look long enough ere you come to Hervé Riel. + So, for better and for worse, + Hervé Riel, accept my verse! + In my verse, Hervé Riel, do thou once more + Save the squadron, honour France, love thy wife the Belle + Aurore! 140 + + --_Robert Browning_ + (_By permission of the owner of the copyright + and Smith, Elder & Co._) + + + PREPARATORY.--Narrate briefly the events of the poem and + describe (_a_) the council, (_b_) the scene after the + ships are safely anchored. + + How does this poem illustrate the truth that the highest + motive in life is duty? From this standpoint compare + Hervé Riel with Sir Richard Grenville in Tennyson's _The + Revenge_. + + Give other examples to show that true nobility does not + depend on such externals as rank and position. + + 2. WOE TO FRANCE. How does the voice indicate that this + phrase is parenthetical? + + 4. What is the subject of PURSUE? Its object? How does + the reader make the meaning clear? + + 3-5. What is the Shading? + + 8 and 14. Supply the ellipsis in each case. How is the + reading affected by an ellipsis? (Introduction, p. 10.) + + 12-14. What is the Stress? (Introduction, pp. 27 and + 28.) + + 16-25. What energy characterizes these lines? With what + Stress should they be read? + + TWELVE AND EIGHTY GUNS, TWENTY TONS. What is the + difference in the Quality of voice? Compare MAN OF MARK, + SIMPLE BRETON SAILOR, ll. 40 and 42. + + 26. Where is the Pause? Why? + + Note the transitions in ll. 27, 31, 32, and 33. How is + each one indicated? + + 38. STOOD, STEPPED, STRUCK. Observe the increased + Emphasis. Compare ll. 46 and 69. + + 41-43. Note the contrast. What is the Inflection on each + part? (Introduction, p. 20.) + + 45-66. What state of mind does Hervé Riel's speech + indicate throughout? What feelings predominate when he + addresses (_a_) the Malouins, (_b_) the officers? What + Time, Pitch, Force, and Stress are the natural + expression? + + 46. COWARDS, FOOLS, ROGUES. What is the Inflection on + each word? (Introduction, p. 20.) + + 65. KEEL SO MUCH, ETC. Note the Pause and Grouping. + + 72, 73-76, 77-84. What is the predominant feeling in + each passage? + + 104-113. Compare the self-control of Damfreville's + speech with the impulsive shout of the preceding stanza. + What is the resulting difference in vocal expression? + + 114-116. Note the Pause and Grouping. + + 118-122. What is the Inflection? (Introduction, p. 17.) + + 129-132. Observe the Grouping. + + * * * * * + + +THE HANDWRITING ON THE WALL + +Daniel V + + +Belshazzar the king made a great feast to a thousand of his lords, and +drank wine before the thousand. Belshazzar, whiles he tasted the wine, +commanded to bring the golden and silver vessels which his father +Nebuchadnezzar had taken out of the temple which was in Jerusalem; +that the king, and his princes, his wives, and his concubines, might +drink therein. Then they brought the golden vessels that were taken +out of the temple of the house of God which was in Jerusalem; and the +king, and his princes, his wives, and his concubines, drank in them. +They drank wine, and praised the gods of gold, and of silver, of +brass, of iron, of wood, and of stone. + +In the same hour came forth fingers of a man's hand, and wrote over +against the candlestick upon the plaister of the wall of the king's +palace: and the king saw the part of the hand that wrote. Then the +king's countenance was changed, and his thoughts troubled him, so that +the joints of his loins were loosed, and his knees smote one against +another. The king cried aloud to bring in the astrologers, the +Chaldeans, and the soothsayers. And the king spake, and said to the +wise men of Babylon, Whosoever shall read this writing, and shew me +the interpretation thereof, shall be clothed with scarlet, and have a +chain of gold about his neck, and shall be the third ruler in the +kingdom. Then came in all the king's wise men: but they could not read +the writing, nor make known to the king the interpretation thereof. +Then was the king Belshazzar greatly troubled, and his countenance was +changed in him, and his lords were astonied. + +Now the queen by reason of the words of the king and his lords came +into the banquet house: and the queen spake and said, O king, live for +ever: let not thy thoughts trouble thee, nor let thy countenance be +changed: There is a man in thy kingdom, in whom is the spirit of the +holy gods; and in the days of thy father light and understanding and +wisdom, like the wisdom of the gods, was found in him; whom the king +Nebuchadnezzar thy father, the king, I say, thy father, made master of +the magicians, astrologers, Chaldeans, and soothsayers; Forasmuch as +an excellent spirit and knowledge and understanding, interpreting of +dreams, and shewing of hard sentences, and dissolving of doubts, were +found in the same Daniel, whom the king named Belteshazzar: now let +Daniel be called, and he will shew the interpretation. + +Then was Daniel brought in before the king. And the king spake and +said unto Daniel, Art thou that Daniel, which art of the children of +the captivity of Judah, whom the king my father brought out of Jewry? +I have even heard of thee, that the spirit of the gods is in thee, and +that light and understanding and excellent wisdom is found in thee. +And now the wise men, the astrologers, have been brought in before me, +that they should read this writing, and make known unto me the +interpretation thereof: but they could not shew the interpretation of +the thing: And I have heard of thee, that thou canst make +interpretations, and dissolve doubts: now if thou canst read the +writing, and make known to me the interpretation thereof, thou shalt +be clothed with scarlet, and have a chain of gold about thy neck, and +shalt be the third ruler in the kingdom. + +Then Daniel answered and said before the king, Let thy gifts be to +thyself, and give thy reward to another; yet I will read the writing +unto the king, and make known to him the interpretation. O thou king, +the most high God gave Nebuchadnezzar thy father a kingdom, and +majesty, and glory, and honour: And for the majesty that he gave him, +all people, nations, and languages, trembled and feared before him: +whom he would he slew; and whom he would he kept alive; and whom he +would he set up; and whom he would he put down. But when his heart was +lifted up, and his mind hardened in pride, he was deposed from his +kingly throne, and they took his glory from him: And he was driven +from the sons of men; and his heart was made like the beasts, and his +dwelling was with the wild asses: they fed him with grass like oxen, +and his body was wet with the dew of heaven; till he knew that the +most high God ruled in the kingdom of men, and that he appointeth over +it whomsoever he will. And thou, his son, O Belshazzar, hast not +humbled thine heart, though thou knewest all this; But has lifted up +thyself against the Lord of heaven; and they have brought the vessels +of his house before thee, and thou, and thy lords, thy wives, and thy +concubines, have drunk wine in them; and thou hast praised the gods of +silver, of gold, of brass, iron, wood, and stone, which see not, nor +hear, nor know: and the God in whose hand thy breath is, and whose are +all thy ways, hast thou not glorified: Then was the part of the hand +sent from him; and this writing was written. + +And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN. +This is the interpretation of the thing: MENE; God hath numbered thy +kingdom, and finished it. TEKEL; Thou art weighed in the balances, and +art found wanting. PERES; Thy kingdom is divided, and given to the +Medes and Persians. Then commanded Belshazzar, and they clothed Daniel +with scarlet, and put a chain of gold about his neck, and made a +proclamation concerning him, that he should be the third ruler in the +kingdom. + +In that night was Belshazzar the king of the Chaldeans slain. And +Darius the Median took the kingdom, being about threescore and two +years old. + + + Give a dramatic form to this extract, indicating by + suitable titles the various scenes suggested and the + parts that would properly belong to the scenery, the + action, and the dialogue respectively. The different + parts may be read by different readers before one reader + attempts all the parts. + + * * * * * + + +PAUL'S DEFENCE BEFORE KING AGRIPPA + +Acts xxvi + + +1. Then Agrippa said unto Paul, Thou art permitted to speak for +thyself. Then Paul stretched forth the hand, and answered for himself: +I think myself happy, King Agrippa, because I shall answer for myself +this day before thee touching all the things whereof I am accused of +the Jews: especially because I know thee to be expert in all customs +and questions which are among the Jews: wherefore I beseech thee to +hear me patiently. + +2. My manner of life from my youth, which was at the first among mine +own nation at Jerusalem, know all the Jews; which knew me from the +beginning, if they would testify, that after the most straitest sect +of our religion I lived a Pharisee. And now I stand and am judged for +the hope of the promise made of God unto our fathers: unto which +promise our twelve tribes, instantly serving God day and night, hope +to come. For which hope's sake, King Agrippa, I am accused of the +Jews. + +3. Why should it be thought a thing incredible with you, that God +should raise the dead? I verily thought with myself, that I ought to +do many things contrary to the name of Jesus of Nazareth. Which thing +I also did in Jerusalem: and many of the saints did I shut up in +prison, having received authority from the chief priests; and when +they were put to death, I gave my voice against them. And I punished +them oft in every synagogue, and compelled them to blaspheme; and +being exceedingly mad against them, I persecuted them even unto +strange cities. + +4. Whereupon as I went to Damascus with authority and commission from +the chief priests, at midday, O king, I saw in the way a light from +heaven, above the brightness of the sun, shining round about me and +them which journeyed with me. And when we were all fallen to the +earth, I heard a voice speaking unto me, and saying in the Hebrew +tongue, Saul, Saul, why persecutest thou me? It is hard for thee to +kick against the pricks. And I said, Who art thou, Lord? And he said, +I am Jesus whom thou persecutest. But rise, and stand upon thy feet: +for I have appeared unto thee for this purpose, to make thee a +minister and a witness both of these things which thou hast seen, and +of those things in the which I will appear unto thee; delivering thee +from the people, and from the Gentiles, unto whom now I send thee, to +open their eyes, and to turn them from darkness to light, and from the +power of Satan unto God, that they may receive forgiveness of sins, +and inheritance among them which are sanctified by faith that is in +me. + +5. Whereupon, O King Agrippa, I was not disobedient unto the heavenly +vision: but shewed first unto them of Damascus, and at Jerusalem, and +throughout all the coasts of Judæa, and then to the Gentiles, that +they should repent and turn to God, and do works meet for repentance. +For these causes the Jews caught me in the temple, and went about to +kill me. Having therefore obtained help of God, I continue unto this +day, witnessing both to small and great, saying none other things than +those which the prophets and Moses did say should come: that Christ +should suffer, and that he should be the first that should rise from +the dead, and should shew light unto the people, and to the Gentiles. + +6. And as he thus spake for himself, Festus said with a loud voice, +Paul, thou art beside thyself; much learning doth make thee mad. But +he said, I am not mad, most noble Festus; but speak forth the words of +truth and soberness. For the king knoweth of these things, before whom +also I speak freely: for I am persuaded that none of these things are +hidden from him; for this thing was not done in a corner. King +Agrippa, believest thou the prophets? I know that thou believest. +Then Agrippa said unto Paul, Almost thou persuadest me to be a +Christian. And Paul said, I would to God, that not only thou, but also +all that hear me this day, were both almost, and altogether such as I +am, except these bonds. + +7. And when he had thus spoken, the king rose up, and the governor, +and Bernice, and they that sat with them: And when they were gone +aside, they talked between themselves, saying, This man doeth nothing +worthy of death or of bonds. Then said Agrippa unto Festus, This man +might have been set at liberty, if he had not appealed unto Cæsar. + + + PREPARATORY.--Under what circumstances did Paul deliver + this defence? Picture the scene. + + What attitude of mind characterizes the chief speaker? + How does this affect the reading? + + How are the direct speeches in Pars. 1, 4, 6, and 7 made + to stand out from the narrative? (Introduction, p. 24.) + + How do the mental and emotional states of the various + speakers differ? Indicate this difference by the Quality + of the voice. (Introduction, p. 34.) + + Point out the Climax in Par. 3. How does the voice + express it? + + IF THEY WOULD TESTIFY. What change in the voice + subordinates this clause? (Introduction, p. 33.) Give + another example from Par. 2. + + * * * * * + + +THE STRANDED SHIP + + + Far up the lonely strand the storm had lifted her. + And now along her keel the merry tides make stir + No more. The running waves that sparkled at her prow + Seethe to the chains and sing no more with laughter now. + No more the clean sea-furrow follows her. No more + To the hum of her gallant tackle the hale Nor'-westers roar. + No more her bulwarks journey. For the only boon they crave + Is the guerdon of all good ships and true, the boon of + a deep-sea grave. + + _Take me out, sink me deep in the green profound, + To sway with the long weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound._ + + No more she mounts the circles from Fundy to the Horn, + From Cuba to the Cape runs down the tropic morn, + Explores the Vast Uncharted where great bergs ride in ranks, + Nor shouts a broad "Ahoy" to the dories on the Banks. + No more she races freights to Zanzibar and back, + Nor creeps where the fog lies blind along the liner's track, + No more she dares the cyclone's disastrous core of calm + To greet across the dropping wave the amber isles of palm. + + _Take me out, sink me deep in the green profound, + To sway with the long weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound._ + + Amid her trafficking peers, the wind-wise, journeyed ships, + At the black wharves no more, nor at the weedy slips, + She comes to port with cargo from many a storied clime. + No more to the rough-throat chantey her windlass creaks in time. + No more she loads for London with spices from Ceylon,-- + With white spruce deals and wheat and apples from St. John. + No more from Pernambuco with cotton-bales,--no more + With hides from Buenos Ayres she clears for Baltimore. + + _Take me out, sink me deep in the green profound, + To sway with the long weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound._ + + Wan with the slow vicissitudes of wind and rain and sun + How grieves her deck for the sailors whose hearty brawls are done! + Only the wandering gull brings word of the open wave, + With shrill scream at her taffrail deriding her alien grave. + Around the keel that raced the dolphin and the shark + Only the sand-wren twitters from barren dawn till dark; + And all the long blank noon the blank sand chafes and mars + The prow once swift to follow the lure of the dancing stars. + + _Take me out, sink me deep in the green profound, + To sway with the long weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound._ + + And when the winds are low, and when the tides are still, + And the round moon rises inland over the naked hill, + And o'er her parching seams the dry cloud-shadows pass, + And dry along the land-rim lie the shadows of thin grass, + Then aches her soul with longing to launch and sink away + Where the fine silts lift and settle, and sea-things drift + and stray, + To make the port of Last Desire, and slumber with her peers + In the tide-wash rocking softly through the unnumbered years. + + _Take me out, sink me deep in the green profound, + To sway with the long weed, swing with the drowned, + Where the change of the soft tide makes no sound, + Far below the keels of the outward bound._ + + --_Charles G. D. Roberts (By arrangement)_ + + + PREPARATORY.--What is the fundamental idea of the first + three stanzas? Of the fourth stanza? Of the last stanza? + Of the refrain? Apply these ideas to human life? What + feelings do they arouse? Show that these feelings grow + stronger as the poem advances. + + What Time, Pitch, and Stress are the natural expression + of the atmosphere pervading the poem? Where are they + most marked? + + What effect has the atmosphere of the last stanza on the + Quality of the voice? + + HER, STIR. (Appendix A, 10.) + + STRAND, FAR, CALM, BRAWLS. Distinguish the sound of _a_ + in these words, and select other words from the poem + with the same sound. (Appendix A, 1.) + + What is the Inflection on the negative statements in the + first three stanzas? On the entreaty in the refrain? + (Introduction, p. 18.) + + What effect do the falling Inflection, and the marked + Pause after MORE, l. 3, stanza 1 produce? + + AND WHEN THE WINDS ... GRASS. What is the Inflection? + What is the Shading when compared with the next line? + + * * * * * + + +SIR PATRICK SPENS + + + The king sits, in Dunfermline toun, + Drinking the blude-red wine; + "O whare will I get a skeely skipper, + To sail this new ship o' mine?" + + O up and spake an eldern knight, + Sat at the king's right knee,-- + "Sir Patrick Spens is the best sailor, + That ever sailed the sea." + + The king has written a braid letter, + And sealed it wi' his hand, + And sent it to Sir Patrick Spens, + Was walking on the strand. + + "To Noroway, to Noroway, + To Noroway o'er the faem; + The king's daughter of Noroway, + 'Tis thou maun bring her hame." + + The first word that Sir Patrick read, + Sae loud, loud laughèd he; + The neist word that Sir Patrick read, + The tear blindit his e'e. + + "O wha is this has done this deed, + And tauld the king o'me, + To send us out, this time o' the year, + To sail upon the sea? + + Be't wind, be't weet, be't hail, be't sleet, + Our ship must sail the faem; + The king's daughter of Noroway, + 'Tis we must fetch her hame." + + They hoysed their sails on Monenday morn, + Wi' a' the speed they may; + They hae landed in Noroway, + Upon a Wodensday. + + They hadna been a week, a week, + In Noroway, but twae, + When that the lords o' Noroway + Began aloud to say,-- + + "Ye Scottishmen spend a' our king's goud, + And a' our queenis fee." + "Ye lee, ye lee, ye lears loud! + Fu' loud I hear ye lee! + + For I brought as mickle white monie, + As gane my men and me, + And I brought a half-fou o' gude red goud, + Out o'er the sea wi' me. + + Mak' ready, mak' ready, my merry men a'! + Our gude ship sails the morn." + "Now, ever alake, my master dear, + I fear a deadly storm! + + I saw the new moon, late yestreen, + Wi' the auld moon in her arm! + And, if we gang to sea, master, + I fear we'll come to harm." + + They hadna sailed a league, a league, + A league, but barely three, + When the lift grew dark, and the wind blew loud, + And gurly grew the sea. + + The ankers brak, and the topmasts lap, + It was sic a deadly storm; + And the waves cam' o'er the broken ship, + Till a' her sides were torn. + + "O whare will I get a gude sailor, + To tak' my helm in hand, + Till I gae up to the tall topmast, + To see if I spy land?" + + "O here am I, a sailor gude, + To tak' the helm in hand, + Till you gae up to the tall topmast; + But I fear ye'll ne'er spy land." + + He hadna gane a step, a step, + A step, but barely ane, + When a bolt flew out o' our goodly ship, + And the salt sea it cam' in. + + "Gae fetch a web o' the silken claith, + Anither o' the twine, + And wap them into our ship's side, + And letna the sea come in." + + They fetched a web o' the silken claith, + Anither o' the twine, + And they wapped them roun' that gude ship's side, + But still the sea cam' in. + + O laith, laith were our gude Scots lords, + To weet their cork-heeled shoon! + But lang or a' the play was played, + They wat their hats aboon. + + And mony was the feather-bed, + That floated o'er the faem; + And mony was the gude lord's son, + That never mair cam' hame. + + The ladyes wrang their fingers white, + The maidens tore their hair, + A' for the sake of their true loves; + For them they'll see na mair. + + O lang, lang may the ladyes sit, + Wi' their fans into their hand, + Before they see Sir Patrick Spens + Come sailing to the strand! + + And lang, lang may the maidens sit, + Wi' their goud kaims in their hair, + A' waiting for their ain dear loves! + For them they'll see na mair. + + Half ower, half ower to Aberdour, + 'Tis fifty fathoms deep, + And there lies gude Sir Patrick Spens, + Wi' the Scots lords at his feet. + + --_Old Ballad_ + + + Into how many different scenes does this drama fall? + Where is each one laid? How can each one be made to + stand out by itself? (Introduction, p. 10.) + + * * * * * + + +KING JOHN AND THE ABBOT OF CANTERBURY + + + An ancient story Ile tell you anon. + Of a notable prince, that was called king John; + And he ruled England with maine and with might, + For he did great wrong, and maintein'd little right. + + And Ile tell you a story, a story so merrye, + Concerning the Abbot of Canterbùrye; + How for his house-keeping, and high renowne, + They rode poste for him to fair London towne. + + An hundred men, the king did heare say, + The abbot kept in his house every day; + And fifty golde chaynes, without any doubt, + In velvet coates waited the abbot about. + + "How now, father abbot, I heare it of thee, + Thou keepest a farre better house than mee, + And for thy house-keeping and high renowne, + I feare thou work'st treason against my crown." + + "My liege," quo' the abbot, "I would it were knowne, + I never spend nothing, but what is my owne; + And I trust, your grace will doe me no deere, + For spending of my owne true-gotten geere." + + "Yes, yes, father abbot, thy fault it is highe, + And now for the same thou needest must dye; + For except thou canst answer me questions three, + Thy head shall be smitten from thy bodie. + + And first," quo' the king, "when I'm in this stead, + With my crowne of golde so faire on my head, + Among all my liege-men so noble of birthe, + Thou must tell me to one penny what I am worthe. + + Secondlye, tell me, without any doubt, + How soone I may ride the whole world about. + And at the third question thou must not shrink, + But tell me here truly what do I think." + + "O, these are hard questions for my shallow witt, + Nor I cannot answer your grace as yet: + But if you will give me but three weekes space, + Ile do my endeavour to answer your grace." + + "Now three weeks space to thee will I give, + And that is the longest time thou hast to live; + For if thou dost not answer my questions three, + Thy lands and thy livings are forfeit to mee." + + Away rode the abbot all sad at that word, + And he rode to Cambridge, and Oxenford; + But never a doctor there was so wise, + That could with his learning an answer devise. + + Then home rode the abbot of comfort so cold, + And he mett his shepheard a going to fold: + "How now, my lord abbot, you are welcome home; + What newes do you bring us from good king John?" + + "Sad newes, sad newes, shepheard, I must give; + That I have but three days more to live: + For if I do not answer him questions three, + My head will be smitten from my bodie. + + The first is to tell him, there in that stead, + With his crowne of golde so fair on his head, + Among all his liege-men so noble of birth, + To within one penny of what he is worth. + + The seconde, to tell him, without any doubt, + How soon he may ride this whole world about: + And at the third question I must not shrinke, + But tell him there truly what he does thinke." + + "Now cheare up, sire abbot, did you never hear yet, + That a fool he may learn a wise man witt? + Lend me horse, and serving-men, and your apparel, + And I'll ride to London to answere your quarrel. + + Nay frowne not, if it hath bin told unto mee, + I am like your lordship, as ever may bee: + And if you will but lend me your gowne, + There is none shall knowe us at fair London towne." + + "Now horses, and serving-men thou shalt have, + With sumptuous array most gallant and brave; + With crozier, and miter, and rochet, and cope, + Fit to appeare 'fore our fader the pope." + + "Now welcome, sire abbot," the king he did say, + "Tis well thou'rt come back to keepe thy day; + For and if thou canst answer my questions three, + Thy life and thy living both saved shall bee. + + And first, when thou seest me here in this stead, + With my crown of golde so faire on my head, + Among all my liege-men so noble of birthe, + Tell me to one penny what I am worth." + + "For thirty pence our Saviour was sold + Amonge the false Jewes, as I have bin told; + And twenty-nine is the worth of thee, + For I thinke, thou art one penny worser than hee." + + The king he laughed, and swore by St. Bittel, + "I did not thinke I had been worth so littel! + --Now secondly tell me, without any doubt, + How soone I may ride this whole world about." + + "You must rise with the sun, and ride with the same, + Until the next morning he riseth againe; + And then your grace need not make any doubt, + But in twenty-four hours you'll ride it about." + + The king he laughed, and swore by St. Jone, + "I did not think, it could be gone so soone! + --Now from the third question thou must not shrinke, + But tell me here truly what I do thinke." + + "Yea, that shall I do, and make your grace merry: + You thinke I'm the Abbot of Canterbùry; + But I'm his poor shepheard, as plain you may see, + That am come to beg pardon for him and for mee." + + The king he laughed, and swore "by the masse, + He make thee lord abbot this day in his place!" + "Now naye, my liege, be not in such speede, + For alacke I can neither write ne reade." + + "Four nobles a weeke, then, I will give thee, + For this merry jest thou hast showne unto mee; + And tell the old abbot when thou comest home, + Thou hast brought him a pardon from good king John." + + --_Old Ballad_ + + + PREPARATORY.--Divide this poem into three dramatic + scenes. Who are the actors in each scene? + + What is the king's attitude toward the abbot in the + first scene? Toward the supposed abbot in the third + scene? Where does this attitude suddenly change? Show at + what points this changed attitude gradually increases in + strength and where it reaches its climax. Indicate these + changes by means of the voice. + + What is the abbot's attitude toward the king in the + first scene? How does it differ from his attitude toward + the shepherd? What is the difference in vocal + expression? + + Where does the shepherd's attitude toward the king + change? How does the voice indicate this change? + + * * * * * + + +THE KEY TO HUMAN HAPPINESS + +From "The Mill on the Floss" + + +1. At last Maggie's eyes glanced down on the books that lay on the +window-shelf, and she half forsook her reverie to turn over listlessly +the leaves of the "Portrait Gallery"; but she soon pushed this aside +to examine the little row of books tied together with, string. +"Beauties of the Spectator", "Rasselas", "Economy of Human Life", +"Gregory's Letters",--she knew the sort of matter that was inside all +these; the "Christian Year"--that seemed to be a hymn-book, and she +laid it down again; but "Thomas à Kempis"--the name had come across +her in her reading, and she felt the satisfaction, which every one +knows, of getting some ideas to attach to a name that strays solitary +in the memory. She took up the little, old, clumsy book with some +curiosity; it had the corners turned down in many places, and some +hand, now for ever quiet, had made at certain passages strong +pen-and-ink marks, long since browned by time. Maggie turned from leaf +to leaf, and read where the quiet hand pointed ... "Know that the love +of thyself doth hurt thee more than anything in the world.... If thou +seekest this or that, and would'st be here or there to enjoy thy own +will and pleasure, thou shalt never be quiet nor free from care; for +in everything somewhat will be wanting, and in every place there will +be some that will cross thee.... Both above and below, which way +soever thou dost turn thee, everywhere thou shalt find the Cross; and +everywhere of necessity thou must have patience, if thou wilt have +inward peace, and enjoy an everlasting crown.... It is but little thou +sufferest in comparison of them that have suffered so much, were so +strongly tempted, so grievously afflicted, so many ways tried and +exercised. Thou oughtest therefore to call to mind the more heavy +sufferings of others, that thou mayest the easier bear thy little +adversities. And if they seem not little unto thee, beware lest thy +impatience be the cause thereof.... Blessed are those ears that +receive the whispers of the divine voice, and listen not to the +whisperings of the world. Blessed are those ears which hearken not +unto the voice which soundeth outwardly, but unto the Truth which +teacheth inwardly...." + +2. A strange thrill of awe passed through Maggie while she read, as if +she had been awakened in the night by a strain of solemn music, +telling of beings whose souls had been astir while hers was in stupor. +She went on from one brown mark to another, where the quiet hand +seemed to point, hardly conscious that she was reading--seeming rather +to listen while a low voice said:-- + +3. "Why dost thou here gaze about, since this is not the place of thy +rest? In heaven ought to be thy dwelling, and all earthly things are +to be looked on as they forward thy journey thither. All things pass +away, and thou together with them. Beware thou cleave not unto them, +lest thou be entangled and perish.... If a man should give all his +substance yet it is as nothing. And, if he should do great penances, +yet they are but little. And if he should attain to all knowledge, he +is yet far off. And if he should be of great virtue, and very fervent +devotion, yet is there much wanting--to wit, one thing, which is most +necessary for him. What is that? That having left all, he leave +himself, and go wholly out of himself, and retain nothing of +self-love.... I have often said unto thee, and now again I say the +same: Forsake thyself, resign thyself, and thou shalt enjoy much +inward peace.... Then shall all vain imaginations, evil perturbations, +and superfluous cares fly away; then shall immoderate fear leave thee, +and inordinate love shall die." + +4. Maggie drew a long breath and pushed her heavy hair back as if to +see a sudden vision more clearly. Here, then, was a secret of life +that would enable her to renounce all other secrets; here was a +sublime height to be reached without the help of outward things; here +was insight, and strength and conquest, to be won by means entirely +within her own soul, where a supreme Teacher was waiting to be heard. +It flashed through her, like the suddenly apprehended solution of a +problem, that all the miseries of her young life had come from fixing +her heart on her own pleasure, as if that were the central necessity +of the universe; and for the first time she saw the possibility of +shifting the position from which she looked at the gratification of +her own desires, of taking her stand out of herself, and looking at +her own life as an insignificant part of a divinely-guided whole. She +read on and on in the old book, devouring eagerly the dialogues with +the invisible Teacher, the pattern of sorrow, the source of all +strength, returning to it after she had been called away, and reading +till the sun went down behind the willows. With all the hurry of an +imagination that could never rest in the present, she sat in the +deepening twilight forming plans of self-humiliation and entire +devotedness; and, in the ardour of first discovery, renunciation +seemed to her the entrance into that satisfaction which she had so +long been craving in vain. She had not perceived--how could she until +she had lived longer?--the inmost truth of the old monk's outpourings, +that renunciation remains sorrow, though a sorrow borne willingly. +Maggie was still panting for happiness, and was in ecstasy because she +had found the key to it. She knew nothing of doctrines and systems--of +mysticism or quietism; but this voice out of the far-off Middle Ages +was the direct communication of a human soul's belief and experience, +and came to Maggie as an unquestioned message. + +5. I suppose that is the reason why the small, old-fashioned book, for +which you need pay only sixpence at a book-stall, works miracles to +this day, turning bitter waters into sweetness; while expensive +sermons and treatises, newly issued, leave all things as they were +before. It was written down by a hand that waited for the heart's +prompting; it is the chronicle of a solitary hidden anguish, struggle, +trust, and triumph--not written on velvet cushions to teach endurance +to those who are treading with bleeding feet on the stones. And so it +remains to all time a lasting record of human needs and human +consolations--the voice of a brother who, ages ago, felt and suffered +and renounced in the cloister, perhaps, with serge gown and tonsured +head, with much chanting and long fasts, and with a fashion of speech +different from ours, but under the same silent far-off heavens, and +with the same passionate desires, the same strivings, the same +failures, the same weariness. + + --_George Eliot_ + + + Par. 1. IF THOU SEEKEST ... PLEASURE. What principle of + Inflection does this clause illustrate? Give similar + examples from Par. 3. + + BOTH ABOVE AND BELOW ... EVERYWHERE. Which phrase in + this series has the strongest Emphasis? + + THOU SUFFEREST. Which word is emphatic? (Introduction, + p. 30.) What phrases are contrasted with it? + + Account for the Inflection used in the last two + sentences. (Introduction, p. 20.) + + Par. 4. Indicate the Grouping in sentences 3 and 5. + + HOW COULD SHE, ETC. What is the Inflection and Shading? + (Introduction, pp. 24 and 25.) + + Par. 5. What is the Inflection on NOT WRITTEN ... + STONES? (Introduction p. 18.) + + * * * * * + + +THE VISION OF SIR LAUNFAL + +PART FIRST + + + "My golden spurs now bring to me, + And bring to me my richest mail, + For to-morrow I go over land and sea + In search of the Holy Grail; + Shall never a bed for me be spread, 5 + Nor shall a pillow be under my head, + Till I begin my vow to keep; + Here on the rushes will I sleep, + And perchance there may come a vision true + Ere day create the world anew." 10 + Slowly Sir Launfal's eyes grew dim, + Slumber fell like a cloud on him, + And into his soul the vision flew. + + The crows flapped over by twos and threes, + In the pool drowsed the cattle up to their knees, 15 + The little birds sang as if it were + The one day of summer in all the year, + And the very leaves seemed to sing on the trees. + The castle alone in the landscape lay + Like an outpost of winter, dull and gray: 20 + + 'Twas the proudest hall in the North Countree, + And never its gates might opened be, + Save to lord or lady of high degree; + Summer besieged it on every side, + But the churlish stone her assaults defied; 25 + She could not scale the chilly wall, + Though round it for leagues her pavilions tall + Stretched left and right, + Over the hills and out of sight; + Green and broad was every tent, 30 + And out of each a murmur went + Till the breeze fell off at night. + The drawbridge dropped with a surly clang, + And through the dark arch a charger sprang, + Bearing Sir Launfal, the maiden knight, 35 + In his gilded mail that flamed so bright + It seemed the dark castle had gathered all + Those shafts the fierce sun had shot over its wall + In his siege of three hundred summers long, + And, binding them all in one blazing sheaf, 40 + Had cast them forth: so, young and strong, + And lightsome as a locust leaf, + Sir Launfal flashed forth in his unscarred mail, + To seek in all climes for the Holy Grail. + + It was morning on hill and stream and tree 45 + And morning in the young knight's heart; + Only the castle moodily + Rebuffed the gift of the sunshine free, + And gloomed by itself apart; + The season brimmed all other things up 50 + Full as the rain fills the pitcher-plant's cup. + + As Sir Launfal made morn through the darksome gate + He was 'ware of a leper, crouched by the same, + Who begged with his hand and moaned as he sate; + And a loathing over Sir Launfal came; 55 + The sunshine went out of his soul with a thrill, + The flesh 'neath his armour 'gan shrink and crawl, + And midway its leap his heart stood still + Like a frozen waterfall; + For this man, so foul and bent of stature, 60 + Rasped harshly against his dainty nature, + And seemed the one blot on the summer morn,-- + So he tossed him a piece of gold in scorn. + + The leper raised not the gold from the dust: + "Better to me the poor man's crust, 65 + Better the blessing of the poor, + Though I turn me empty from his door; + That is no true alms which the hand can hold; + He gives nothing but worthless gold + Who gives from a sense of duty; 70 + But he who gives a slender mite, + And gives to that which is out of sight, + That thread of the all-sustaining Beauty + Which runs through all and doth all unite,-- + The hand cannot clasp the whole of his alms, 75 + The heart outstretches its eager palms, + For a god goes with it and makes it store + To the soul that was starving in darkness before." + + +PART SECOND + + There was never a leaf on bush or tree, + The bare boughs rattled shudderingly; 80 + The river was numb and could not speak, + For the weaver Winter its shroud had spun; + A single crow on the tree-top bleak + From his shining feathers shed off the cold sun; + Again it was morning, but shrunk and cold 85 + As if her veins were sapless and old, + And she rose up decrepitly + For a last dim look at earth and sea. + + Sir Launfal turned from his own hard gate, + For another heir in his earldom sate; 90 + An old, bent man, worn out and frail, + He came back from seeking the Holy Grail; + Little he recked of his earldom's loss, + No more on his surcoat was blazoned the cross, + But deep in his soul the sign he wore, 95 + The badge of the suffering and the poor. + + Sir Launfal's raiment thin and spare + Was idle mail 'gainst the barbed air, + For it was just at the Christmas time; + So he mused, as he sat, of a sunnier clime, 100 + And sought for a shelter from cold and snow + In the light and warmth of long-ago: + He sees the snake-like caravan crawl + O'er the edge of the desert, black and small. + Then nearer and nearer, till, one by one, 105 + He can count the camels in the sun, + As over the red-hot sands they pass + To where, in its slender necklace of grass, + The little spring laughed and leapt in the shade, + And with its own self like an infant played, 110 + And waved its signal of palms. + "For Christ's sweet sake I beg an alms;"-- + The happy camels may reach the spring, + But Sir Launfal sees only the grewsome thing, + The leper, lank as the rain-blanched bone, 115 + That cowers beside him, a thing as lone + And white as the ice-isles of Northern seas + In the desolate horror of his disease. + + And Sir Launfal said, "I behold in thee + An image of Him who died on the tree; 120 + Thou also hast had thy crown of thorns, + Thou also hast had the world's buffets and scorns, + And to thy life were not denied + The wounds in the hands and feet and side: + Mild Mary's Son, acknowledge me; 125 + Behold, through him, I give to thee!" + + Then the soul of the leper stood up in his eyes + And looked at Sir Launfal, and straightway he + Remembered in what a haughtier guise + He had flung an alms to leprosie, 130 + When he girt his young life up in gilded mail + And set forth in search of the Holy Grail. + The heart within him was ashes and dust; + He parted in twain his single crust, + He broke the ice on the streamlet's brink, 135 + And gave the leper to eat and drink: + 'Twas a mouldy crust of coarse brown bread, + 'Twas water out of a wooden bowl,-- + Yet with fine wheaten bread was the leper fed, + And 'twas red wine he drank with his thirsty soul. 140 + + As Sir Launfal mused with a downcast face, + A light shone round about the place; + The leper no longer crouched at his side, + But stood before him glorified, + Shining and tall and fair and straight 145 + As the pillar that stood by the Beautiful Gate,-- + Himself the Gate whereby men can + Enter the temple of God in Man. + + His words were shed softer than leaves from the pine, + And they fell on Sir Launfal as snows on the brine, 150 + Which mingle their softness and quiet in one + With the shaggy unrest they float down upon: + And the voice that was calmer than silence said: + "Lo it is I, be not afraid! + In many climes, without avail, 155 + Thou has spent thy life for the Holy Grail; + Behold it is here,--this cup which thou + Didst fill at the streamlet for me but now; + This crust is my body broken for thee, + This water His blood that died on the tree; 160 + The Holy Supper is kept, indeed, + In whatso we share with another's need; + Not what we give, but what we share,-- + For the gift without the giver is bare; + Who gives himself with his alms feeds three,-- 165 + Himself, his hungering neighbour, and me." + + Sir Launfal awoke as from a swound:-- + "The Grail in my castle here is found! + Hang my idle armour up on the wall, + Let it be the spider's banquet-hall; 170 + He must be fenced with stronger mail + Who would seek and find the Holy Grail." + + The castle gate stands open now, + And the wanderer is welcome to the hall + As the hangbird is to the elm-tree bough; 175 + No longer scowl the turrets tall, + The Summer's long siege at last is o'er; + When the first poor outcast went in at the door, + She entered with him in disguise, + And mastered the fortress by surprise; 180 + There is no spot she loves so well on ground, + She lingers and smiles there the whole year round. + The meanest serf on Sir Launfal's land + Has hall and bower at his command; + And there's no poor man in the North Countree 185 + But is lord of the earldom as much as he. + + --_James Russell Lowell_ + + + PREPARATORY.--Read Tennyson's _The Holy Grail_. + + Compare the mode in which Tennyson treats the pursuit of + the Holy Grail, in _Sir Galahad_, with that adopted by + Lowell in this poem. + + Show the connection between the fundamental ideas in + this poem, and those in Longfellow's _King Robert of + Sicily_ and _The Legend Beautiful_. + + Point out the various contrasts (_a_) of scene, (_b_) of + thought, (_c_) of emotion, and show a corresponding + contrast in vocal expression. + + Articulation. (Appendix A, 1 and 11.) + + 5 and 6. What is the Inflection? + + 11. What changes of vocal expression accompany the + transition? + + 14-20. Note the word-pictures and the effect of the + Imaging process on the Time. + + 22. What is the Inflection on BE? + + 27-29 and 37-39. Observe the Grouping, Pause, and + Inflection. + + 41. HAD CAST THEM FORTH. With what phrase is this + parallel? How does the voice express the parallelism? + + 42-44. Which line expresses the main thought? How is it + made prominent? (Introduction, p. 33.) + + 51. Where is the Pause? + + 65-67. Show the relative importance of the emphatic + words and phrases. (Introduction, pp. 30 and 31.) + + 69-78. Read these lines with a view to (_a_) + Perspective, (_b_) Inflection. + + 91. OLD, BENT. Account for the pause between these two + adjectives. (Introduction, pp. 7 and 8.) + + 95. What is the emphatic word? Why? + + 107-111. Note the difference in the sound of the letter + _a_ in the various words. + + 119-126. What feeling predominates? How are the Force, + Pitch, and Time affected? + + 137-140. How does the voice indicate the contrast + between the meagre and the sumptuous? (Introduction, pp. + 34 and 35.) + + 141-142. Note the transition from the subjective to the + objective. How is it indicated in reading? + + 154-166. What atmosphere pervades this speech? What + Quality of voice suggests it? (Introduction, p. 35.) + + 167. Note the transition. What movement is suggested? + What is the Stress and Quality of voice? + + 168-172. What state of mind does this speech suggest? + What is the change in Stress and Quality? + + * * * * * + + +ON THE DEATH OF GLADSTONE + +Delivered in the Canadian House of Commons, May 26, 1898 + + +England has lost the most illustrious of her sons; but the loss is not +England's alone, nor is it confined to the great empire which +acknowledges England's suzerainty, nor even to the proud race which +can claim kinship with the people of England. The loss is the loss of +mankind. Mr. Gladstone gave his whole life to his country; but the +work which he did for his country, was conceived and carried out, on +principles of such high elevation, for purposes so noble, and aims so +lofty, that not his country alone, but the whole of mankind, benefited +by his work. It is no exaggeration to say that he has raised the +standard of civilization, and the world to-day is undoubtedly better +for both the precept and the example of his life. + +His death is mourned not only by England, the land of his birth, not +only by Scotland, the land of his ancestors, not only by Ireland for +whom he did so much, and attempted so much more; but also by the +people of the two Sicilies, for whose outraged rights he once aroused +the conscience of Europe, by the people of the Ionian Islands, whose +independence he secured, and by the people of Bulgaria and the +Danubian Provinces, in whose cause he enlisted the sympathy of his own +native country. Indeed, since the days of Napoleon, no man has lived +whose name has travelled so far and so wide, over the surface of the +earth; no man has lived whose name alone so deeply moved the hearts of +so many millions of men. Whereas Napoleon impressed his tremendous +personality upon peoples far and near, by the strange fascination +which the genius of war has always exercised over the imagination of +men in all lands and in all ages, the name of Gladstone had come to be +in the minds of all civilized nations, the living incarnation of right +against might--the champion, the dauntless, tireless champion, of the +oppressed against the oppressor. It is, I believe, equally true to say +that he was the most marvellous mental organization which the world +has seen since Napoleon--certainly the most compact, the most active +and the most universal. + +This last half century in which we live, has produced many able and +strong men who, in different walks of life, have attracted the +attention of the world at large; and of the men who have illustrated +this age, it seems to me that in the eyes of posterity four will +outlive and outshine all others--Cavour, Lincoln, Bismarck, and +Gladstone. If we look simply at the magnitude of the results obtained, +compared with the exiguity of the resources at command,--if we +remember that out of the small Kingdom of Sardinia grew united Italy, +we must come to the conclusion that Count Cavour was undoubtedly a +statesman of marvellous skill and prescience. Abraham Lincoln, unknown +to fame when he was elected to the presidency, exhibited a power for +the government of men which has scarcely been surpassed in any age. He +saved the American Union, he enfranchised the black race, and for the +task he had to perform he was endowed in some respects almost +miraculously. No man ever displayed a greater insight into the +motives, the complex motives, which shape the public opinion of a free +country, and he possessed almost to the degree of an instinct, the +supreme quality in a statesman of taking the right decision, taking it +at the right moment and expressing it in language of incomparable +felicity. Prince Bismarck was the embodiment of resolute common sense, +unflinching determination, relentless strength, moving onward to his +end, and crushing everything in his way as unconcerned as fate itself. +Mr. Gladstone undoubtedly excelled every one of these men. He had in +his person a combination of varied powers of the human intellect, +rarely to be found in one single individual. He had the imaginative +fancy, the poetic conception of things, in which Count Cavour was +deficient. He had the aptitude for business, the financial ability +which Lincoln never exhibited. He had the lofty impulses, the generous +inspirations which Prince Bismarck always discarded, even if he did +not treat them with scorn. He was at once an orator, a statesman, a +poet, and a man of business. As an orator he stands certainly in the +very front rank of orators of his country or any country of his age or +any age. I remember when Louis Blanc was in England, in the days of +the Second Empire, he used to write to the press of Paris, and in one +of his letters to "Le Temps" he stated that Mr. Gladstone would +undoubtedly have been the foremost orator of England, if it were not +for the existence of Mr. Bright. It may be admitted, and I think it is +admitted generally, that on some occasions Mr. Bright reached heights +of grandeur and pathos which even Mr. Gladstone did not attain. But +Mr. Gladstone had an ability, a vigour, a fluency which no man in his +age or any age ever rivalled or even approached. That is not all. To +his marvellous mental powers he added no less marvellous physical +gifts. He had the eye of a god, the voice of a silver bell; and the +very fire of his eye, the very music of his voice swept the hearts of +men even before they had been dazzled by the torrents of his +eloquence. + +As a statesman, it was the good fortune of Mr. Gladstone that his +career was not associated with war. The reforms which he effected, the +triumphs which he achieved, were not won by the supreme arbitrament of +the sword. The reforms which he effected and the triumphs which he +achieved were the result of his power of persuasion over his +fellow-men. The reforms which he achieved in many ways amounted to a +revolution. They changed, in many particulars, the face of the realm. +After Sir Robert Peel had adopted the great principle which eventually +carried England from protection to free trade, it was Mr. Gladstone +who created the financial system which has been admitted ever since by +all students of finance, as the secret of Great Britain's commercial +success. He enforced the extension of the suffrage to the masses of +the nation, and practically thereby made the government of monarchical +England as democratic as that of any republic. He disestablished the +Irish church, he introduced reform into the land tenure and brought +hope into the breasts of those tillers of the soil in Ireland who had +for so many generations laboured in despair. And all this he did, not +by force or violence, but simply by the power of his eloquence and the +strength of his personality. + +Great, however, as were the acts of the man, after all he was of the +human flesh, and for him, as for everybody else, there were trivial +and low duties to be performed. It is no exaggeration to say that even +in those low and trivial duties he was great. He ennobled the common +realities of life. His was above all things a religious +mind--essentially religious in the highest sense of the term. And the +religious sentiment which dominated his public life and his speeches, +that same sentiment, according to the testimony of those who knew him +best, also permeated all his actions from the highest to the humblest. +He was a man of strong and pure affections, of long and lasting +friendship, and to describe the beauty of his domestic life, no words +of praise can be adequate. It was simply ideally beautiful, and in the +later years of his life, as touching as it was beautiful. May I be +permitted, without any impropriety, to recall that it was my privilege +to experience and to appreciate that courtesy, made up of dignity and +grace, which was famous all the world over, but of which no one could +have an appropriate opinion, unless he had been the recipient of it. +In a character so complex and diversified, one may ask what was the +dominant feature, what was the supreme quality, the one characteristic +which marked the nature of the man. Was it his incomparable genius for +finance? Was it his splendid oratorical powers? Was it his marvellous +fecundity of mind? In my estimation it was not any one of these +qualities. Great as they were, there was one still more marked, and if +I have to give my own impression, I would say that the one trait which +was dominant in his nature, which marked the man more distinctly than +any other, was his intense humanity, his paramount sense of right, his +abhorrence of injustice, wrong, and oppression wherever to be found or +in whatever shape they might show themselves. Injustice, wrong, +oppression acted upon him, as it were, mechanically, and aroused every +fibre of his being, and from that moment to the repairing of the +injustice, the undoing of the wrong, and the destruction of the +oppression, he gave his mind, his heart, his soul, his whole life with +an energy, with an intensity, with a vigour paralleled in no man +unless it be the first Napoleon. There are many evidences of this in +his life. When he was travelling in Southern Italy, as a tourist, for +pleasure and for the benefit of the health of his family, he became +aware of the abominable system which was there prevailing under the +name of Constitutional Government. He left everything aside, even the +object which had brought him to Italy, and applied himself to +investigate and to collect evidence, and then denounced the abominable +system in a trumpet blast of such power that it shook to its very +foundations the throne of King Ferdinand and sent it tottering to its +fall. Again, when he was sent as High Commissioner to the Ionian +Islands, the injustice of keeping this Hellenic population separated +from the rest of Greece, separated from the kingdom to which they were +adjacent, and toward which all their aspirations were raised, struck +his generous soul with such force that he became practically their +advocate, and secured their independence. Again, when he had +withdrawn from public life, and when, in the language of Thiers, under +somewhat similar circumstances, he had returned to "ses chères +études," the atrocities perpetrated by the Turks on the people of +Roumania brought him back to public life with a vehemence, an +impetuosity, and a torrent of fierce indignation that swept everything +before it. If this be, as I think it is, the one distinctive feature +of his character, it seems to explain away what are called the +inconsistencies of his life. Inconsistencies there were none in his +life. He had been brought up in the most unbending school of Toryism. +He became the most active reformer of our times. But whilst he became +the leader of the Liberal party and an active reformer, it is only due +to him to say that in his complex mind there was a vast space for what +is known as conservatism. His mind was not only liberal but +conservative as well, and he clung to the affections of his youth +until, in questions of practical moment, he found them clashing with +that sense of right and abhorrence of injustice of which I have +spoken. But the moment he found his conservative affections clash with +what he thought right and just, he did not hesitate to abandon his +former convictions and go the whole length of the reforms demanded. +Thus he was always devotedly, filially, lovingly attached to the +Church of England. He loved it, as he often declared. He adhered to it +as an establishment in England, but the very reasons and arguments +which, in his mind, justified the establishment of the Church in +England, compelled him to a different course as far as that church was +concerned in Ireland. In England the Church was the church of the +majority, of almost the unanimity of the nation. In Ireland it was +the church of the minority, and, therefore, he did not hesitate. His +course was clear: he removed the one church and maintained the other. +So it was with Home Rule. But coming to the subject of Home Rule, +though there may be much to say, perhaps this is neither the occasion +nor the place to say it. The Irish problem is dormant, not solved; but +the policy proposed by Mr. Gladstone for the solution of this question +has provoked too much bitterness, too deep division, even on the floor +of this House, to make it advisable to say anything about it on this +occasion. + +I notice it, however, simply because it is the last and everlasting +monument of that high sense of justice which, above all things, +characterized him. When he became convinced that Home Rule was the +only method whereby the long-open wound could be healed, he did not +hesitate one moment, even though he were to sacrifice friends, power, +popularity. And he sacrificed friends, power, popularity, in order to +give that supreme measure of justice to a long-suffering people. +Whatever may be the views which men entertain upon the policy of Home +Rule, whether they favour that policy or whether they oppose it, +whether they believe in it or whether they do not believe in it, every +man, whether friend or foe of that measure, must say that it was not +only a bold, but it was a noble thought, that of attempting to cure +discontent in Ireland by trusting to Irish honour and Irish +generosity. + +Now, Sir, he is no more. England is to-day in tears, but fortunate is +the nation which has produced such a man. His years are over; but his +work is not closed; his work is still going on. The example which he +gave to the world shall live for ever, and the seed which he has sown +with such a copious hand shall still germinate and bear fruit under +the full light of heaven. + + --_Sir Wilfrid Laurier (By permission)_ + + + In reading this speech, apply the principles of Pause, + Inflection, Grouping, Emphasis, and Perspective + illustrated in the preceding lessons. + + * * * * * + + +THE DOWNFALL OF WOLSEY + +From "King Henry VIII" Act III. Scene ii. + + + Farewell! a long farewell, to all my greatness! + This is the state of man: to-day he puts forth + The tender leaves of hope; to-morrow blossoms, + And bears his blushing honours thick upon him; + The third day comes a frost, a killing frost, 5 + And,--when he thinks, good easy man, full surely + His greatness is a-ripening,--nips his root, + And then he falls, as I do. I have ventured, + Like little wanton boys that swim on bladders, + This many summers in a sea of glory, 10 + But far beyond my depth: my high-blown pride + At length broke under me; and now has left me, + Weary, and old with service, to the mercy + Of a rude stream, that must for ever hide me. + Vain pomp and glory of this world, I hate ye: 15 + I feel my heart new open'd. O, how wretched + Is that poor man that hangs on princes' favours! + There is, betwixt that smile we would aspire to, + That sweet aspect of princes, and their ruin, + More pangs and fears than wars or women have; 20 + And when he falls, he falls like Lucifer, + Never to hope again.-- + +[_Enter Cromwell, and stands amazed_] + + Why, how now, Cromwell! + + _Crom._ I have no power to speak, sir. + + _Wol._ What! amaz'd + At my misfortunes? can thy spirit wonder + A great man should decline? Nay, an you weep, 25 + I am fall'n indeed. + + _Crom._ How does your grace? + + _Wol._ Why, well; + Never so truly happy, my good Cromwell. + I know myself now; and I feel within me + A peace above all earthly dignities, + A still and quiet conscience. The king has cur'd me, 30 + I humbly thank his grace; and from these shoulders, + These ruin'd pillars, out of pity, taken + A load would sink a navy,--too much honour: + O, 't is a burden, Cromwell, 't is a burden, + Too heavy for a man that hopes for heaven! 35 + + _Crom._ I am glad your grace has made that right + use of it. + + _Wol._ I hope I have: I am able now, methinks,-- + Out of a fortitude of soul I feel-- + To endure more miseries, and greater far, + Than my weak-hearted enemies dare offer. 40 + What news abroad? + + _Crom._ The heaviest, and the worst + Is your displeasure with the king. + + _Wol._ God bless him! + + _Crom._ The next is, that Sir Thomas More is chosen + Lord chancellor in your place. + + _Wol._ That's somewhat sudden: + But he's a learned man. May he continue 45 + Long in his highness' favour, and do justice + For truth's sake, and his conscience; that his bones, + When he has run his course and sleeps in blessings, + May have a tomb of orphans' tears wept on 'em!-- + What more? 50 + + _Crom._ That Cranmer is return'd with welcome, + Install'd Lord Archbishop of Canterbury. + + _Wol._ That's news indeed. + + _Crom._ Last, that the Lady Anne, + Whom the king hath in secrecy long married, + This day was view'd in open, as his queen, 55 + Going to chapel; and the voice is now + Only about her coronation. + + _Wol._ There was the weight that pull'd me down. + O Cromwell, + The king has gone beyond me: all my glories + In that one woman I have lost for ever. 60 + No sun shall ever usher forth mine honours, + Or gild again the noble troops that waited + Upon my smiles. Go, get thee from me, Cromwell; + I am a poor fall'n man, unworthy now + To be thy lord and master. Seek the king; 65 + That sun, I pray, may never set! I have told him + What and how true thou art: he will advance thee; + Some little memory of me will stir him-- + I know his noble nature--not to let + Thy hopeful service perish too. Good Cromwell, 70 + Neglect him not; make use now, and provide + For thine own future safety. + + _Crom._ O my lord, + Must I, then, leave you? must I needs forego + So good, so noble, and so true a master? + Bear witness, all that have not hearts of iron, 75 + With what a sorrow Cromwell leaves his lord. + The king shall have my service; but my prayers, + For ever and for ever, shall be yours. + + _Wol._ Cromwell, I did not think to shed a tear + In all my miseries; but thou hast forced me, 80 + Out of thy honest truth, to play the woman. + Let's dry our eyes; and thus far hear me, Cromwell: + And--when I am forgotten, as I shall be, + And sleep in dull cold marble, where no mention + Of me more must be heard of--say, I taught thee, 85 + Say, Wolsey, that once trod the ways of glory, + And sounded all the depths and shoals of honour, + Found thee a way, out of his wrack, to rise in; + A sure and safe one, though thy master miss'd it. + Mark but my fall, and that that ruin'd me. 90 + Cromwell, I charge thee, fling away ambition: + By that sin fell the angels; how can man, then, + The image of his Maker, hope to win by 't? + Love thyself last; cherish those hearts that hate thee; + Corruption wins not more than honesty. 95 + Still in thy right hand carry gentle peace, + To silence envious tongues. Be just, and fear not: + Let all the ends thou aim'st at be thy country's, + Thy God's, and truth's: then if thou fall'st, O Cromwell, + Thou fall'st a blessed martyr. Serve the king; 100 + And--pr'ythee lead me in: + There take an inventory of all I have, + To the last penny; 't is the king's: my robe, + And my integrity to Heaven, is all + I dare now call my own. O Cromwell, Cromwell! 105 + Had I but served my God with half the zeal + I served my king, He would not in mine age + Have left me naked to mine enemies. + + _Crom._ Good sir, have patience. + + _Wol._ So I have. Farewell 110 + The hopes of court! my hopes in heaven do dwell. + + --_Shakespeare_ + + + Compare the last words of Wolsey with those of Socrates + as found in Jowett's translation of _The Apology_, (p. + 145.) + + BE JUST ... MARTYR. Show that the life and death of + Socrates illustrates this ideal. + + Compare the Pitch in which Wolsey utters his monologue + with that in which he addresses Cromwell. (Introduction, + p. 23.) + + How is the parenthetical clause in ll. 6 and 7 kept in + the back-ground? (Introduction, p. 24.) Select similar + examples from Wolsey's speeches. + + AND FROM THESE SHOULDERS ... NAVY. Supply the ellipses. + + BY THAT SIN ... WIN BY 'T? Select the emphatic words and + account for the Emphasis in each case. (Introduction, p. + 30.) + + * * * * * + + +THE ITALIAN IN ENGLAND + + + That second time they hunted me + From hill to plain, from shore to sea, + And Austria, hounding far and wide + Her blood-hounds thro' the country-side, + Breathed hot and instant on my trace.-- 5 + I made, six days, a hiding-place + Of that dry green old aqueduct + Where I and Charles, when boys, have plucked + The fireflies from the roof above, + Bright creeping thro' the moss they love: 10 + --How long it seems since Charles was lost! + Six days the soldiers crossed and crossed + The country in my very sight; + And when that peril ceased at night, + The sky broke out in red dismay 15 + With signal-fires. Well, there I lay + Close covered o'er in my recess, + Up to the neck in ferns and cress, + Thinking on Metternich our friend, + And Charles's miserable end, 20 + And much beside, two days; the third, + Hunger o'ercame me when I heard + The peasants from the village go + To work among the maize: you know, + With us in Lombardy, they bring 25 + Provisions packed on mules, a string + With little bells that cheer their task, + And casks, and boughs on every cask + To keep the sun's heat from the wine; + These I let pass in jingling line, 30 + And, close on them, dear noisy crew, + The peasants from the village, too; + For at the very rear would troop + Their wives and sisters in a group + To help, I knew. When these had passed, 35 + I threw my glove to strike the last, + Taking the chance: she did not start, + Much less cry out, but stooped apart, + One instant rapidly glanced round, + And saw me beckon from the ground; 40 + A wild bush grows and hides my crypt, + She picked my glove up while she stripped + A branch off, then rejoined the rest + With that; my glove lay in her breast: + Then I drew breath; they disappeared: 45 + It was for Italy I feared. + + An hour, and she returned alone + Exactly where my glove was thrown. + Meanwhile came many thoughts; on me + Rested the hopes of Italy; 50 + I had devised a certain tale + Which, when 't was told her, could not fail + Persuade a peasant of its truth; + I meant to call a freak of youth + This hiding, and give hopes of pay, 55 + And no temptation to betray. + But when I saw that woman's face, + It's calm simplicity of grace, + Our Italy's own attitude + In which she walked thus far, and stood, 60 + Planting each naked foot so firm, + To crush the snake and spare the worm-- + At first sight of her eyes, I said, + "I am that man upon whose head + They fix the price, because I hate 65 + The Austrians over us; the State + Will give you gold--oh, gold so much!-- + If you betray me to their clutch, + And be your death, for aught I know, + If once they find you saved their foe. 70 + Now, you must bring me food and drink, + And also paper, pen and ink, + And carry safe what I shall write + To Padua, which you'll reach at night + Before the duomo shuts; go in, 75 + And wait till Tenebrae begin; + Walk to the third confessional, + Between the pillar and the wall, + And kneeling whisper, _Whence comes peace?_ + Say it a second time, then cease; 80 + And if the voice inside returns, + _From Christ and Freedom; what concerns + The cause of Peace?_--for answer, slip + My letter where you placed your lip; + Then come back happy we have done 85 + Our mother service--I, the son, + As you the daughter of our land!" + + Three mornings more, she took her stand + In the same place, with the same eyes: + I was no surer of sunrise 90 + Than of her coming: we conferred + Of her own prospects, and I heard + She had a lover--stout and tall, + She said--then let her eyelids fall, + "He could do much"--as if some doubt 95 + Entered her heart,--then, passing out, + "She could not speak for others, who + Had other thoughts; herself she knew": + And so she brought me drink and food. + After four days, the scouts pursued 100 + Another path; at last arrived + The help my Paduan friends contrived + To furnish me: she brought the news. + For the first time I could not choose + But kiss her hand, and lay my own 105 + Upon her head--"This faith was shown + To Italy, our mother; she + Uses my hand and blesses thee." + She followed down to the sea-shore; + I left and never saw her more. 110 + + How very long since I have thought + Concerning--much less wished for--aught + Beside the good of Italy, + For which I live and mean to die! + I never was in love; and since 115 + Charles proved false, what shall now convince + My inmost heart I have a friend? + However, if I pleased to spend + Real wishes on myself--say, three-- + I know at least what one should be. 120 + I would grasp Metternich until + I felt his red wet throat distil + In blood thro' these two hands. And next, + --Nor much for that am I perplexed-- + Charles, perjured traitor, for his part, 125 + Should die slow of a broken heart + Under his new employers. Last, + --Ah, there, what should I wish? For fast + Do I grow old and out of strength. + If I resolved to seek at length 130 + My father's house again, how scared + They all would look, and unprepared! + My brothers live in Austria's pay + --Disowned me long ago, men say; + And all my early mates who used 135 + To praise me so--perhaps induced + More than one early step of mine-- + Are turning wise: while some opine + "Freedom grows license", some suspect + "Haste breeds delay", and recollect 140 + They always said, such premature + Beginnings never could endure! + So, with a sullen "All's for best", + The land seems settling to its rest. + I think then, I should wish to stand 145 + This evening in that dear, lost land, + Over the sea the thousand miles, + And know if yet that woman smiles + With the calm smile; some little farm + She lives in there, no doubt: what harm 150 + If I sat on the door-side bench, + And, while her spindle made a trench + Fantastically in the dust, + Inquired of all her fortunes--just + Her children's ages and their names, 155 + And what may be the husband's aims + For each of them. I'd talk this out, + And sit there, for an hour about, + Then kiss her hand once more, and lay + Mine on her head, and go my way. 160 + + So much for idle wishing--how + It steals the time! To business now. + + --_Robert Browning (By permission)_ + + + PREPARATORY.--What is the historical back-ground of this + poem? Suggest the possible details of the exiled + patriot's life in England, his surroundings and frame of + mind at the moment of speaking. + + Reconstruct for yourself the three scenes of which the + peasant woman is the centre. + + What qualities did the Italian at once recognize in the + peasant woman which led him to intrust his safety to + her? + + 79. WHENCE COMES PEACE? In what Quality of voice is this + read? Give your reason. (Introduction, p. 34.) + + 95. HE COULD DO MUCH. How is the doubt in this speech + and in the one following indicated by the Inflection? + (Introduction, p. 18.) + + 111-112. With what is THOUGHT CONCERNING connected? How? + + 120-123. I KNOW AT LEAST ... HANDS. What Quality of + voice expresses the feeling here? What succeeding lines + have the same Quality? (Introduction, p. 35.) With what + is NEXT connected? How? + + 139-142. FREEDOM GROWS LICENSE ... ENDURE. How is the + irony of these lines indicated? (Introduction, pp. 21 + and 30.) + + How does the mood of the last two lines differ from the + preceding? What is the difference in vocal expression? + + * * * * * + + +ADVANTAGES OF IMPERIAL FEDERATION + +From an address delivered in Toronto, January 30th, 1891, under the +auspices of the Imperial Federation League + + +I now go on to mention another and greater advantage of Imperial +Federation than the one which we have just been considering; an +advantage too that is so connected with that of improved trade that +the two must be considered together. In fact, in my opinion, the first +is not likely to be obtained without the second. We cannot expect +Britain to concede preferential trade to us, on the ground that we are +part of the Empire, unless we are willing to share the +responsibilities of the Empire. I say then, secondly, that only by +some form of Imperial Federation can the independence of Canada be +preserved, with due regard to self-respect. + +If this is true, if Imperial Federation can do this, and if it can be +done in no other way, then the necessity for Imperial Federation is +proved; for national independence is an advantage so great that no +price can be named that is too great to give in payment. It is the +same with a country as with a man. Independent he must be, or he +ceases to be a man. Burns advises his young friend to "gather gear" in +every honourable way, and what for? + + Not for to hoard it in a dyke, + Not for a train attendant; + But for the glorious privilege + Of being independent. + +And that which is the supreme dignity of manhood is even more +essential in the case of a nation. + +What do we mean when we speak of the independence of the country? We +mean something beyond price, something that is the indispensable +condition of true manhood in any country, something without which a +country is poor in the present and a butt for the world's scorn in the +future. There are men, or things that look like men, who say that as +long as we put money in our purse, nothing else counts. How that class +of men must have laughed some centuries ago at a fool called William +Wallace! How clearly they could point out that it was much better to +be part of the richer country to the south. When they heard of the +fate of the patriot, did they not serenely say: "We told you so?" Did +they not in their hearts envy the false Menteath the price he got for +betraying the man who acted as true sentiment bade? But, give it time, +and the judgment of the world is just. Even the blind can now see +whether the patriot or the so-called "practical man" did most for +Scotland's advantage. Now + + At Wallace' name, what Scottish blood + But boils up in a springtime flood! + Oft have our fearless fathers strode + By Wallace' side, + Still pressing onward, red-wat shod, + Or glorious died. + +What has his memory been worth to Scotland! Would you estimate it in +millions? Superior persons will tell me that Wallace is an +anachronism. In form, yes; in spirit, never. It may be said that in +the end Scotland did unite with England. Yes, but first, what a curse +the union would have been if unaccompanied, as in the case of Ireland, +with national self-respect! And, secondly, Canada is ready for union +with the States any day on the same terms as those which Scotland got: +(1) That the States accept our Queen or King as their head. (2) That +we keep our own civil and criminal law and parliamentary constitution, +as Scotland did. (3) That the whole Empire be included in the +arrangement, as the whole of Scotland was in the union. Surely the men +who are never tired of citing the case of Scotland and England as +parallel to ours must admit that this is fair. + +But, here comes a question that must be faced. Is it worth while +preserving the independence, the unity, and dignity of Canada? There +are men who, for one reason or another, doubt whether it is. They have +lost faith in the country, or rather they never had any faith to lose. +It is this absence of faith that is at the bottom of all their +arguments and all their unrest. Now, I do not wonder that there should +be men who do not share our faith. Men who were brought up in England, +and who have seen and tasted the best of it; who are proud of that +"dear, dear land", as Shakespeare called it, proud of its history, its +roll of saints, statesmen, heroes; of its cathedrals, colleges, +castles; of its present might as well as its ancient renown; and who +have then come to live in Canada,--well, they naturally look with +amused contempt at our raw, rough ways, our homespun legislators and +log colleges, combined with lofty ambitions expressed sometimes--it +must be admitted--in bunkum. I do not wonder, either, that men who +have been citizens of the United States, who exult in its vast +population, its vast wealth, and its boundless energy, should think it +madness on our part that we are not knocking untiringly at their door +for admission, and that the only explanation of our attitude that they +can give is that we are "swelled heads", or "the rank and file of +jingoism." But, after all, they must know that this question is not to +be settled by them. It must be settled by genuine Canadians. We, like +Cartier, are Canadians _avant tout_. Most of us have been born in the +land, have buried our fathers and mothers, and some of us our +children, too, in the natal soil, and above the sacred dust we have +pledged ourselves to be true to their memories and to the country they +loved, and to those principles of honour that are eternal! God +helping, we will do so, whether strangers help or hinder! We do not +think so meanly of our country that we are willing to sell it for a +mess of pottage. I know Canada well, from ocean to ocean; from the +rich sea pastures on the Atlantic all the way across to Vancouver and +Victoria. Every province and every territory of it, I know well. I +know the people, too, a people thoroughly democratic and honest to the +core. I would now plainly warn those who think that there is no such +thing as Canadian sentiment that they are completely mistaken. They +had better not reckon without their host. The silent vote is that +which tells, and though it will not talk, it will vote solid all the +time for those who represent national sentiment when the national life +is threatened. I am not a party man. In my day, I have voted about +evenly on both sides, for when I do vote, it is after consideration of +the actual issues involved at the time. Both sides therefore rightly +consider me unreliable, but, perhaps, both will listen when I point +out that the independent vote is increasing, and that it is the only +vote worth cultivating. The true Grit or Tory will vote with his +party, right or wrong. No time, therefore, need be given to him. Let +the wise candidate win the men who believe that the country is higher +than party, and there is, I think, only one thing that these men will +not forgive--lack of faith in the country. They have no doubt that it +is worth while to preserve the unity, dignity, and independence of +Canada. + +We are quite sure of this. Are we as sure that it is our duty to pay +the price? The United States are paying three or four times our whole +revenue in pensions to those who fought to keep the country united. +They do not grudge this enormous price. They have besides a +respectable army, and a fleet that will soon be formidable. What means +do we find it necessary to use? In any trouble we simply call on the +Mother Country. The present system is cheap. No! it is dear and nasty, +and cannot last. + +What should we do? First, let us remember what Britain has dared for +us within the last two or three years. Britain would fight the rest of +the world rather than the United States,--not because the Republic +could hurt her seriously, not because her trade with it is five times +as much as with us, but because she is proud of her own eldest child +and knows that a war between mother and daughter would be a blow +struck at the world's heart. Yet, for us she spoke the decisive word +from which there was no drawing back. For us, once and again, because +we were in the right, she dared a risk which she hated with her whole +soul. + +Let us show that we appreciate her attitude. Let us, at any rate, do +what Australia has done--enter into a treaty, according to which we +shall pay so much a year for a certain number of ships, to be on our +own coasts in peace, and in war at the disposal of the Empire. That +would be tantamount to saying: "You have shared our risks, we will +share yours; we will pay part of the insurance that is necessary to +guarantee peace; we are educating officers for the army, and we are +willing to give a much needed addition to the fleet". That would be a +first step toward the attainment of full citizenship. What would be +the next? We could ask that our voice should be heard in some +constitutional way before any war was decided on. And we would have +the right standing ground from which to urge a wise system of +preferential trade in the common interest. These three things are, in +my opinion, connected, and I have ventured to indicate the order in +which they should be taken. + +Would it pay? The experience of the world proves that nothing pays in +the long run but duty-doing. How can a country grow great men if it is +content to be in leading-strings, and to give plausible excuses to +show that that state of things is quite satisfactory? + +Only by some form of Imperial Federation can the unity of the Empire +be preserved. + +The previous advantages to which I referred concerned Canada directly. +This one may appear, to some persons, far away from us, but it is not. +In another speech I may enlarge on this advantage, but suffice it to +say now, that we cannot isolate ourselves from humanity. Canada ought +to be dearer to us than any other part of the Empire, but none the +less we must admit that the Empire is more important to the world than +any of its parts, and every true man is a citizen of the world. + +I will not speak to-night of what the Empire has done for us in the +past, of the rich inheritance into which we have entered, and of the +shame that falls on children who value lightly the honour of their +family and race. Consider only the present position of affairs. The +European nations are busy watching each other. Britain is detaching +herself from them, understanding that she is an oceanic, colonizing, +and world power, much more than a European state. The United States +and Britain are the two Powers, one in essence, cradled in freedom, +that have a great future before them. According to the last census, +the first has a population of some fifty-four millions of whites. The +census of next April will show that the other has nearly forty +millions in the home islands and ten millions in the self-governing +Colonies. The two Powers have thus about the same population of white +men, and the two are likely to grow at the same rate. + +In Britain the rate of increase will be less, but in the Colonies it +will be greater than in the States during the next half century. The +States will keep united. They have stamped out disunion. We have to +prove that we intend to keep the Empire united; but that can be done +only by giving the ten millions a gradually increasing share in common +privileges and responsibilities. Surely such a work is not beyond the +resources of statesmanship. For a long time decentralization was +needed. Now, all the signs of the times indicate the necessity to +centralize. The days of small powers are over, and modern inventions +make communication easy between east and west, as well as between +north and south. + +If this is not done, what will certainly happen? Separation, first of +one part then of another; weakness of each part and weakness all +round. Think of the impetus that this would give to every force that +makes for chaos among the three hundred millions over whom God in His +providence has placed us. The work that the British Empire has in hand +is far grander than the comparatively parochial duties with which the +States are content to deal. Its problems are wider and more inspiring; +yet, at the same time, the white race that alone, so far, has proved +itself fit for self-government, lives by itself, instead of being +commingled with a coloured race to which only nominal freedom is +allowed. Any one who has lived either in South Africa or in the +Southern States will understand what a free hand and what an +unspeakable leverage this gives us. We need no Force Bill to ensure a +free ballot in Britain, Canada, Australia, or New Zealand. Already our +sons are taking their part in introducing civilization into Africa, +under the aegis of the flag, and in preserving the _Pax Britannica_ +among the teeming millions of India and southeastern Asia, those +peoples kindred to ourselves, who for centuries before had been the +prey of successive spoilers. Think of the horizon that this opens up, +and remember that in building a state we must think not of the present +but of the future. + +In a generation all the best land on this continent will have been +taken up. But, thanks to the far-reaching wisdom of our fathers, the +greater part of the world will be open to the trade, to the +colonizing, and to the enterprise of our children. We shall not be +confined to a frozen north or to a single continent. We shall take +part in work that is of world-wide significance, and shall act out our +belief that God loves not North America only, but the whole world. +Only on conditions of the British Empire standing, can this be done. +This is the ideal that we should set before us, and remember that no +people has ever been a great or permanent factor in the world that was +without high ideals. I know that this advantage to which I am +referring is not one that can be calculated in dollars, any more than +the work of a Wallace or the poems of a Shakespeare, the life of +Sydney or the death of Gordon; but it is an advantage none the less +for which many of us are content to struggle and, if need be, to +suffer. What are we in this world for? Surely for something higher +than to still the daily craving of appetite. Surely for something +higher than to accumulate money, though it should be to the extent of +adding million to million. Surely we are in the world for something +better! Yes, we are here to think great thoughts, to do great things, +to promote great ideals. This can be done only through faithfulness to +the best spirit of our fathers. Society is an organism, and must +preserve its continuity. It must work, too, through instruments; and +the most potent, keenest, best-tried instrument on earth for +preserving peace, order, liberty and righteousness, is the Empire of +which we are citizens. Shall we throw away that citizenship, or shall +we maintain and strengthen that Empire? + + --_George Monro Grant (By permission)_ + + + Apply the principles of Emphasis, Inflection, Grouping, + and Perspective in reading this address. Give specific + illustrations of each. + + * * * * * + + +COLLECT FOR DOMINION DAY + + + Father of nations! Help of the feeble hand! + Strength of the strong! to whom the nations kneel! + Stay and destroyer, at whose just command + Earth's kingdoms tremble and her empires reel! + Who dost the low uplift, the small make great, 5 + And dost abase the ignorantly proud, + Of our scant people mould a mighty state, + To the strong, stern,--to Thee in meekness bowed! + Father of unity, make this people one! + Weld, interfuse them in the patriot's flame,-- 10 + Whose forging on Thine anvil was begun + In blood late shed to purge the common shame; + That so our hearts, the fever of faction done, + Banish old feud in our young nation's name. + + --_Charles G. D. Roberts_ (_By arrangement_) + + * * * * * + + +ENGLAND + + + This royal throne of kings, this scepter'd isle, + This earth of majesty, this seat of Mars, + This other Eden, demi-paradise, + This fortress, built by Nature for herself + Against infection and the hand of war, + This happy breed of men, this little world, + This precious stone set in the silver sea. + + * * * * * + + + + +APPENDIX + + +A + +EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION + + +1. ā as in ate, fate, cave, made, glade, pale. + + â as in air, fair, chair, hair, lair, pair, care, dare, bare, + share, bear, fairy, compare, parent, prayer, garish, there, heir. + + ă as in at, that, and, damp, glad, bade, castle, baron, barrel. + + ä as in far, arm, hark, charm, march, bard, calm, palm, psalm, + balm, half, alms, father, dark, wrath, path, marsh, laugh. + + ȧ as in ask, grasp, fast, last, pass, past, branch, chance, dance, + mast, vast, gasp, quaff, craft, staff, chant, grass, mass. + + ạ as in all, talk, squall, dawn, warp, hawk, laurel, haughty, halt. + + a obscure, in final medial syllables, unaccented, and closed by n, + l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan, + vacancy, mortal, loyal, valiant, guidance, husband, breakfast, + gallant, ballad, etc. + + ē as in me, seem, reap, weed, lean, evil, redeem. + + ĕ as in met, end, spell, debt, text, jest, when, merry, America, + ceremony. + + ẽ (coalescent) as in her, fern, earth, mercy, verse, stern, earl, + pearl, term, verge, prefer, serge, earn, early. + + ī as in time, tide, mile, wine, high, size. + + ĭ as in pin, grim, king, gift, this, grip. + + ĩ (coalescent) as in bird, girl, fir, stir, girdle, circle, virgin, + first. + + ō as in note, old, spoke, pole, wrote, joke. + + 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. + + ô as in corn, lord, stork, orb, form, forlorn, morn, short, adorn. + + o as in word, work, worm, worry. + + ȯ as in love, done, some, cover, brother, another, month, company, + Monday, front, covet, wonder, sponge, smother. + + ö as in do, move, who, whose, lose, prove, too, bosom. + + 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. + + ŭ as in us, up, but, drum, dusk, trust. + + ṳ as in rude, brute, fruit, sure, true, construe, recruit. + + ụ as in full, pull, put, push, cushion, bushel, pulpit, bullet. + + û as in hurt, burr, cur, fur, furl, burst, purr, recur, curfew, + furlong, surge, urn. + +Note that ä in far and ȧ in ask are called long Italian +_a_ and short Italian _a_ respectively. The quality of +the sound is the same in each, but they differ in +quantity, the latter being shorter. + +The following vowels have the same sound: + + ẽ (coalescent) and ĩ (coalescent); + + ö as in do, ṳ as in rude, and ōō as in food; + + o as in word and û as in hurt; + + o as in love and û as in us. + +After marking the vowels diacritically read the following passages, +paying special attention to the vowel sounds: + + + So Lord Howard passed away with five ships of war that day. + + That desperate grasp thy frame might feel + Through bars of brass and triple steel. + + The guide, abating of his pace, + Led slowly through the pass's jaws, + And asked Fitz-James by what strange cause + He sought these wilds, traversed by few + Without a pass from Roderick Dhu. + + The hand cannot clasp the whole of his alms, + The heart outstretches its eager palms. + + O listen, ladies, ladies gay! + No haughty feat of arms I tell; + Soft is the note, and sad the lay + That mourns the lovely Rosabelle. + + And when the Angel met him on his way, + And half in earnest, half in jest, would say, + Sternly, though tenderly, that he might feel + The velvet scabbard held a sword of steel, + "Art thou the King?" the passion of his woe + Burst from him in resistless overflow, + And, lifting high his forehead, he would fling + The haughty answer back, "I am, I am the King!" + + Then rest thee here till dawn of day; + Myself will guide thee on the way, + O'er stock and stone, through watch and ward, + Till past Clan-Alpine's outmost guard, + 'As far as Coilantogle's ford; + From thence thy warrant is thy sword. + + Around the keel that raced the dolphin and the shark + Only the sand-wren twitters from barren dawn till dark; + And all the long blank noon the blank sand chafes and mars + The prow once swift to follow the lure of the dancing stars. + + +2. Distinguish the sound of _ū_ in use, pure, duke, etc., + + from the sound of _oo_ in + food, hoof, mood, rood, roof, soot, aloof, + and from the sound of _oo_ in + book, good, nook, hood, rook, look, foot, crook. + +Read the following with special reference to these sounds: + + Flew flashing under the blinding blue. + + She left the web, she left the loom, + She made three paces thro' the room, + She saw the water-lily bloom, + She saw the helmet and the plume, + She look'd down to Camelot. + + Singing the bridal of sap and shoot, + The tree's slow life between root and fruit. + + ... helter-skelter through the blue + Like a crowd of frightened porpoises a shoal of sharks pursue. + + While on dreary moorlands lonely curlew pipe. + + My Lords, you have that true image of the primitive Church in + its ancient form, in its ancient ordinances, purified from + the superstitions and vices which a long succession of + ages will bring upon the best institutions. + +3. Double and triple consonant endings present difficulties of +articulation:--Robbed, bragged, divulged, mends, breathed, gossips, +casques, barracks, depths, heights, lengths, breadths, lists, aspects, +seethes, thirsteth, breathest, sheath'st, melt'st, search'st, sixths, +twelfths, tests. + +Read with special reference to the articulation of the final +consonants: + + You blocks, you stones, you worse than senseless things! + + Scattering down the snow-flakes off the curdled sky. + + With throats unslaked, with black lips baked. + + The guests are met, the feast is set + May'st hear the merry din. + + Who forgiveth all thine iniquities; who healeth all thy diseases; + Who satisfieth thy mouth with good things; so that thy youth + is renewed like the eagle's. + + Spirit that breathest through my lattice, + Thou that cool'st the twilight of the sultry day. + + He groped toward the door, but it was locked, + He cried aloud, and listened, and then knocked, + And uttered awful threatenings and complaints, + And imprecations upon men and saints. + + It glared on Roslin's castled rock, + It ruddied all the copse-wood glen; + 'Twas seen from Dryden's groves of oak, + And seen from caverned Hawthornden. + + Skilful artists thou employest, + And in chastest beauty joyest, + Forms most delicate, pure, and clear, + Frost-caught star-beams, fallen sheer + In the night, and woven here + In jewel-fretted tapestries. + +4. Sound distinctly the ending _ing_ in: Languishing, blackening, +threatening, rushing, ascending, flashing, throbbing. + + Roughening their crests and scattering high their spray, + And swelling the white sail. + + Blazing with light and breathing with perfume. + + . . . . a revolting shape + Shivering and chattering sat the wretched ape. + Lakelets' lisping wavelets lapping, + Round a flock of wild ducks napping, + And the rapturous-noted wooings, + And the molten-throated cooings + Of the amorous multitudes + Flashing through the dusky woods, + When a veering wind hath blown + A glare of sudden daylight down. + + 5. Sound final _d_ in "and": + + Rest and a guide, and food and fire. + + Away from the world, and its toils and its cares. + + And the sun went down and the stars came out. + + Peace, and order, and beauty draw + Round thy symbol of light and law. + + East and west, and south and north + The messengers ride fast, + And tower, and town, and cottage, + Have heard the trumpet's blast. + + Blood and fire on the streaming decks, + And fire and blood below; + The heat of hell, and the reek of hell, + And the dead men laid a-row! + + +6. Articulate distinctly words in which the same or similar sounds +immediately succeed each other: + + Spanish ships of war at sea. + + At Flores, in the Azores, Sir Richard Grenville lay. + + Come Roderick Dhu, + And of his clan the boldest two. + + Saint Fanny, my patroness sweet I declare. + + Cast off earth's sorrows and know what I know, + + When into the glad deep woods I go. + + The silver vessels sparkle clean. + + From the sails the dew did drip. + + The sweetest songs are those that tell of saddest thought. + + Thousands of their seamen looked down from their decks and laughed. + + +7. Sound the letter _h_ in what, while, where, when, which, whether, +white, whiten, whine, whist, etc. + + +8. Avoid the sound of _u_ in: + + for, from, was, because, when, what, etc. + + for coalescent _e_ in: + her, earn, verse, mercy, verge, serge, prefer, ermine, etc. + + for _ĕ_ in: + enemy, events, poem, etc. + + for _ĭ_ in: + spirit, family, credible, visible, charity, unity, sanity, + humanity, ruin, promise, divide, divisible, dissolve, languid, + negative, similar, abominable, imitate, inimitable, + purity, native, etc. + + for _i_ (coalescent) in: + sir, bird, girl, first, virgin, etc. + + Vanity of vanities, saith the preacher; all is vanity. + + Ruin seize thee, ruthless King! + + A wind from the lands they had ruin'd. + + Who was her father? + Who was her mother? + Had she a sister? + Had she a brother? + Or was there a dearer one + Still, and a nearer one + Yet, than all other? + + Alas! for the rarity + Of Christian charity + Under the sun! + Oh! it was pitiful! + Near a whole city full + Home she had none. + +9. Avoid the sound of _ch_ for _t_ in: fortune, fortunate, future, +futurity, nature, natural, picture, feature, etc. + + King Robert's self in features, form and height. + + For this man so vile and bent of stature + Rasped harshly against his dainty nature. + + One more unfortunate + Weary of breath, + Rashly importunate + Gone to her death. + + + + +B + +PHYSICAL EXERCISES + + +(_These exercises form a course by themselves and should not be +introduced into the regular reading lesson._) + + +BREATHING.--The proper management of the breath is of the +greatest importance in speaking and reading. Inhalation and exhalation +should be gradual and natural, not spasmodic. The +reader should never allow his supply of breath to be wholly exhausted, +but should replenish it at regular intervals. Inhalation +should be through the nostrils, not the mouth. This prevents +gasping, and promotes and preserves a healthy condition of the +vocal organs. It is not necessary to keep the mouth closed in +order that the breath be inhaled through the nostrils. Inhalation +may be effected when the mouth is open by allowing the tip of +the tongue to touch the upper palate. All breathing exercises +should be deep, commencing with the abdomen, and should expand +the chest to the fullest capacity. + + +_Exercise I._ Stand erect in a well ventilated room. Inhale +slowly from the abdomen while counting five, hold the breath +while counting five, and exhale while counting five. + +Repeat this exercise, gradually increasing the count by one +until the maximum of ten or fifteen is reached. + + +_Exercise II._ Practise the preceding exercise in the open air +while walking, taking five steps while inhaling, holding the breath, +and exhaling respectively. The count may be increased as in the +preceding. + + +_Exercise III._ Stand erect, arms akimbo, fingers pressing the +abdominal muscles in front, thumbs on the dorsal muscles on each +side of the spine. Rise slowly on the toes while inhaling, hold the +breath while standing on tiptoe, and exhale while gradually resuming +the original position. In each case regulate the count as +in the preceding exercises. + + +_Exercise IV._ Stand erect, arms hanging loosely at the sides. +Inhale slowly, rising on the toes, clenching the fists with gradually +increased intensity, and raising them to the arm-pits. Expel +the breath suddenly, dropping back to the original position. + + +CHEST AND LUNGS.--Gymnastic exercises, such as develop the +chest and lungs, are of great importance, since they regulate the +breathing capacity. + +_Exercise I._ Stand erect, arms hanging loosely at the sides. +Raise the arms slowly to the vertical position over the head, making +the hands meet with palms outward, the thumb of the left +hand over the right, rising on the toes at the same time; then let +the arms fall apart slowly to their original position, while coming +down on the heels. + +_Exercise II._ Stand erect as in the preceding. Bring the +arms slowly forward until the hands meet on a level with the +mouth, bending forward slightly and rising on the toes; then +throw back the arms in a circular movement, allowing them to +fall to their original position, coming down on the heels at the +same time. + +_Exercise III._ Raise the hands above the head; bring down +the elbows to the sides; shoot out the hands in front; bring in +the elbows to the sides; shoot down the hands toward the floor; +firing up the elbows to the sides. Repeat. This exercise may +be practised with hands clenched. + +THROAT AND NECK.--Exercises of the throat and neck develop +and keep flexible the vocal cords, which are of prime importance +in producing pure tones. + +_Exercise I._ Stand erect. Look at the ceiling; allow the head +to drop backward as far as possible; then bring the head slowly +forward until the chin rests on the chest. Repeat. + +_Exercise II._ Stand erect. Twist the head slowly to the +left, without moving the shoulders, until the chin is parallel to the +left shoulder; then slowly twist the head to the right, without +moving the shoulders, until the chin is parallel to the right +shoulder. Repeat. + +_Exercise III._ Press the head to the left until the left ear +rests almost on the left shoulder, raising the right arm above the +head at the same time. Practise this exercise, pressing the head +to the right and raising the left arm. Repeat. + +MOUTH.--To produce the finest tones of the voice, three conditions +of the mouth are necessary: + +(1) The mouth must be well opened. +(2) The vocal aperture must be large. +(3) The jaws must be flexible. + +If the mouth is well opened the tones are full; if partially +closed they are muffled. The vocal aperture is the opening in the +rear of the mouth produced by the elevation of the uvula, and +the depression of the root of the tongue and the larynx. The +purity and richness of the voice depend, to a great extent, upon +the capacity of the vocal aperture. If it is of small capacity, or +contracted, the tones are impure and nasal. + +The mode of producing pure tones can be studied best before +a mirror placed so that the light falls upon the back part of the +mouth. + +_Exercise I._ Open the mouth to the fullest extent and close +rapidly. Repeat. + +_Exercise II._ Open the mouth to the fullest extent, so that +the uvula rises and almost disappears, and the root of the tongue +and larynx are depressed. The action is similar to yawning, and +to accomplish it "think a yawn", if necessary. + + + + +C + +LIST OF REFERENCE BOOKS. + + +How to Teach Reading in the Public Schools. S. H. Clark. +(Scott, Foresman & Co.) + +The Voice and Spiritual Education. Hiram Corson. (Macmillan +& Co.) + +The Aims of Literary Study. Hiram Corson. (Macmillan +& Co.) + +Practical Elocution. Fulton and Trueblood. (Ginn & Co.) + +Elementary Phonetics. A.W. Burt. (The Copp, Clark +Co., Limited.) + +Enunciation and Articulation. Ella M. Boyce. (Ginn & Co.) + +Clear Speaking and Good Reading. Arthur Burrell. (Longmans, +Green & Co.) + +Reading as a Fine Art. Ernest Legouvé. (Penn Publishing +Co., Philadelphia.) + +Lessons in Vocal Expression. S. S. Curry. (The Expression +Co., Boston.) + + + + + +End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER *** + +***** This file should be named 22795-0.txt or 22795-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/7/9/22795/ + +Produced by Suzanne Lybarger, Turgut Dincer and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/Canadian Libraries) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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