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+The Project Gutenberg EBook of The Ontario High School Reader, by A.E. Marty
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Ontario High School Reader
+
+Author: A.E. Marty
+
+Release Date: September 28, 2007 [EBook #22795]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ONTARIO HIGH SCHOOL READER ***
+
+
+
+
+Produced by Suzanne Lybarger, Turgut Dincer and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+THE ONTARIO
+
+HIGH SCHOOL READER
+
+BY
+
+A. E. MARTY, M.A.
+
+COLLEGIATE INSTITUTE, OTTAWA
+
+[Illustration]
+
+Authorized by the Minister of Education for Ontario
+For Use In
+Continuation and High Schools and Collegiate Institutes
+
+THE CANADA PUBLISHING COMPANY, LIMITED
+TORONTO
+
+Copyright, Canada, 1911, by
+
+The Canada Publishing Company, Limited.
+
+  +-------------------------------------------------+
+  | Transcriber's note: Words with bold font style  |
+  | are enclosed in equal to (=) signs.             |
+  | UTF-8 characters:                               |
+  | [~x] = x with a tilde                           |
+  | [x:] = x with two dots below (diaresis, umlaut) |
+  | [)x] = x with x with breve (u-shaped symbol)    |
+  | [=x] = x with macron (straight line)            |
+  | [.x] = x with a dot above                       |
+  | [x.] = x with a dot below                       |
+  +-------------------------------------------------+
+
+
+
+
+PREFACE
+
+
+After communication with many of the teachers who have
+been using the Principles and Practice of Oral Reading in their
+classes, the author has made a number of important additions and
+changes. In its amended form the book is published under the
+title of the "Ontario High School Reader."
+
+As the book is intended for the teaching of oral reading it
+contains an introductory chapter on the Principles of Reading, and
+selections for practice, with appended notes. An effort has also
+been made to grade the selections in the order of their difficulty.
+Accordingly, a number of selections, each illustrating in a marked
+degree only one, or at most two, of the various elements of Vocal
+Expression, have been placed at the beginning; these should, of
+course, be taught before the more complex selections are attempted.
+
+It is not intended that the pupil shall master the chapter on
+the principles before beginning to read the selections; he should
+become familiar with each topic as it is illustrated in the lesson.
+In dealing with each lesson the teacher should first ascertain the
+elements of vocal expression that it best exemplifies. He should
+then discuss these elements with the pupils, using the necessary
+paragraphs of the Introduction, and such black-board exercises as
+he may deem necessary, until he is satisfied that the pupils are
+ready to undertake the study of the selection. At the oral reading
+the pupils should be able to show their mastery of the principles
+thus taught. Toward the close of the course, they will naturally
+read connectedly the various sections of the Introduction, in order
+to obtain a comprehensive and systematic view of the principles.
+
+To secure good reading, systematic drill on the exercises in
+Vowel Sounds and in Articulation is also necessary.
+
+
+
+
+TABLE OF CONTENTS
+
+PRINCIPLES OF READING                                               1-35
+
+Importance of Oral Reading                                             1
+
+Mechanical Side of Oral Reading                                        2
+    Correct Pronunciation, Distinct Articulation.
+
+Expression                                                             3
+    Concrete Thinking, Abstract Thinking, Emotion.
+
+Elements of Vocal Expression                                           7
+    Pause, Grouping, Time, Inflection, Pitch, Force,
+    Stress, Emphasis, Shading, Perspective, Quality.
+
+
+SELECTIONS 36-305
+
+_The Banner of St. George_        Shapcott Wensley                    36
+
+Jean Valjean and the Bishop       Victor Hugo                         38
+
+_The Well of St. Keyne_           Robert Southey                      43
+
+Faith, Hope and Charity           Bible                               46
+
+_The Legend Beautiful_            Henry W. Longfellow                 47
+
+The Vicar's Family Use Art        Oliver Goldsmith                    52
+
+_The Soldier's Dream_             Thomas Campbell                     58
+
+_Van Elsen_ Frederick             George Scott                        60
+
+_Pibroch of Donuil Dhu_           Sir Walter Scott                    61
+
+_The Day is Done_                 Henry W. Longfellow                 63
+
+The Schoolmaster and the Boys     Charles Dickens                     65
+
+_The Knights' Chorus_             Alfred, Lord Tennyson               70
+
+_The Northern Star_               Unknown                             71
+
+_The Indigo Bird_                 Ethelwyn Wetherald                  72
+
+_The Pasture Field_               Ethelwyn Wetherald                  73
+
+Shipwrecked                       Robert Louis Stevenson              75
+
+_On His Blindness_                John Milton                         80
+
+Briggs in Luck                    William M. Thackeray                81
+
+_The Laughing Sally_              Charles G. D. Roberts               84
+
+The Prodigal Son                  Bible                               88
+
+_Christmas at Sea_                Robert Louis Stevenson              90
+
+_The Evening Wind_                William Cullen Bryant               93
+
+_Paradise and the Peri_           Thomas Moore                        95
+
+_The Lady of Shalott_             Alfred, Lord Tennyson              100
+
+_Home they brought her
+   Warrior dead_                  Alfred, Lord Tennyson              107
+
+The Sky                           John Ruskin                        108
+
+_The Return of the Swallows_      Edmund W. Gosse                    111
+
+_Barbara Frietchie_               John Greenleaf Whittier            113
+
+Bless the Lord, O My Soul         Bible                              116
+
+_The Eternal Goodness_            John Greenleaf Whittier            118
+
+The King of Glory                 Bible                              119
+
+The Four-Horse Race               "Ralph Connor"                     121
+
+_Mrs. Malaprop's Views_           Richard B. Sheridan                126
+
+_The Glove and the Lions_         Leigh Hunt                         131
+
+_The Fickleness of a Roman Mob_   William Shakespeare                133
+
+_Sir Peter and Lady Teazle_       Richard B. Sheridan                136
+
+_The Parting of Marmion
+   and Douglas_                   Sir Walter Scott                   140
+
+_Columbus_                        Joaquin Miller                     143
+
+From the "Apology" of Socrates    Benjamin Jowett                    145
+
+_Highland Hospitality_            Sir Walter Scott                   151
+
+_The Outlaw_                      Sir Walter Scott                   154
+
+Of Studies Francis,               Lord Bacon                         157
+
+The Influence of Athens           Thomas Babington,
+                                    Lord Macaulay                    159
+
+National Morality                 John Bright                        161
+
+_Hamlet's Advice to the Players_  William Shakespeare                164
+
+_Rosabelle_                       Sir Walter Scott                   166
+
+_The Island of the Scots_         William E. Aytoun                  168
+
+Cranford Society                  Mrs. Gaskell                       178
+
+_Sir Galahad_                     Alfred, Lord Tennyson              182
+
+_Song for Saint Cecilia's Day_    John Dryden                        186
+
+_The Day was Lingering_           Charles Heavysege                  189
+
+_On First Looking into
+   Chapman's  Homer_              John Keats                         189
+
+_Great Things Were Ne'er
+   Begotten in an Hour_           Sir Daniel Wilson                  190
+
+_A Wood Lyric_                    William Wilfred Campbell           191
+
+_To Night_                        Percy Bysshe Shelley               193
+
+The Opening Scene at the Trial    Thomas Babington, Lord
+  of Warren Hastings                Macaulay                         194
+
+Peroration of Opening Speech
+  against Edmund Burke            Warren Hastings                    201
+
+_The Song My Paddle Sings_        E. Pauline Johnson                 203
+
+_The Defence of the Bridge_       Thomas Babington, Lord
+                                    Macaulay                         206
+
+On the Death of King Edward VII   Sir Herbert Henry
+                                    Asquith                          217
+
+The Heroes of Magersfontein      _The London Daily News_             221
+
+_Funeral of Julius Cæsar_         William Shakespeare                225
+
+_The Revenge_                     Alfred, Lord Tennyson              234
+
+_Hervé Riel_                      Robert Browning                    241
+
+The Handwriting on the Wall       Bible                              248
+
+Paul's Defence before King
+   Agrippa                        Bible                              251
+
+_The Stranded Ship_               Charles G. D. Roberts              254
+
+_Sir Patrick Spens_               Old Ballad                         258
+
+_King John and the Abbot of
+  Canterbury_                     Old Ballad                         262
+
+The Key to Human Happiness        George Eliot                       266
+
+_The Vision of Sir Launfal_       James Russell Lowell               271
+
+On the Death of Gladstone         Sir Wilfrid Laurier                278
+
+_The Downfall of Wolsey_          William Shakespeare                286
+
+_The Italian in England_          Robert Browning                    290
+
+Advantages of Imperial
+   Federation                     George Monro Grant                 296
+
+_Collect for Dominion Day_        Charles G. D. Roberts              305
+
+       *       *       *       *       *
+
+APPENDIX A. Exercises in Vocalization and Articulation 306
+
+         B. Physical Exercises                                       312
+
+         C. List of Reference Books                                  314
+
+       *       *       *       *       *
+
+
+
+PRINCIPLES OF READING
+
+=Importance of Oral Reading=
+
+
+There are several reasons why every boy or girl should strive to
+become a good reader. In the first place, good oral reading is an
+accomplishment in itself. It affords a great deal of pleasure to
+others as well as to ourselves. In the second place, it improves our
+everyday speech and is also a preparation for public speaking; for the
+one who reads with distinctness and an accent of refinement is likely
+to speak in the same way, whether in private conversation or on the
+public platform. Moreover, it is only one step from reading aloud
+before the class to recitation, and another step from recitation to
+public speaking. Lastly, oral reading is the best method of bringing
+out and conveying to others and to oneself all that a piece of
+literature expresses. For example, the voice is needed to bring out
+the musical effects of poetry. The following lines will illustrate
+this point:
+
+  But the sea-caves rung, and the wild winds sung
+  The dirge of lovely Rosabelle.
+
+Here the music of the rhythm and the harmony between sound and sense
+would be almost entirely lost in silent reading.
+
+The voice, too, is often the surest and most effective means of
+conveying differences of meaning and feeling in both prose and poetry.
+The following words from _Hervé Riel_ (pp. 241-247) may be made to
+convey different meanings according to the intonation of the voice:
+
+  Burn the fleet and ruin France?
+
+This may be read to express hesitation and deliberation, or, as is
+the evident intention, shewn by the context as well as by the
+punctuation, to express Hervé Riel's surprise and indignation that
+such a thought should be entertained.
+
+
+=Mechanical Side of Oral Reading=
+
+Now in what does oral reading consist? It consists, first of all, in
+recognizing the words, pronouncing them correctly, and articulating
+them distinctly. The pupil in the First Book, who is learning to read,
+is trying to master this side of reading, which is the mechanical
+side. He cannot be too careful as to the habits of speech he forms;
+for correct position of the organs of speech and proper control of the
+breath make for correct pronunciation and distinct articulation, which
+are two of the foundation stones of good reading.
+
+By =Correct Pronunciation=, we mean the pronunciation approved by a
+standard dictionary. Elegance and refinement of speech depend largely
+on the correct pronunciation of the vowel sounds. The vowel _a_, which
+is sounded in seven different ways in the English language, presents
+the greatest difficulty. Many people recognize at most, only the sound
+of a in _at_, _ate_, _all_, _far_, and _mortal_ respectively. They
+ignore the sound as in _air_, and the shorter quantity of the Italian
+_a_ in _ask_, giving the sound of a in _ate_ to the former and of _a_
+in _at_ or _a_ in _all_ or _a_ in _far_ to the latter. Another
+difficulty is that of distinguishing the sound of _oo_ in _roof,
+food_, etc., from the sound of _oo_ in _book_ and _good_, and from the
+sound of _u_ in such words as _pure_ and _duke_.
+
+Pronunciation, when perfectly pure, should be free from what we call
+provincialisms; that is, from any peculiarity of tone, accent, or
+vowel sound, which would mark the speaker as coming from any
+particular locality. If our pronunciation is perfectly pure, it does
+not indicate, in the slightest degree, the part of the country in
+which we have lived.
+
+=Distinct articulation= requires that each syllable should receive its
+full value, and that the end of a word should be enunciated as
+distinctly as the beginning. It depends largely on the way in which we
+utter the consonants, just as correct pronunciation depends on the
+enunciation of the vowels. Final consonants are easily slurred,
+especially in the case of words ending in two or more consonants,
+which present special difficulties of articulation. Such words are
+_mends_, _seethes_, _thirsteth_, _breathed_, etc. Sometimes, too, the
+careless reader fails to articulate two consonants separately when the
+first word ends with the consonant or consonant sound with which the
+second begins; for example, _Sir Richard Grenville lay_, _Spanish
+ships_; or when the first word ends with a consonant and the second
+begins with a vowel, as in _eats apples_, _not at all_, _an ox_, etc.
+On the other hand, too evident an effort to secure the proper
+enunciation of the sound elements should be avoided, since a stilted
+mode of utterance is thus produced.
+
+Exercises for drill in the vowel sounds and in articulation are
+provided in Appendix A.
+
+
+=Expression=
+
+Oral reading, however, even in its earliest stages, consists in more
+than recognizing words, pronouncing them correctly, and articulating
+them distinctly. It includes thinking thoughts, seeing mental
+pictures, (which is only another form of thinking) and feeling varied
+emotions--all while the mechanical act of reading is going on. To
+illustrate, let us take a line from _The Island of the Scots_:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+If we wish to read this line well, what must we do besides pronouncing
+the words correctly and articulating them distinctly? We must think
+about the meaning of what we read. This includes two kinds of
+thinking. In the example we first think the picture presented by the
+words; that is, we make a mental image of the little band of Scots,
+hand in hand, trying to ford the swiftly flowing waters of the swollen
+river. This is called concrete thinking. At the same time we form some
+judgment based on the picture. We think of the great determination and
+courage these men showed in struggling forward in spite of the danger.
+This is called =abstract thinking=. But, as we have said, a reader
+does more than think in these two ways--he feels; and feeling, or
+=emotion=, comes of itself, if the reader thinks in the two ways
+described, for emotion is the result of thinking. Especially is it the
+result of concrete thinking; for what we see, even if only with the
+mind's eye, stirs our emotions more than that of which we think in the
+abstract.
+
+While reading the line just quoted, there are three emotions which
+spring from the thinking. As we see these men struggling against the
+strong current we have an emotion of fear for them; then as we think
+of their determination and courage in the face of such great danger,
+an emotion of determination comes to us, for we identify ourselves
+with their fortunes; and lastly we are filled with admiration for
+their heroism. Thus we experience the three emotions of fear,
+determination, and admiration, while performing the mechanical act of
+reading the words. These emotions, together with the two kinds of
+thinking mentioned, affect the voice and the manner of reading, and
+determine what we call =expression=. If the words were simply repeated
+mechanically there would be no expression. Since expression involves
+the employment of so many different powers at one time, a mastery of
+the art of expression is much harder to acquire, than a mastery of
+merely the mechanical side of reading.
+
+Accordingly, good vocal expression springs primarily from something
+within ourselves--that is, from our mental and emotional state. It
+cannot be acquired by mechanical imitation, whether of the reading of
+another, or of the movements, sounds, and gestures indicated in the
+subject matter of what we read. Nevertheless it is very stimulating
+to hear a selection well read, not because a model is thus supplied
+for our imitation, but because we get a grasp of the selection as a
+whole, and because the voice, which possesses great power in stirring
+the imagination and the feelings, thus prepares within us the mental
+and emotional state necessary for the correct expression.
+
+In the same way, imitation of the movements, sounds, and gestures,
+suggested by the subject matter may be a stimulus to thought and
+feeling when preparing a selection, since what we have actually
+reproduced is more real to us than what we have only imagined. After
+such preparation, imitation, if it enters into the reading at all,
+will be spontaneous, and not intentional and forced. In reading _The
+Charge of the Light Brigade_ or _The Ride from Ghent to Aix_, we do
+not designedly hurry along to imitate rapidity of movement; but,
+rather, the imagination having been kindled by the picture, our pulse
+is quickened, and the voice moves rapidly in sympathy with the
+feelings aroused.
+
+In the following extract (p. 216) the atmosphere is one of joy. The
+reader is moved through sympathy with Horatius, and his voice
+indicates the joy of the Romans, but he does not attempt to imitate
+vocally, or by gesture, the "shouts," "clapping," and "weeping":
+
+  Now round him throng the Fathers
+  To press his gory hands;
+  And now, with shouts and clapping,
+  And noise of weeping loud,
+  He enters through the River-Gate,
+  Borne by the joyous crowd.
+
+Sometimes, as already stated, we imitate spontaneously:
+
+  Back darted Spurius Lartius;
+  Herminius darted back:
+  And, as they passed, beneath their feet
+  They felt the timbers crack.
+
+Here we imitate spontaneously the movement expressive of sudden fear.
+Our action is prompted by our own fears for their safety.
+
+Sometimes the feeling is still more complex. In reading the following
+we spontaneously reproduce Sextus' alternate hate and fear which,
+moreover, we tinge with our own contempt:
+
+  Thrice looked he at the city;
+  Thrice looked he at the dead;
+  And thrice came on in fury,
+  And thrice turned back in dread:
+  And, white with fear and hatred,
+  Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+  The bravest Tuscans lay.
+
+In reading the little poem from _The Princess_, (page 107) note how we
+are influenced by the tense emotion of the attendants who speak. We do
+not try to imitate them; but having made the scene stand out before
+us, we speak as we in imagination hear them, in an aspirated tone of
+voice:
+
+  She must weep or she will die.
+
+In the last line it would savour of melodrama to try to impersonate
+the lady as she says:
+
+  Sweet my child, I live for thee.
+
+The important point is to show intelligent sympathy with her speech,
+not to imitate her manner of uttering it.
+
+On the other hand we must not make the mistake of supposing that if we
+get the thought and the emotion, the true vocal expression will
+follow. One who has a fine appreciation of a piece of literature may,
+notwithstanding, read it very indifferently. Even in conversation
+where we are interpreting vocally our own thoughts and feelings, we
+sometimes misplace emphasis or employ the wrong inflection. How much
+more likely we are to fall into such errors when we attempt to
+interpret vocally from a book the thoughts of another.
+
+
+=Elements Of Vocal Expression=
+
+In order to criticise ourselves or understand intelligent criticism,
+we must have a knowledge of the laws that govern speech--that is, we
+must know what properties of tone or what acts of the voice correspond
+to certain mental and emotional states. For example, the amount and
+character of thinking done while we read determines the rate of
+utterance; the purpose or motive of the thought and its completeness
+or incompleteness are indicated by an upward or downward slide of the
+voice; the nervous tension expresses itself in a certain key; the
+physical and mental energy, in a certain power or volume of the voice;
+and the character of the emotion is reflected in the quality. These
+principles of vocal expression are known technically as the =elements=
+of =time=, =inflection=, =pitch=, =force=, and =quality=. Closely
+connected with these elements are =pause=, =grouping=, =stress=,
+=emphasis=, =shading=, and =perspective=.
+
+=Pause.= It must be quite clear that when we are reading silently, for
+the purpose of getting the thought for ourselves, our minds are at
+work as has been described. We shall now examine how this work done by
+the mind affects the voice and produces what we call good expression
+when we are reading aloud for the purpose of conveying thought to
+others. As an illustration we shall take an example from _The Glove
+and the Lions_:
+
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make his bride.
+
+In these lines there are certain words or phrases which stand out
+prominently, since they call up mental pictures, namely: "nobles,"
+"benches round," "Count de Lorge," and "one." In order to give time
+to make these mental pictures, we naturally pause after each one. At
+the end of the first line we combine the details, making a larger
+mental image, with the result that we make a long pause after "side."
+In reading the second line, the eye and the mind run ahead of the
+voice, and the reader, wishing to impress the listener with the new
+and important idea "Count de Lorge," pauses before it as well as after
+it. In the same way he pauses before the phrase, "he hoped to make his
+bride," to prepare the mind of the listener to receive the impression.
+Thus we see that, if the mind is working, a pause occurs after a word
+while we are making a mental image or trying to realize the idea more
+fully, and also often before we express an important idea, in order to
+prepare the mind of the listener for what is to come.
+
+A very useful exercise in the study of pause is to image the pictures
+in selections such as the following:
+
+  Come from deep glen (picture) and
+    From mountain so rocky; (picture)
+  The war pipe and pennon (picture)
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one; (picture)
+  Come every steel blade, (picture) and
+    Strong hand that bears one. (picture)
+
+  Leave untended the herd, (picture)
+    The flock without shelter; (picture)
+  Leave the corpse uninterred, (picture)
+    The bride at the altar; (picture)
+  Leave the deer, (picture) leave the steer, (picture)
+    Leave nets and barges: (picture)
+  Come with your fighting gear,
+    Broadswords and targes, (picture)
+
+Then, too, in passing from one idea or thought to another, the mind
+requires time to make the transition:
+
+  Stout Lartius hurled down Aunus
+    Into the stream beneath:
+  Herminius struck at Seius,
+    And clove him to the teeth:
+  At Picus brave Horatius
+    Darted one fiery thrust;
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+Here the mind passes in succession from the action of Lartius to that
+of Herminius and that of Horatius. A long pause is required after
+"beneath," "teeth," and "dust," with a shorter pause after "Seius" and
+after "thrust." Further, if the thoughts concern actions far apart,
+more time is required to make the transition, and hence a longer
+pause:
+
+  All day long that free flag toss'd
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And through the hill-gaps, sunset light
+  Shone over it with a warm good-night.
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+Note the transition in thought from the day on which these stirring
+events are supposed to have taken place to the present time. This is
+indicated by a long pause after "warm good-night."
+
+Sometimes the mind requires time to fill in ideas suggested but not
+expressed:
+
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon look'd down and saw not one.
+
+Here, the tearing down of the flags between the morning and noon, is
+suggested to the mind; hence a long pause after "wind."
+
+Where an ellipsis occurs and the meaning is not obvious, there is a
+pause to give time to realize the logical connection:
+
+  I'd rather rove with Edmund there
+  Than reign our English queen.
+
+  Here's the English can and will!
+
+Note the pauses after "reign," and "English" (second example).
+
+In such examples as the following where the meaning is obvious, the
+pauses after "them," "one," "weary," and "wounded," make prominent the
+important idea following:
+
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride.
+
+  The weary to sleep and the wounded to die.
+
+When preparing to read a selection, it is of great importance to make
+the leading thoughts stand out clearly in the mind so that we may be
+able to present them one by one. The poem _Barbara Frietchie_ (p. 113)
+could be divided into paragraphs with some such titles as the
+following: (1) the town of Frederick and its surroundings, (2) the
+approach of the army, (3) the tearing down of the flags, (4) the
+raising of Barbara Frietchie's flag, (5) Stonewall Jackson and his
+men, and so on. Each of the paragraphs is a complete section of the
+poem, and requires a well-marked pause before passing on to the next
+one.
+
+=Grouping.= In the extract from _The Glove and the Lions_, used above
+to illustrate pause, the mental pictures and important ideas are
+suggested in nearly every ease by a single word. Ideas are, however,
+suggested as often by groups of words as by single words. These groups
+are treated as single words, and may take pauses before or after them
+as the case may be. The reader, who is thinking as he reads, will
+group together words that express one idea, or symbolize one picture,
+presenting these ideas and pictures to himself and to the listener one
+by one, and separating by a pause, of greater or less length, those
+not closely connected.
+
+  A slouched leather cap|| half hid his face| bronzed
+  by the sun and wind| and dripping with sweat.|| He
+  wore a cravat twisted like a rope|| coarse blue
+  trousers| worn and shabby| white on one knee| and
+  with holes in the other;|| an old ragged gray blouse|
+  patched on one side with a piece of green cloth|
+  sewed with twine;|| upon his back| was a well-filled
+  knapsack,|| in his hand| he carried an enormous
+  knotted stick;|| his stockingless feet| were in hobnailed
+  shoes;|| his hair was cropped|| and his beard
+  long.
+
+Here the double vertical lines mark off groups of words which express
+one idea or symbolize one picture, and which are therefore each
+separated from the other by a well-marked pause. The single vertical
+lines indicate a shorter pause between the subdivisions of each group.
+The phrase "an old ragged gray blouse patched on one side with a piece
+of green cloth sewed with twine" presents one picture by itself, and
+is separated from the context by a long pause, but each detail in this
+picture is presented in turn to the mind's eye, hence the shorter
+pauses after "blouse," "cloth," and "twine."
+
+The reader should be careful not to allow pause and grouping to
+produce a jerky effect, thus interfering with the rhythm. This applies
+especially to poetry, which demands, in order to preserve the rhythm,
+that the caesural pause should not be slighted, and that there should
+be a more or less marked pause at the end of each line:
+
+  And they had trod the Pass once more, and stoop'd on either side
+  To pluck the heather from the spot where he had dropped and died.
+
+In the second line, the caesural pause occurs after "spot," but the
+phrase "from the spot where he had dropped and died" expresses one
+idea and must be given as a whole. The rhythm and the grouping appear
+to be at variance; but the difficulty is easily overcome by making the
+caesural pause shorter than the pause after "heather" which introduces
+the group, and at the same time, by not allowing the voice to fall on
+the word "spot."
+
+The following affords another instance where the grouping appears to
+interfere with the rhythm:
+
+  If the husband of this gifted well
+  Shall drink before his wife,
+  A happy man thenceforth is he,
+  For he shall be master for life.
+
+"Of this gifted well" is evidently not connected in thought with
+"husband." It must be separated from "husband" by a pause and attached
+to "shall drink" at the beginning of the next line. To do this, it is
+not, however, necessary to omit the pause at the end of the line; for
+this would mar the effect of the rhythm. The difficulty is again
+overcome by making the pause at the end of the line shorter than the
+pauses which mark the grouping, and by not allowing the voice to fall
+on "well."
+
+=Time= is the rate at which we read. It is fast or slow according to
+the number and the length of the pauses between words and phrases, and
+also according to the length of time the reader dwells on the words
+themselves. There is perhaps no more frequent criticism made on
+reading than that it is too fast. What does this mean? It means that
+the reader is not doing enough thinking as he repeats the words.
+Consequently, he does not dwell on words that are full of meaning, nor
+pause before and after words and phrases to make the mental picture
+and to grasp the thought more fully. Moreover, for the benefit of the
+listener, the reading should be slower than is required by the reader
+for himself. The reader, with his eye on the page, can allow his eye
+and mind to run ahead of his voice, and can thus realize the thought
+in less time than the listener. The following line calls for a
+comparatively small amount of thinking:
+
+  High flew the spray above their heads, yet onward still they bore.
+
+Here, there is little except what is on the surface, and the thoughts
+suggested by the words are of the kind to make the mind think rapidly.
+Hence the line is read in faster time than the average rate. Reading
+may, accordingly, be fast from one or both of two causes. First, when
+there is no background of thought for the mind to dwell upon, and
+second when the nature of the thoughts themselves, such as the
+narration of the rapid succession of events, impels to quick mental
+action. The following lines from _Pibroch of Donuil Dhu_ (p. 61) will
+serve as an illustration:
+
+  Faster come, faster come,
+    Faster and faster,
+  Chief, vassal, page and groom,
+    Tenant and master.
+  Fast they come, fast they come;
+    See how they gather! etc.
+
+So, too, reading may be slow from the exact opposite of these two
+reasons. First, when there is a great back-ground of thought suggested
+by the words, and second, when the reflective and meditative nature of
+the thought leads to slow action on the part of the mind. In some
+selections both of these conditions are present; in others only one of
+them. In _The Day is Done_ (p. 63) there is little thought below the
+surface; but the reading is slow because the quiet, meditative nature
+of the thought tends to slow mental action:
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+Both conditions, however, exist in the lines from _Barbara Frietchie_
+which describe the effect produced on Stonewall Jackson by Barbara
+Frietchie's heroic action and daring speech:
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came.
+
+A great many thoughts are suggested by these two lines. The heart of
+the gallant Southerner is touched at the sight of this weak, decrepit
+old woman with the courage and boldness of youth, ready to die for her
+principles. His stern features relax and a look of sadness passes over
+his face. The taunting words "spare your country's flag" have struck
+home. The tragic side of civil war is forced upon him--father fighting
+against son, and brother against brother, the sons of freedom firing
+at their own star-spangled banner. The sorrow and the shame of it all
+rise before him, and the crimson flush mounts to his brow. With this
+undercurrent of thought in the mind, it is impossible to read rapidly.
+Besides, the reflective nature of the thoughts themselves tends to
+make one repeat the words slowly.
+
+Sometimes, again, reading is faster than the moderate rate because of
+the unimportance of the events or facts:
+
+  He spoke of the grass, the flowers and the trees,
+  Of the singing birds and the humming bees;
+  Then talked of the haying, and wondered whether
+  The cloud in the west would bring foul weather.
+
+Note the lightness with which the unimportant details of conversation
+are skimmed over.
+
+
+=Inflection.= If we listen to the speech of the people around us, we
+can easily detect an upward slide of the voice on some words, a
+downward slide on others, and on others again a combination of the
+two. This slide of the voice on words--generally on the accented
+syllable of an emphatic word--is called =inflection=, and the various
+inflections are known as _rising_ (/), _falling_ (\), _rising
+circumflex_ (\/), and _falling_ circumflex (/\).
+
+Each inflection has a definite and fixed meaning recognized by every
+one, and it is because of the laws of inflection that we can tell what
+meaning a speaker intends to convey when he uses certain words; for
+often the same words may carry two or three different meanings
+according to the inflection. The simple word "Yes," with an abrupt
+downward slide, expresses decided affirmation. When spoken with an
+upward slide, it expresses interrogation and is equivalent to "Is that
+really so?" When it has a combination of the downward and upward slide
+or a rising circumflex inflection, the meaning is no longer simple but
+complex. There is an assertion combined with doubt. It is equivalent
+to saying: "I think so but I am not really sure." In such a sentence
+as: "Do not say 'yes,'" where the idea "but say 'no,'" is merely
+implied, but not formally expressed, the word "yes" has a combination
+of the upward and downward slide or a falling circumflex inflection.
+
+If we take an idea for its own sake, if it is independent and complete
+in itself, the voice has the downward slide or falling inflection on
+the words which stand for the central idea:
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel.
+
+Each statement is complete in itself and has the falling inflection.
+
+Sometimes there is a slight downward slide before the statement is
+completed, because the mind feels that the ideas already expressed
+are of sufficient force to give them the value of completeness:
+
+  My strength is as the strength of tèn,
+    Because my heart is pure.
+
+  And the sick men down in the hold were most of them stark and còld,
+  And the pikes were all broken or bènt, and the powder was all of it
+    spènt;
+  And the masts and the rigging were lying over the side.
+
+Note the momentary completeness on "ten," "cold," "bent," and "spent,"
+requiring the falling inflection.
+
+If on the other hand an idea is incomplete, either pointing forward to
+some other idea or being subordinate, the voice has the upward slide
+or rising inflection. The rising inflection, like the falling, may be
+long or short, more or less abrupt, according to the importance of the
+thought:
+
+  Shé, with all a monarch's príde,
+  Felt them in her bosom glow.
+
+"She" points forward to the predicate "felt" and because of the
+importance of the idea it takes a long rising inflection; "with all a
+monarch's pride" being subordinate and incomplete also requires the
+voice to be kept up, but takes a shorter rising inflection.
+
+It is of the greatest importance to know the exact purpose of the
+thought, so that the voice may, of itself, give the corresponding
+inflection:
+
+  And you may gather garlánds thére
+  Would grace a summer quèen.
+
+The sense is evidently not complete in the first line, the intention
+being to emphasize the beauty of the garlands to be gathered, and not
+merely to state that they may be gathered there. When the reader
+understands the exact meaning he will convey it by keeping the rising
+inflection on "garlands."
+
+Similar to the foregoing is the following:
+
+  There is not a wífe in the wést cóuntry
+  But has heard of the Wèll of St. Kèyne.
+
+The sense is not complete until we read the second line. The rising
+inflection on "country" indicates this and connects the first line
+with the second, bringing out the meaning, that every wife in the west
+country has heard of the Well of St. Keyne.
+
+Sometimes we have a series of rising inflections, all pointing forward
+to the leading statement which is to follow and which is necessary to
+complete the sense, for example:
+
+  Of man's first disobédience and the frúit
+  Of that forbidden trée, whose mortal táste
+  Brought déath into the wórld, and all our wóe,
+  With loss of Éden, till one greater mán
+  Restóre us, and regáin the blissful séat,
+  Sing, heàvenly Mùse.
+
+Incompleteness may be suggested by a negative statement or its
+equivalent:
+
+  Nót from the grand old másters,
+    Nót from the bárds sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.
+
+  I do not know what I was pláying,
+    Or what I was dréaming thén,
+  But I struck one chord of music
+    Like the sound of a great Amen.
+
+Note the rising inflection on these negative clauses.
+
+On the same principle the rising inflection is used on the negative
+statements of persuasive argument as in the _Apology of Socrates_ (p.
+145).
+
+  But I thought that I ought not to do anything
+  common or mean, in the hour of danger: nor do I
+  now repent of the manner of my defence.
+
+  For neither in war nor yet at law ought any man
+  to use every way of escaping death.
+
+  Not so; the deficiency which led to my conviction
+  was not of words--certainly not.
+
+Doubt and hesitation also imply incompleteness:
+
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wondrous fine;
+  I'll drop my glove to prove his love; great glory will be mine!
+
+Note the rising inflection on the first two lines where the lady is
+still in doubt as to what shall be the test of De Lorge's love, and
+the falling inflection on the last one when she has reached a
+decision.
+
+Pleading and entreaty also convey a sense of incompleteness and take
+the rising inflection:
+
+  Good friends, sweet friends, let me not stir you up
+  To such a sudden flood of mutiny.
+
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+
+A direct interrogation, that is, one that can be answered by "Yes" or
+"No", implies incompleteness in the mind of the questioner and
+requires a decided rising inflection:
+
+  Is your name Shýlock?
+
+  May you stéad me? Will you pléasure me? Shall I knów your ánswer?
+
+Questions that require an explanatory answer and cannot be answered by
+"Yes" or "No," do not convey an idea of incompleteness, being merely
+equivalent to the statement of a desire for certain information.
+Consequently they take the falling inflection:
+
+  _Flav._ Speàk, whàt tràde art thòu?
+  _1st Cit._ Why, sir, a carpenter.
+  _Mar._ Where is thy leather àpron, and thy rùle?
+  What dost thou with thy best appàrel òn?--
+  You, sir, whàt tràde are yoù?
+
+The purpose or motive of a question must be considered. We must know
+whether the question is asked for information, or whether its purpose
+is to give information; that is, whether it is only another way of
+making an assertion--what is sometimes called a question of appeal.
+When Shylock asks Portia: "Shall I not have barely my principal?" he
+does so with the direct purpose of learning his sentence. His question
+can be answered by "Yes" or "No" and the rising inflection is used.
+But when he asks: "On what compulsion must I?" he means simply to give
+the information that there is no power on earth to compel him. This is
+a complete thought, hence the falling inflection. Other examples are:
+
+  Have you e'er heard of gallant like young Lochinvar?
+
+  God of battles, was ever a battle like this in the world before?
+
+  What conquest brings he home?
+  What tributaries follow him to Rome,
+  To grace in captive bonds his chariot wheels?
+
+The opposite inflections on antithetical words or phrases are also due
+to this law of completeness and incompleteness. The first part of the
+antithesis usually has the rising inflection marking incompleteness,
+and the second, the falling, marking completeness.
+
+  Hís blast is heard at merry mórn,
+  And mìne at dèad of nìght.
+
+  For this thy brother was déad, and is àlive again;
+  and was lóst, and is foùnd.
+
+Similarly, in a series of words or phrases parallel in construction,
+all have the rising inflection but the last:
+
+  As Cæsar lóved me, I wéep for him; as he was
+  fortúnate, I rejóice at it; as he was válíant, I hónour
+  him; but as he was ambìtious, I slèw him! There is
+  teárs for his lóve; jóy for his fórtune; hónour for
+  his válour; and deàth for his ambìtion.
+
+  Cráfty men contémn studies; símple men admíre
+  them; and wìse men ùse them.
+
+If one part of the antithesis is a negation, it takes the rising
+inflection, whether it comes first or second. This is owing
+to the fact that, as illustrated above, a negation implies
+incompleteness. The other part then takes the falling inflection:
+
+  Fall into the hands of Gòd, not into the hands of Spáin.
+
+  I come to bùry Cæsar, not to práise him.
+
+  I said an èlder soldier, not a bétter.
+
+Often only one part of the antithesis is expressed, the contrast being
+implied. In such a case, the voice brings out the contrast by placing
+a combination of the two inflections of the regularly expressed
+antithesis on the one word which does duty for both parts: Cassius
+says: "I said an elder soldier, not a better" in reply to Brutus'
+speech--"You say you are a better soldier." The antithesis is fully
+expressed, and the voice places the falling inflection on "elder" and
+the rising inflection on "better." If Cassius had omitted the words
+"not a better," the very same meaning could have been conveyed by
+placing a combination of the rising and the falling inflection or a
+falling circumflex on the word "elder," thus--"I said an êlder
+soldier." In the next line he goes on to say "Did I say b[)e]tter?"
+Here, there is an implied contrast with "elder," which is expressed by
+a combination of the falling and the rising inflection or a rising
+circumflex. From these two examples, we can see that the law of
+completeness and incompleteness holds good with the compound or
+circumflex inflection, just as it does with the simple inflection, and
+determines whether the circumflex shall be rising or falling.
+
+A very common mistake in reading is to use the circumflex inflection
+in emphasizing a word, thus making a contrast where none is intended.
+"Ramped and roared the lions" with a falling circumflex inflection on
+"lions," instead of a simple falling inflection, suggests that the
+tigers or some other animals did not ramp and roar. For similar
+reasons, avoid the circumflex when emphasizing "hand" and "feet" in
+"put a ring on his hand and shoes on his feet."
+
+As has already been stated, it is necessary to know the motive behind
+the words. When Shylock says: "O wise and upright judge," his
+intention is evidently to bestow sincere praise. The reader, knowing
+this, instinctively gives a straight slide. Later, when Gratiano says:
+"O upright judge, O learned judge!" his intention is to taunt and hold
+up to ridicule; there is a double meaning conveyed, which finds its
+natural expression in a curved inflection.
+
+Compare the curved inflections in the cobbler's speeches in Act I.
+Scene I, of _Julius Cæsar_ (p. 133) when he is fencing with Marullus,
+with the straight inflections of his final speech when he has thrown
+aside his raillery and speaks with sincerity:
+
+    ~     ~       ~               ~
+  Truly, sir, to wear out their shoes, to get myself
+      ~    ~
+  in more work. But, indeèd, sir, we make hòliday to
+
+  see C`æsar, and to rejoìce in his triùmph.
+
+One writer has said: "Where there is simple and genuine thought, deep
+and sincere feeling, wherever the eye is single, the inflections of
+the voice are straight; a crook in the mind however is indicated by a
+crook in the voice."
+
+=Pitch= is the key of the voice. A change of pitch is a leap from one
+key to another during silence. Inflection, as we have seen, is a
+gradual change in the key while the voice is speaking. The pitch or
+key depends upon the muscular tension of the vocal chords, which act
+like the strings of a musical instrument: the greater the tension, the
+higher the key. Muscular tension implies nervous tension and this is
+dependent upon the mental state. If the mind is calm, the nervous and
+muscular tension is normal, and the speaker uses the key habitual to
+him in his ordinary speech. If the mental state is one of excitement,
+the key is higher because of greater nervous and muscular tension. If,
+on the other hand, the mental state is one of depression, the key is
+lower because of relaxed muscular tension.
+
+In _The Defence of the Bridge_ (p. 206) the Romans, seeing the danger
+of the heroes, are wrought up to a high state of nervous tension which
+finds its natural expression in the high-pitched voice:
+
+  "Come back, come back Horatius!"
+    Loud cried the Fathers all.
+  "Back, Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+Contrast with this the lower key of Horatius, who is calm and
+self-controlled:
+
+  "O Tiber! Father Tiber!
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+
+Observe the gradual rise in pitch with the increase of tension or
+excitement in the following:
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+In the following lines, where the Douglas holds communion with
+himself, the tension is low chiefly because of his great mental
+depression, and, consequently, he speaks in a low key:
+
+  Yes! all is true my fears could frame;
+  A prisoner lies the noble Graeme,
+  And fiery Roderick soon will feel
+  The vengeance of the royal steel.
+  I, only I, can ward their fate,--
+  God grant the ransom come not late.
+  The abbess hath her promise given.
+  My child shall be the bride of Heaven:--
+  Be pardoned one repining tear!
+  For he, who gave her, knows how dear,
+  How excellent! but that is by,
+  And now my business is--to die.
+
+The low pitch is also partly due to the fact that the Douglas is
+speaking to himself, and has no desire to communicate his thoughts to
+another; for the effort to communicate thought causes increased
+tension.
+
+Again, it requires greater effort to address a person who is at a
+distance than one close at hand, or to address a large audience than
+a small one. Observe the comparatively high pitch in which Antony (p.
+225) begins his oration:
+
+  Friends, Romans, countrymen, lend me your ears;
+  I come to bury Cæsar, not to praise him.
+
+If the reader wishes to give prominence to a thought, the effort put
+forth causes muscular tension, resulting in a higher pitch. On the
+other hand, a thought, which the reader regards as not of special
+importance to the listener, finds expression in lower pitch, more as
+if he were addressing himself:
+
+  Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+
+Observe the lower pitch of the subordinate clauses in the first four
+lines, and the higher pitch in the last two lines which project the
+leading thought.
+
+  "I think, boys," said the schoolmaster, when the
+  clock struck twelve, "that I shall give an extra half-holiday
+  this afternoon."
+
+Similarly, the narrative clause "said the schoolmaster" which
+interrupts the direct speech is read in lower pitch and is separated
+by a marked pause before and after.
+
+Parenthetical expressions, also for the same reason, are read in lower
+pitch.
+
+  She had not perceived--how could she until she
+  had lived longer?--the inmost truth of the old
+  monk's outpourings, that renunciation remains sorrow,
+  though a sorrow borne willingly.
+
+  He (Mr. Pickwick) would not deny that he was
+  influenced by human passions, and human feelings,
+  (cheers)--possibly by human weaknesses--(loud
+  cries of "No"); but this he would say, that if ever
+  the fire of self-importance broke out in his bosom,
+  the desire to benefit the human race in preference,
+  effectually quenched it.
+
+Passages which are collateral or co-ordinate in construction, and
+equally balanced, will find their natural vocal expression in the same
+pitch and, of course, the pitch varies as the attitude of the mind
+changes:
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+  Flapped in the morning wind: the sun
+  Of noon looked down and saw not one.
+
+The first two lines have the same pitch, because there is no
+difference in intensity of feeling or in the mental conception. There
+is, however, an entire change of thought beginning with "the sun."
+This is accompanied by a change of pitch.
+
+=Force.= Force is vocal energy; in other words, it is the power or
+volume of the voice, and is determined by the amount of physical and
+mental energy exerted by the speaker.
+
+The language of everyday conversation, when not marked by intensity of
+feeling or purpose, requires only a moderate amount of physical and
+mental energy and is expressed by _moderate force_. Intensity of
+feeling or purpose, on the other hand, is accompanied by a great
+expenditure of energy, and finds its natural outlet in _strong force_.
+In the following lines, (p. 132) the king's emphatic approval of De
+Lorge's action and his vehement condemnation of the lady's vanity find
+expression in strong force:
+
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+Compare the moderate amount of energy expended in uttering the
+narrative clauses "cried Francis," "and he rose from where he sat,"
+and "quoth he," which should be read with moderate force.
+
+More physical energy is expended in making one's self understood at a
+distance than near at hand, and in addressing a large audience than a
+small one; hence strong force is used in the following where it is
+accompanied by a loud tone of voice:
+
+  "Come back, come back Horatius!"
+  Loud cried the Fathers all.
+
+But strong force does not necessarily imply a loud tone of voice:
+
+  "Curse on him!" quoth false Sextus;
+    "Will not the villain drown?
+  But for this stay, ere close of day
+    We should have sacked the town!"
+
+Here Sextus gives vent to his concentrated hate for Horatius and
+speaks with strong force, but not in a loud tone of voice.
+
+The effort to influence the mind and action of others draws on a great
+fund of mental energy; hence commands, persuasion, and argument, all
+find their vocal expression in strong force. Hervé Riel, urging the
+captains to allow him to pilot the ships, speaks with strong force:
+
+  Sirs, they know I speak the truth! Sirs, believe me there's a way!
+  Only let me lead the line,
+
+  When the mental or physical energy is at a low ebb we
+  speak with _weak force_:
+
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+  Take me out, sink me deep in the green profound,
+  To sway with the long-weed, swing with the drowned,
+  Where the change of the soft tide makes no sound,
+  Far below the keels of the outward bound.
+
+For the same reason such poems as _The Day is Done_, (p. 63) and Part
+IV, of _The Lady of Shalott_, (p. 200) are read with gentle force.
+
+A change in force often accompanies a change in pitch. The lower pitch
+of parenthetical expressions, and narrative clauses which interrupt
+direct discourse, is accompanied by weaker force, and the higher pitch
+resulting from the efforts to make one's self heard at a distance is
+accompanied by stronger force.
+
+=Stress= is force applied to the vowel sound. When we are taken by
+surprise and give expression to it by means of the one word "Oh," we
+apply the force or volume of the voice to the beginning of the vowel
+sound. This is called _initial or radical stress_ (>). When we wish to
+give a very emphatic denial to a statement, or to insist on a refusal
+to some persistent request we say "No," gradually increasing the force
+of the voice to the last part of the vowel sound. This is called
+_final_ or _vanishing stress_ (<). Again, if our minds are uplifted
+with wonder and delight at something we have heard or seen, we exclaim
+"Oh" applying the force to the middle of the vowel sound. This swell
+of the vowel sound is called _median stress_ (<>).
+
+It has already been pointed out that force depends upon the _amount_
+of energy. The above examples show that stress or the location of
+force depends upon the _kind_ of mental energy, or the attitude of
+mind, whether it be that of abruptness, of insistence, or of uplift.
+
+All speech has a slight tendency toward initial stress, because the
+effort made by the vocal chords to articulate sound is characterized
+by abruptness. If, in addition, the mental energy of the speaker
+possesses abruptness through sudden impulse or emotion, or through
+unconscious imitation of sound or movement, the initial stress is
+very prominent:
+
+  _Where_ is thy leather apron, and thy rule?
+  _What_ dost thou with thy best apparel on?--
+  _You_, sir, _what trade_ are _you_?
+
+  _Quick_, as it fell, from the broken staff
+  Dame Barbara _snatched_ the silken scarf.
+
+  She leaned far out on the window-sill,
+  And _shook_ it forth with a royal will.
+
+  While I nodded, nearly napping, suddenly there came a tapping,
+  As of some one gently rapping, rapping at my chamber door.
+
+If the speaker desires to impress on others his own feelings or
+convictions, the final stress is the result. Such insistence is found
+in the expression of anger, scorn, indignation, and determination:
+
+  _Burn_ the fleet and _ruin_ France?
+  That were _worse_ than _fifty_ Hogues!
+  Sirs, they _know_ I speak the truth!
+  Sirs, _believe_ me, _there's a way_!
+
+In the first two lines Hervé Riel wishes to make others feel his own
+indignation at the thought of burning the fleet. In the last two, he
+tries to impress them with his conviction that there is a way out of
+the difficulty. Hence the final stress in each case.
+
+Sometimes the speaker tries to enforce his own opinion by peevishness,
+whining, or complaining, with the result that he uses the final
+stress:
+
+_Lady Teazle._ Then _why_ will you _endeavour_ to
+make yourself so _disagreeable_ to me, and _thwart_ me
+in _every little elegant expense_?
+
+_Sir Peter._ Madam, I say, had you any of these
+little elegant expenses when you married me?
+
+_Lady Teazle._ _Sir Peter!_ would you have me be
+_out of the fashion_?
+
+If the mental energy or mental attitude is one of uplift or
+exaltation, expressing itself in adoration of the Deity, or in
+admiration and love of the beautiful, or in sympathy and tenderness
+toward mankind, the median stress is used:
+
+  Bless the Lord, O my soul: and all that is within me, bless his
+    holy name.
+
+  _Roll on_, thou _deep_ and _dark_ blue ocean--_roll_!
+
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries.
+
+Determination and settled conviction in the speaker's
+mind, especially when accompanied by a marked degree of
+dignity, calmness, and self-control, cause equal stress on
+every part of the vowel sound. This is called _thorough stress_:
+
+  If every ducat in six thousand ducats
+  Were in six parts, and every part a ducat,
+  I would not draw them; I would have my bond.
+
+It is the stress of quiet strength and great reserve force:
+
+Though the water flashed around them,
+  _Not an eye was seen to quiver_;
+Though the shot flew sharp and deadly,
+  _Not a man relax'd his hold_.
+
+In a more marked degree, it is also the stress used in calling:
+
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them in
+    the Rhine!"
+
+If the speaker's attitude of mind is not straightforward and sincere,
+if he speaks with a double meaning, in irony or sarcasm, the stress is
+a combination of the radical and final, known as _compound stress_
+(><). This is analogous to the compound inflection. See page 21.
+
+  Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?
+    Here lies the road to Rome.
+
+Accordingly, the compound stress is used when the intention is to
+taunt or to ridicule:
+
+_Sir Peter._ Ay--there again--taste! Zounds!
+Madam, you had no taste when you married me!
+
+_Lady Teazle._ _That's very true_, indeed, Sir Peter!
+and after having married _you_, I should _never pretend
+to taste again_, I allow.
+
+=Emphasis=--The importance of an idea, whether this idea is expressed
+by a single word, or by a phrase or clause, is indicated by a
+variation of pitch, force, or time. This change in pitch, force, or
+time, by attracting attention to that idea, is a means of emphasis. It
+is the new idea, or the idea which is important through contrast
+either expressed or implied, which will attract the reader's attention
+and which he will make prominent in this way:
+
+  _Brutus._ You say you are a _better soldier_:
+  Let it _appear_ so; make your vaunting _true_,
+  And it shall _please me well_: for mine own part,
+  I shall be _glad_ to learn of noble men.
+
+  _Cassius._ You _wrong_ me every way; you _wrong_ me, Brutus;
+  I said, an _elder_ soldier, not a _better_:
+
+"better soldier," "appear," and "true" are central ideas; they express
+important ideas not mentioned before. When Cassius replies he at once
+throws the idea of "soldier" in the back-ground and emphasizes
+"better" by contrasting it with "elder." He also introduces the new
+idea "wrong" which he makes still more emphatic by repetition. Brutus
+also introduces the new idea "please me well" which he makes emphatic
+by repeating it in the word "glad." Other examples of words and
+phrases becoming more emphatic through repetition are:
+
+  Faster come, faster come;
+    Faster and faster,
+       *       *       *       *       *
+  Fast they come, fast they come;
+
+  "_Jump_--far--out boy into the wave,
+    JUMP, or I fire," he said,
+  "This chance alone your life can save:
+    JUMP, JUMP."
+
+In the case of a climax, the emphasis grows stronger on each member of
+the series:
+
+  "Take the helm, lead the line, save the squadron!" cried its chief.
+
+  It is enthronéd in the hearts of Kings,
+  It is an attribute to God himself.
+
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,
+  Till it smote on their hulls and their sails and their masts and
+    their flags.
+
+However, if a word is repeated, it is not necessarily emphatic each
+time:
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armèd foemen throng.
+
+In the phrase "The German heart" the chief emphasis is on "heart,"
+with a slighter emphasis on German. The emphasis is then transferred
+to "arm" and "foot" through contrast with "heart." To emphasize
+"German" again would weaken the effect.
+
+Compare the repetition, in the following, of the syllable "un," also
+of the phrase "this year":
+
+  Unwatched along Clitumnus
+    Grazes the milk-white steer;
+  Unharmed the water-fowl may dip
+    In the Volsinian mere.
+
+  The harvests of Arretium,
+    This year, old men shall reap,
+  This year young boys in Umbro
+    Shall plunge the struggling sheep;
+  And in the vats of Luna,
+    This year, the must shall foam
+  Round the white feet of laughing girls
+    Whose sires have marched to Rome.
+
+Words and phrases are emphatic quite as often through contrast implied
+as through contrast expressed. It is evident that such a sentence as:
+"Will you ride to town to-day?" may have a number of different meanings
+according to the words emphasized. This difference of meaning is due
+to an implied contrast. If "you" is emphatic, it is because there is a
+mental contrast between "you" and some other person. If "ride" is
+emphatic, it is because riding is being contrasted with walking or
+driving and so on. The following contain examples of emphasis through
+implied contrast:
+
+  _Great_ things were ne'er begotten in an hour.
+
+  But _now_ no sound of laughter was heard among the foes.
+
+As already shown on page 21, the emphasis, in the case of implied
+contrast, is brought out by the circumflex inflection.
+
+=Shading= and =Perspective=. These deal with the relative importance
+of words, phrases, or clauses. According as an idea suggested by a
+word or group of words is regarded as principal or subordinate, the
+voice either projects it or holds it in the back-ground as an artist
+shades his picture:
+
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep and
+    dangerous ford
+  The Passage of the Scot.
+
+The principal statement, "The peasant still calls that deep and
+dangerous ford the Passage of the Scot," is projected or emphasized by
+higher pitch and stronger force, the thought being sustained, and the
+connection made between "The peasant" and "still calls" by means of
+the rising inflection. The subordinate statements, "though the legend
+does not live" and "as he sees the stream in winter rolling by ...
+sword," are kept in the back-ground by slightly lower pitch and
+moderate force. The parenthetical clause, "for legends lightly die,"
+is subordinate to the subordinate statement and is thrown still more
+into the back-ground in the same way as the preceding.
+
+Strictly speaking, the term "shading" is used to indicate the value of
+individual phrases or clauses; "perspective," to indicate the values
+of several phrases or clauses viewed relatively.
+
+The =quality=, or timbre, of the voice reveals the speaker's emotions,
+their character, number, and intensity. The voice is affected by the
+muscular texture of the throat, just as the tone of an instrument is
+affected by the texture of the material of which it is made. This
+muscular texture is affected by nerve and muscular vibrations which
+are caused by emotion, the result of mental impressions. Whatever be
+the quality of voice peculiar to the individual, it is greatly
+modified by his emotions. The man of few emotions has few vocal
+vibrations; hence his monotonous voice. The man whose emotions are
+habitually cruel, has a harsh, hard muscular texture through
+contraction of the muscles; hence the hard voice. It is plain that the
+natural voice is an index to the character. If the imagination and
+soul are cultivated, the voice will gain in richness and fulness. If,
+in reading that which expresses the sublime, noble, and grand, the
+imagination is kindled, the voice will express by its vibrations the
+largeness of our conception. This full, rich voice is called the
+_orotund_:
+
+  These are the gardens of the Desert, these
+  The unshorn fields, boundless and beautiful,
+  For which the speech of England has no name--
+  The prairies.
+
+  For as the heaven is high above the earth, so great is his mercy
+    toward them that fear him.
+  As far as the east is from the west, so far hath he removed our
+    transgressions from us.
+
+In thinking of what is stern, severe, harsh, cruel, or base, the
+muscles of the throat contract and produce the rigid, throaty tone
+known as the _guttural_:
+
+  On what compulsion must I? Tell me that.
+
+  "Curse on him!" quoth false Sextus
+    "Will not the villain drown?
+  But for this stay, ere close of day,
+    We should have sacked the town!"
+
+Certain states of mind, such as awe, caution, secrecy, fear, etc.,
+produce in greater or less degree an aspirated or "breathy" quality,
+called the _whisper_ or _aspirate_:
+
+  When Jubal struck the chorded shell,
+    His listening brethren stood around,
+  And, wondering, on their faces fell
+    To worship that celestial sound.
+
+  The red rose cries, "She is near, she is near;"
+    And the white rose weeps, "She is late;"
+  The larkspur listens, "I hear, I hear;"
+    And the lily whispers, "I wait."
+
+The atmosphere of hush and repose expresses itself by a partial
+whisper:
+
+  Ne'er saw I, never felt, a calm so deep!
+    The river glideth at his own sweet will:
+  Dear God! the very houses seem asleep;
+    And all that mighty heart is lying still!
+
+It must not be supposed that the whisper is always associated with
+moderate or with weak force as in the preceding examples. Strong force
+is used with the whisper to express intensity of feeling or vehemence:
+
+  Whispering with white lips: the foe! they come! they come!
+
+  Hush, I say, hush!
+
+Other emotional states have their corresponding qualities of voice,
+such, for example, as the quality of oppressed feeling and the quality
+expressing agitation.
+
+To conclude: it must be carefully borne in mind that the reader should
+never strive to produce a certain quality apart from the emotion which
+should precede. By force alone, for example, he will succeed in
+producing mere sound without the quality. Nor are any of the examples
+given above, in dealing with the various elements of vocal expression,
+intended for practice in voice gymnastics apart from the preliminary
+state of which they are the vocal expression. They are intended merely
+as illustrations of the laws which govern correct speech.
+
+       *       *       *       *       *
+
+THE HIGH SCHOOL READER
+
+THE BANNER OF ST. GEORGE
+
+Words by Shapcott Wensley: music by Sir Edward Elgar
+
+
+  It comes from the misty ages,
+  The banner of England's might,
+  The blood-red cross of the brave St. George,
+  That burns on a field of white!
+  It speaks of the deathless heroes                                    5
+  On fame's bright page inscrolled,
+  And bids great England ne'er forget
+  The glorious deeds of old!
+
+  O'er many a cloud of battle
+  The banner has floated wide;                                        10
+  It shone like a star o'er the valiant hearts
+  That dashed the Armada's pride!
+  For ever amid the thunders
+  The sailor could do or die,
+  While tongues of flame leaped forth below,                          15
+  And the flag of St. George was high!
+
+  O ne'er may the flag beloved
+  Unfurl in a strife unblest,
+  But ever give strength to the righteous arm,
+  And hope to the hearts oppressed!                                   20
+  It says to the passing ages:
+  "Be brave if your cause be right,
+  Like the soldier saint whose cross of red
+  Still burns on your banner white!"
+
+  Great race, whose empire of splendour                               25
+  Has dazzled the wondering world!
+  May the flag that floats o'er thy wide domains
+  Be long to all winds unfurled!
+  Three crosses in concord blended,
+  The banner of Britain's might!                                      30
+  But the central gem of the ensign fair
+  Is the cross of the dauntless Knight!
+
+      --_By permission of the publishers, Novello & Co._
+
+
+  PREPARATORY--Divide the poem into two parts, giving to
+  each part a descriptive title.
+
+  What feelings are aroused by this poem?
+
+  What lines in stanzas i and iv call up a mental picture
+  of the flag?
+
+  What three phrases in stanza i suggest the important
+  ideas to be associated with the flag? How does the voice
+  indicate the importance of these ideas? (Introduction,
+  p. 8.)
+
+  Of what phrases in stanza i is stanza ii only an
+  elaboration?
+
+  What wish is contained in stanza iii? What sentences
+  express it?
+
+  What additional idea does stanza iv add to this wish?
+
+  STAR, VALIANT, ARMADA, CENTRAL. Make a distinction in
+  the sound of the letter _a_ in these words, and
+  elsewhere in the poem. (Appendix A, 1.)
+
+  GEORGE, CROSS, FORGET, FORTH, CONCORD. What sound has
+  the letter _o_ in each word? (Appendix A, 1.)
+
+  Articulate with energy the final consonantal
+  combinations of all such words as: ENGLAND'S, BURNS,
+  SPEAKS, INSCROLLED, FLOATED, HEARTS, DASHED, LEAPED,
+  UNBLEST, STRENGTH, DAZZLED, UNFURLED, BLENDED. (Appendix
+  A, 3.)
+
+       *       *       *       *       *
+
+
+JEAN VALJEAN AND THE BISHOP
+
+From "Les Misérables"
+
+
+At the bishop's house, his housekeeper, Mme. Magloire was saying:
+
+"We say that this house is not safe at all; and, if Monseigneur will
+permit me, I will go on and tell the locksmith to come and put the old
+bolts in the door again. I say, than a door which opens by a latch on
+the outside to the first comer, nothing could be more horrible; and
+then Monseigneur has the habit of always saying: 'Come in,' even at
+midnight. But, my goodness, there is no need to even ask leave----"
+
+At this moment there was a violent knock on the door.
+
+"Come in!" said the bishop.
+
+The door opened.
+
+It opened quickly, quite wide, as if pushed by some one boldly and
+with energy.
+
+A man entered.
+
+That man we know already; it was the traveller we have seen wandering
+about in search of a lodging.
+
+He came in, took one step, and paused, leaving the door open behind
+him. He had his knapsack on his back, his stick in his hand, and a
+rough, hard, and fierce look in his eyes. He was hideous.
+
+The bishop looked upon the man with a tranquil eye. As he was opening
+his mouth to speak, doubtless to ask the stranger what he wanted, the
+man, leaning with both hands on his club, glanced from one to another
+in turn, and, without waiting for the bishop to speak, said, in a
+loud voice:
+
+"See here! my name is Jean Valjean. I am a convict; I have been
+nineteen years in the galleys. Four days ago I was set free, and
+started for Pontarlier; during these four days I have walked from
+Toulon. To-day I have walked twelve leagues. When I reached this place
+this evening I went to an inn, and they sent me away on account of my
+yellow passport, which I had shown at the Mayor's office, as was
+necessary. I went to another inn; they said, 'Get out!' It was the
+same with one as with another; nobody would have me. I went to the
+prison and the turnkey would not let me in. I crept into a dog kennel,
+the dog bit me, and drove me away as if he had been a man; you would
+have said that he knew who I was. I went into the fields to sleep
+beneath the stars, there were no stars. I thought it would rain, and
+there was no good God to stop the drops, so I came back to the town to
+get the shelter of some doorway. There in the square I laid down upon
+a stone; a good woman showed me your house, and said: 'Knock there!' I
+have knocked. What is this place? Are you an inn? I have money; my
+savings, one hundred and nine francs and fifteen sous, which I have
+earned in the galleys by my work for nineteen years. I will pay. What
+do I care? I have money, I am very tired--twelve leagues on foot--and
+I am so hungry. Can I stay?"
+
+"Mme. Magloire," said the bishop, "put on another plate."
+
+The man took three steps and came near the lamp which stood on the
+table. "Stop," he exclaimed; as if he had not been understood; "not
+that, did you understand me? I am a galley slave--a convict--I am just
+from the galleys." He drew from his pocket a large sheet of yellow
+paper, which he unfolded. "There is my passport, yellow, as you see.
+That is enough to have me kicked out wherever I go. Will you read it?
+See, here is what they have put on my passport: Jean Valjean, a
+liberated convict; has been nineteen years in the galleys; five years
+for burglary; fourteen years for having attempted four times to
+escape. This man is very dangerous. There you have it! Everybody has
+thrust me out; will you receive me? Is this an inn? Can you give me
+something to eat and a place to sleep? Have you a stable?"
+
+"Mme. Magloire," said the bishop, "put some sheets on the bed in the
+alcove."
+
+The bishop turned to the man:
+
+"Monsieur, sit down and warm yourself; we are going to take supper
+presently, and your bed will be made ready while you sup."
+
+At last the man quite understood; his face, the expression of which
+till then had been gloomy, and hard, now expressed stupefaction, doubt
+and joy, and became absolutely wonderful. He began to stutter like a
+madman.
+
+"True? What? You will keep me? you won't drive me away--a convict? You
+call me monsieur and don't say, 'Get out, dog!' as everybody else
+does. I shall have a supper! a bed like other people, with mattress
+and sheets--a bed! It is nineteen years that I have not slept on a
+bed. You are good people! Besides, I have money; I will pay well. I
+beg your pardon, M. Innkeeper, what is your name? I will pay all you
+say. You are a fine man. You are an innkeeper, is it not so?"
+
+"I am a priest who lives here," said the bishop.
+
+"A priest," said the man. "Oh, noble priest! Then you do not ask any
+money?"
+
+"No," said the bishop, "keep your money. How much have you?"
+
+"One hundred and nine francs and fifteen sous," said the man.
+
+"One hundred and nine francs and fifteen sous. And how long did it
+take you to earn that?"
+
+"Nineteen years."
+
+"Nineteen years!"
+
+The bishop sighed deeply, and shut the door, which had been left wide
+open.
+
+Mme. Magloire brought in a plate and set it on the table.
+
+"Mme Magloire," said the bishop, "put this plate as near the fire as
+you can." Then turning toward his guest he added: "The night wind is
+raw in the Alps; you must be cold, monsieur."
+
+Every time he said the word _monsieur_ with his gentle, solemn and
+heartily hospitable voice, the man's countenance lighted up.
+_Monsieur_ to a convict is a glass of water to a man dying of thirst
+at sea.
+
+"The lamp," said the bishop, "gives a very poor light."
+
+Mme. Magloire understood him, and, going to his bedchamber, took from
+the mantel the two silver candlesticks, lighted the candles and placed
+them on the table.
+
+"M. le Curé," said the man, you are good; "you don't despise me. You
+take me into your house; you light your candles for me, and I haven't
+hid from you where I come from, and how miserable I am."
+
+The bishop touched his hand gently and said: "You need not tell me who
+you are. This is not my house; it is the house of Christ. It does not
+ask any comer whether he has a name, but whether he has an affliction.
+You are suffering; you are hungry and thirsty; be welcome. And do not
+thank me; do not tell me that I take you into my house. This is the
+home of no man except him who needs an asylum. I tell you, who are a
+traveller, that you are more at home here than I; whatever is here is
+yours. What need have I to know your name? Besides, before you told
+me, I knew it."
+
+The man opened his eyes in astonishment.
+
+"Really? You knew my name?"
+
+"Yes," answered the bishop, "your name is my brother."
+
+"Stop, stop, M. le Curé," exclaimed the man, "I was famished when I
+came in, but you are so kind that now I don't know what I am; that is
+all gone."
+
+The bishop looked at him again and said:
+
+"You have seen much suffering?"
+
+"Oh, the red blouse, the ball and chain, the plank you sleep on, the
+heat, the cold, the galley's screw, the lash, the double chain for
+nothing, the dungeon for a word--even when sick in bed, the chain. The
+dogs, the dogs are happier! nineteen years! and I am forty-six, and
+now a yellow passport. That is all."
+
+"Yes," answered the bishop, "you have left a place of suffering. But
+listen, there will be more joy in heaven over the tears of a repentant
+sinner than over the white robes of a hundred good men. If you are
+leaving that sorrowful place with hate and anger against men, you are
+worthy of compassion; if you leave it with good-will, gentleness, and
+peace, you are better than any of us."
+
+      --_Victor Hugo_
+
+
+  This lesson can be used as an exercise on Pause
+  springing from (1) Visualization and Grouping,
+  (Introduction, pp. 7 and 8); (2) Narrative which breaks
+  in upon the direct discourse. (Introduction, p. 24.)
+
+  THAT MAN WE KNOW ALREADY. (Introduction, p. 11.)
+
+  "SEE HERE ... CAN I STAY?" This paragraph is an exercise
+  on Emphasis. Make a list of the words which are emphatic
+  (1) because they express new and important ideas, (2)
+  because of contrast. Why is GALLEYS not emphatic? Where
+  is the emphasis placed in that sentence?
+
+       *       *       *       *       *
+
+
+THE WELL OF ST. KEYNE
+
+
+  A well there is in the west country,
+    And a clearer one never was seen;
+  There is not a wife in the west country
+    But has heard of the well of St. Keyne.
+
+  An oak and an elm-tree stand beside,                                 5
+    And behind doth an ash-tree grow,
+  And a willow from the bank above
+    Droops to the water below.
+
+  A traveller came to the well of St. Keyne;
+    Joyfully he drew nigh,                                            10
+  For from cock-crow he had been travelling,
+    And there was not a cloud in the sky.
+
+  He drank of the water so cool and clear,
+    For thirsty and hot was he;
+  And he sat down upon the bank,                                      15
+    Under the willow-tree.
+
+  There came a man from the house hard by,
+    At the well to fill his pail;
+  On the well-side he rested it,
+    And he bade the stranger hail.                                    20
+
+  "Now, art thou a bachelor, stranger?" quoth he;
+    "For, an if thou hast a wife,
+  The happiest draught thou hast drank this day
+    That ever thou didst in thy life.
+
+  "Or has thy good woman, if one thou hast,                           25
+    Ever here in Cornwall been?
+  For, an if she have, I'll venture my life
+    She has drank of the well of St. Keyne."
+
+  "I have left a good woman who never was here,"
+    The stranger he made reply;                                       30
+  "But that my draught should be the better for that,
+    I pray you answer me why."
+
+  "St. Keyne," quoth the Cornish-man, many a time
+    Drank of this crystal well;
+  And before the angel summoned her,                                  35
+    She laid on the water a spell,--
+
+  "If the husband of this gifted well
+    Shall drink before his wife,
+  A happy man thenceforth is he,
+    For he shall be master for life;                                  40
+
+  "But, if the wife should drink of it first,
+    God help the husband then!"--
+  The stranger stooped to the well of St. Keyne,
+    And drank of the water again.
+
+  "You drank of the well, I warrant, betimes?"                        45
+    He to the Cornish-man said;
+  But the Cornish-man smiled as the stranger spake,
+    And sheepishly shook his head:--
+
+  "I hastened, as soon as the wedding was done,
+    And left my wife in the porch;                                    50
+  But i' faith she had been wiser than me,
+    For she took a bottle to church."
+
+      --_Robert Southey_
+
+
+  PREPARATORY.--Select the lines that (_a_) describe the
+  scene, (_b_) indicate the action, (_c_) give the
+  dialogue.
+
+  Show by recasting this ballad into dramatic form that it
+  is a miniature drama.
+
+  Give examples of Pause springing from (_a_)
+  Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (_b_)
+  narrative which interrupts direct discourse, in ll. 21,
+  29, 33, 45.
+
+  Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14,
+  21, 29, 31, 38, 45, 46? Give your reasons and show how
+  they are made emphatic. (Introduction, p. 30.)
+
+  l. 3. What is the Inflection on 'country,' l. 3?
+  (Introduction, p. 17.)
+
+  ll. 37-38. Note the Grouping and Pause. (Introduction,
+  p. 12.)
+
+       *       *       *       *       *
+
+
+FAITH, HOPE AND CHARITY
+
+1 Corinthians xiii
+
+
+Though I speak with the tongues of men and of angels, and have not
+charity, I am become as sounding brass, or a tinkling cymbal. And
+though I have the gift of prophecy, and understand all mysteries, and
+all knowledge; and though I have all faith, so that I could remove
+mountains, and have not charity, I am nothing. And though I bestow all
+my goods to feed the poor, and though I give my body to be burned, and
+have not charity, it profiteth me nothing.
+
+Charity suffereth long, and is kind; charity envieth not; charity
+vaunteth not itself, is not puffed up, doth not behave itself
+unseemly, seeketh not her own, is not easily provoked, thinketh no
+evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth
+all things, believeth all things, hopeth all things, endureth all
+things.
+
+Charity never faileth: but whether there be prophecies, they shall
+fail; whether there be tongues, they shall cease; whether there be
+knowledge, it shall vanish away. For we know in part, and we prophesy
+in part. But when that which is perfect is come, then that which is in
+part shall be done away. When I was a child, I spake as a child, I
+understood as a child, I thought as a child: but when I became a man I
+put away childish things. For now we see through a glass, darkly; but
+then face to face: now I know in part; but then shall I know even as
+also I am known.
+
+And now abideth faith, hope and charity, these three;
+but the greatest of these is charity.
+
+
+  CHARITY, SUFFERETH, PROFITETH. (Appendix A, 8 and 3.)
+
+  Show by examples from this selection how completeness
+  and incompleteness of thought affect the Inflection.
+  (Introduction, pp. 15 and 16.)
+
+  What Inflection does a negative statement usually
+  require? Give examples from the second paragraph.
+  (Introduction, p. 17.)
+
+  Give examples, from the second paragraph, of momentary
+  completeness. (Introduction, pp. 15 and 16.)
+
+  Select the words which are emphatic because they express
+  (_a_) new and important ideas. (_b_) contrast.
+
+  BEARETH ALL THINGS, ETC. How may the repetition of a
+  word or phrase affect the Emphasis? (Introduction, pp.
+  31 and 32.)
+
+  How are the principal clauses in the first three
+  sentences made prominent? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+THE LEGEND BEAUTIFUL
+
+From "Tales of a Wayside Inn"
+
+
+  "Hadst thou stayed, I must have fled!"
+  That is what the Vision said.
+
+  In his chamber all alone,
+  Kneeling on the floor of stone,
+  Prayed the Monk in deep contrition                                   5
+  For his sins of indecision,
+  Prayed for greater self-denial
+  In temptation and in trial;
+  It was noonday by the dial,
+  And the Monk was all alone.                                         10
+
+  Suddenly, as if it lightened,
+  An unwonted splendour brightened
+  All within him and without him
+  In that narrow cell of stone;
+  And he saw the Blessed Vision                                       15
+  Of our Lord, with light Elysian
+  Like a vesture wrapped about Him,
+  Like a garment round Him thrown.
+  Not as crucified and slain,
+  Not in agonies of pain,                                             20
+  Not with bleeding hands and feet,
+  Did the Monk his Master see;
+  But as in the village street,
+  In the house or harvest-field,
+  Halt and lame and blind He healed,                                  25
+  When He walked in Galilee.
+
+  In an attitude imploring,
+  Hands upon his bosom crossed,
+  Wondering, worshipping, adoring,
+  Knelt the Monk in rapture lost.                                     30
+  Lord, he thought, in heaven that reignest,
+  Who am I, that thus Thou deignest
+  To reveal Thyself to me?
+  Who am I, that from the centre
+  Of Thy glory Thou shouldst enter                                    35
+  This poor cell, my guest to be?
+
+  Then amid his exaltation,
+  Loud the convent bell appalling,
+  From its belfry calling, calling,
+  Rang through court and corridor                                     40
+  With persistent iteration
+  He had never heard before.
+  It was now the appointed hour
+  When alike in shine or shower,
+  Winter's cold or summer's heat,                                     45
+  To the convent portals came
+  All the blind and halt and lame,
+  All the beggars of the street,
+  For their daily dole of food
+  Dealt them by the brotherhood;                                      50
+  And their almoner was he
+  Who upon his bended knee,
+  Rapt in silent ecstasy
+  Of divinest self-surrender,
+  Saw the Vision and the Splendour.                                   55
+
+  Deep distress and hesitation
+  Mingled with his adoration;
+  Should he go or should he stay?
+  Should he leave the poor to wait
+  Hungry at the convent gate,                                         60
+  Till the Vision passed away?
+  Should he slight his radiant guest,
+  Slight this visitant celestial,
+  For a crowd of ragged, bestial
+  Beggars at the convent gate?                                        65
+  Would the Vision there remain?
+  Would the Vision come again?
+  Then a voice within his breast
+  Whispered, audible and clear
+  As if to the outward ear:                                           70
+  "Do thy duty; that is best;
+  Leave unto thy Lord the rest!"
+
+  Straightway to his feet he started,
+  And with longing look intent
+  On the Blessed Vision bent,                                         75
+  Slowly from his cell departed,
+  Slowly on his errand went.
+
+  At the gate the poor were waiting,
+  Looking through the iron grating,
+  With that terror in the eye                                         80
+  That is only seen in those
+  Who amid their wants and woes
+  Hear the sound of doors that close,
+  And of feet that pass them by;
+  Grown familiar with disfavour,                                      85
+  Grown familiar with the savour
+  Of the bread by which men die!
+  But to-day, they knew not why,
+  Like the gate of Paradise
+  Seemed the convent gate to rise,                                    90
+  Like a sacrament divine
+  Seemed to them the bread and wine.
+  In his heart the Monk was praying,
+  Thinking of the homeless poor,
+  What they suffer and endure;                                        95
+  What we see not, what we see;
+  And the inward voice was saying:
+  "Whatsoever thing thou doest
+  To the least of Mine and lowest,
+  That thou doest unto Me!"                                          100
+
+  Unto Me! but had the Vision
+  Come to him in beggar's clothing,
+  Come a mendicant imploring,
+  Would he then have knelt adoring,
+  Or have listened with derision,                                    105
+  And have turned away with loathing?
+  Thus his conscience put the question,
+  Full of troublesome suggestion,
+  As at length, with hurried pace,
+  Toward his cell he turned his face,                                110
+  And beheld the convent bright
+  With a supernatural light,
+  Like a luminous cloud expanding
+  Over floor and wall and ceiling.
+  But he paused with awestruck feeling                               115
+  At the threshold of his door,
+  For the Vision still was standing
+  As he left it there before,
+  When the convent bell appalling,
+  From its belfry calling, calling,                                  120
+  Summoned him to feed the poor.
+  Through the long hour intervening
+  It had waited his return,
+  And he felt his bosom burn,
+  Comprehending all the meaning,                                     125
+  When the Blessed Vision said,
+  "Hadst thou stayed, I must have fled!"
+
+      --_Henry Wadsworth Longfellow_
+
+
+  HADST, LIGHTENED, BRIGHTENED, REIGNEST, DEIGNEST,
+  DIVINEST (Appendix, A, 3.)
+
+  ll. 29, 38-39, 78-79. (Appendix, A, 4.)
+
+  How can the reader show that the first two lines are
+  merely introductory?
+
+  Divide the poem proper into five parts, giving to each
+  part a suggestive title. How can the reader make each
+  part stand out by itself? (Introduction, p. 10.)
+
+  Select the principal statement in each stanza and show
+  how the voice may make it prominent. (Introduction, p.
+  33.)
+
+  What Inflection is placed on the principal statement?
+  What Inflection on the subordinate phrases and clauses?
+  (Introduction, p. 15.)
+
+  Select examples of momentary completeness from the poem.
+
+  ll. 19-22. What is the Inflection on these negative
+  phrases? (Introduction, pp. 17 and 18.)
+
+  What is the Inflection on the various questions
+  throughout the poem? (Introduction, p. 18.)
+
+       *       *       *       *       *
+
+
+THE VICAR'S FAMILY USE ART
+
+From "The Vicar of Wakefield"
+
+
+1. Whatever might have been Sophia's sensations, the rest of the
+family was easily consoled for Mr. Burchell's absence by the company
+of our landlord, whose visits now became more frequent, and longer.
+Though he had been disappointed in procuring my daughters the
+amusements of the town, as he designed, he took every opportunity of
+supplying them with those little recreations which our retirement
+would admit of. He usually came in the morning; and while my son and I
+followed our occupations abroad, he sat with the family at home, and
+amused them by describing the town, with every part of which he was
+particularly acquainted. He could repeat all the observations that
+were retailed in the atmosphere of the play-houses, and had all the
+good things of the high wits by rote, long before they made their way
+into the jest-books. The intervals between conversation were employed
+in teaching my daughters piquet, or sometimes in setting my two little
+ones to box, to make them _sharp_, as he called it; but the hopes of
+having him for a son-in-law, in some measure blinded us to all his
+imperfections. It must be owned, that my wife laid a thousand schemes
+to entrap him; or, to speak it more tenderly, used every art to
+magnify the merit of her daughter. If the cakes at tea ate short and
+crisp, they were made by Olivia; if the gooseberry wine was well knit,
+the gooseberries were of her gathering; it was her fingers that gave
+the pickles their peculiar green; and in the composition of a pudding,
+it was her judgment that mixed the ingredients. Then the poor woman
+would sometimes tell the Squire that she thought him and Olivia
+extremely of a size, and would bid both stand up to see which was
+tallest. These instances of cunning, which she thought impenetrable,
+yet which everybody saw through, were very pleasing to our benefactor,
+who gave every day some new proofs of his passion, which, though they
+had not risen to proposals of marriage, yet we thought fell but little
+short of it; and his slowness was attributed sometimes to native
+bashfulness, and sometimes to his fear of offending his uncle. An
+occurrence, however, which happened soon after, put it beyond a doubt
+that he designed to become one of our family; my wife even regarded it
+as an absolute promise.
+
+2. My wife and daughters happening to return a visit at neighbour
+Flamborough's, found that family had lately got their pictures drawn
+by a limner, who travelled the country, and took likenesses for
+fifteen shillings a head. As this family and ours had long a sort of
+rivalry in point of taste, our spirit took the alarm at this stolen
+march upon us; and notwithstanding all I could say, and I said much,
+it was resolved that we should have our pictures done too. Having,
+therefore, engaged the limner--for what could I do?--our next
+deliberation was to shew the superiority of our taste in the
+attitudes. As for our neighbour's family, there were seven of them,
+and they were drawn with seven oranges--a thing quite out of taste, no
+variety in life, no composition in the world. We desired to have
+something in a brighter style; and after many debates, at length came
+to an unanimous resolution of being drawn together, in one large
+historical family piece. This would be cheaper, since one frame would
+serve for all, and it would be infinitely more genteel; for all
+families of any taste were now drawn in the same manner. As we did not
+immediately recollect an historical subject to hit us, we were
+contented each with being drawn as independent historical figures. My
+wife desired to be represented as Venus, and the painter was desired
+not to be too frugal of his diamonds in her stomacher and hair. Her
+two little ones were to be as Cupids by her side; while I, in my gown
+and band, was to present her with my books on the Whistonian
+controversy. Olivia would be drawn as an Amazon, sitting upon a bank
+of flowers, dressed in a green joseph richly laced with gold, and a
+whip in her hand. Sophia was to be a shepherdess, with as many sheep
+as the painter could put in for nothing; and Moses was to be dressed
+out with an hat and white feather. Our taste so much pleased the
+Squire that he insisted on being put in as one of the family, in the
+character of Alexander the Great, at Olivia's feet. This was
+considered by us all as an indication of his desire to be introduced
+into the family, nor could we refuse his request. The painter was
+therefore set to work, and as he wrought with assiduity and
+expedition, in less than four days the whole was completed. The piece
+was large, and it must be owned he did not spare his colours; for
+which my wife gave him great encomiums. We were all perfectly
+satisfied with his performance; but an unfortunate circumstance which
+had not occurred till the picture was finished, now struck us with
+dismay. It was so very large that we had no place in the house to fix
+it. How we all came to disregard so material a point is inconceivable;
+but certain it is, we had been all greatly remiss. The picture,
+therefore, instead of gratifying our vanity, as we hoped, leaned, in a
+most mortifying manner, against the kitchen wall, where the canvas was
+stretched and painted, much too large to be got through any of the
+doors, and the jest of all our neighbours. One compared it to Robinson
+Crusoe's long-boat, too large to be removed; another thought it more
+resembled a reel in a bottle; some wondered how it could be got out.
+but still more were amazed how it ever got in.
+
+3. But though it excited the ridicule of some, it effectually raised
+more malicious suggestions in many. The Squire's portrait being found
+united with ours, was an honour too great to escape envy. Scandalous
+whispers began to circulate at our expense, and our tranquillity was
+continually disturbed by persons, who came as friends, to tell us what
+was said of us by enemies. These reports we always resented with
+becoming spirit; but scandal ever improves by opposition.
+
+4. We once again, therefore, entered into a consultation upon
+obviating the malice of our enemies, and at last came to a resolution
+which had too much cunning to give me entire satisfaction. It was
+this: as our principal object was to discover the honour of Mr.
+Thornhill's addresses, my wife undertook to sound him, by pretending
+to ask his advice in the choice of an husband for her eldest daughter.
+If this was not found sufficient to induce him to a declaration, it
+was then resolved to terrify him with a rival. To this last step,
+however, I would by no means give my consent, till Olivia gave me the
+most solemn assurances that she would marry the person provided to
+rival him upon this occasion, if he did not prevent it by taking her
+himself. Such was the scheme laid, which, though I did not strenuously
+oppose, I did not entirely approve.
+
+5. The next time, therefore, that Mr. Thornhill came to see us, my
+girls took care to be out of the way, in order to give their mamma an
+opportunity of putting her scheme in execution; but they only retired
+to the next room, whence they could overhear the whole conversation.
+My wife artfully introduced it, by observing, that one of the Miss
+Flamboroughs was like to have a very good match of it in Mr. Spanker.
+To this the Squire assenting, she proceeded to remark, that they who
+had warm fortunes were always sure of getting good husbands: "But
+heaven help," continued she, "the girls that have none! What signifies
+beauty, Mr. Thornhill? or what signifies all the virtue, and all the
+qualifications in the world, in this age of self-interest? It is not,
+What is she? but, What has she? is all the cry."
+
+6. "Madam," returned he, "I highly approve the justice, as well as the
+novelty, of your remarks, and if I were a king, it should be
+otherwise. It should then, indeed, be fine times for the girls without
+fortunes: our two young ladies should be the first for whom I would
+provide."
+
+7. "Ah, sir," returned my wife, "you are pleased to be facetious: but
+I wish I were a queen, and then I know where my eldest daughter
+should look for an husband. But now that you have put it into my head,
+seriously, Mr. Thornhill, can't you recommend me a proper husband for
+her? She is now nineteen years old, well grown and well educated, and,
+in my humble opinion, does not want for parts."
+
+8. "Madam," replied he, "if I were to choose, I would find out a
+person possessed of every accomplishment that can make an angel happy.
+One with prudence, fortune, taste, and sincerity; such, madam, would
+be, in my opinion, the proper husband."--"Ay, sir," said she, "but do
+you know of any such person?"--"No, Madam," returned he, "it is
+impossible to know any person that deserves to be her husband: she's
+too great a treasure for one man's possession: she's a goddess! Upon
+my soul, I speak what I think, she's an angel!"--"Ah, Mr. Thornhill,
+you only flatter my poor girl: but we have been thinking of marrying
+her to one of your tenants, whose mother is lately dead, and who wants
+a manager; you know whom I mean, Farmer Williams; a warm man, Mr.
+Thornhill, able to give her good bread; and who has several times made
+her proposals" (which was actually the case); "but, sir," concluded
+she, "I should be glad to have your approbation of our choice."--"How,
+Madam," replied he, "my approbation!--my approbation of such a choice!
+Never. What! Sacrifice so much beauty, and sense, and goodness, to a
+creature insensible of the blessing! Excuse me, I can never approve of
+such a piece of injustice. And I have my reasons."--"Indeed, sir,"
+cried Deborah, "If you have your reasons, that's another affair; but I
+should be glad to know those reasons."--"Excuse me, Madam," returned
+he, "they lie too deep for discovery" (laying his hand upon his
+bosom); "they remain buried, rivetted here."
+
+9. After he was gone, upon a general consultation, we could not tell
+what to make of these fine sentiments. Olivia considered them as
+instances of the most exalted passion; but I was not quite so
+sanguine; yet, whatever they might portend, it was resolved to
+prosecute the scheme of Farmer Williams, who, from my daughter's first
+appearance in the country, had paid her his addresses.
+
+      --_Oliver Goldsmith_
+
+
+  ABSOLUTE, RESOLUTION, INTRODUCED, (Appendix, A, 2.)
+  VISITS, NATIVE, INFINITELY, CUPIDS, VANITY, GRATIFYING,
+  MORTIFYING, SANGUINE. (Appendix, A, 8.) UNFORTUNATE,
+  FORTUNE, VIRTUE. (Appendix, A, 9.)
+
+  Show by numerous examples from this selection that the
+  dependent clause of a sentence takes the rising
+  Inflection--whilst the principal clause takes the
+  falling. Which of the two has the heavier shading?
+  (Introduction, p. 33.)
+
+  How are such parenthetical clauses as AS HE DESIGNED, in
+  the second sentence, kept in the background?
+  (Introduction, pp. 24 and 27.) Give similar examples
+  from this selection.
+
+  What Inflection is placed on the rhetorical questions in
+  par. v? (Introduction, p. 19.)
+
+  How is the effect of the climax in par. viii brought
+  out? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SOLDIER'S DREAM
+
+
+  Our bugles sang truce--for the night-cloud had lowered
+    And the sentinel stars set their watch in the sky;
+  And thousands had sunk on the ground overpowered,
+    The weary to sleep, and the wounded to die.
+
+  When reposing that night on my pallet of straw,                      5
+    By the wolf-scaring faggot that guarded the slain,
+  At the dead of the night a sweet vision I saw,
+    And thrice ere the morning I dreamt it again.
+
+  Methought from the battlefield's dreadful array,
+    Far, far I had roamed on a desolate track;                        10
+  'Twas autumn--and sunshine arose on the way
+    To the home of my fathers, that welcomed me back.
+
+  I flew to the pleasant fields traversed so oft
+    In life's morning march, when my bosom was young;
+  I heard my own mountain-goats bleating aloft,                       15
+    And knew the sweet strain that the corn-reapers sung.
+
+  Then pledged we the wine-cup, and fondly I swore
+    From my home and my weeping friends never to part;
+  My little ones kissed me a thousand times o'er,
+    And my wife sobbed aloud in her fulness of heart.                 20
+
+  "Stay, stay with us--rest, thou art weary and worn;"
+    And fain was their war-broken soldier to stay;
+  But sorrow returned with the dawning of morn,
+    And the voice in my dreaming ear melted away.
+
+      --_Thomas Campbell_
+
+
+  PREPARATORY.--Describe the picture suggested by this
+  poem.
+
+  Compare the soldier's dream with the vision of _The
+  Private of the Buffs_ in the hour of danger, or with
+  _The Slave's Dream_ in Longfellow's poem.
+
+  Divide the poem into three distinct parts, giving to
+  each a descriptive title.
+
+  Expand the thoughts contained in the last two lines of
+  the poem, using, if possible, illustrations from
+  literature or real life. What feelings do these lines
+  arouse?
+
+  Observe the difficulties of Articulation in ll. 1, 2, 13
+  and 16. (Appendix A, 6 and 3.)
+
+  How can each part of the poem be made to stand out by
+  itself? (Introduction, p. 10.)
+
+  2. SENTINEL STARS. Select other phrases which call up
+  mental images.
+
+  How does the process of mental imagery affect the Time?
+  (Introduction, p. 12.)
+
+  3. How can it be shown that OVERPOWERED and GROUND are
+  disconnected? (Introduction, p. 7.)
+
+  4. Why do we pause after WEARY AND WOUNDED?
+  (Introduction, p. 10.)
+
+  6. Why is there no pause after FAGGOT? (Introduction, p.
+  11.)
+
+  What lines of stanza ii contain the leading thought? How
+  does the voice indicate this? (Introduction, p. 33.)
+
+  9. How is the mind prepared for the description of the
+  dream?
+
+  21. What feeling does the voice express? Does Imitation
+  play any part here? (Introduction, pp. 5 and 6.)
+
+  22. Expand the thought of this line, and show how your
+  thinking affects the Time. (Introduction, p. 14.)
+  Compare with the Time of l. 21, and explain the
+  difference.
+
+       *       *       *       *       *
+
+
+VAN ELSEN
+
+
+  God spake three times and saved Van Elsen's soul;
+  He spake by sickness first, and made him whole;
+          Van Elsen heard him not,
+          Or soon forgot.
+
+  God spake to him by wealth; the world outpoured                      5
+  Its treasures at his feet, and called him lord;
+          Van Elsen's heart grew fat
+          And proud thereat.
+
+  God spake the third time when the great world smiled,
+  And in the sunshine slew his little child;                          10
+          Van Elsen like a tree
+          Fell hopelessly.
+
+  Then in the darkness came a voice which said,
+  "As thy heart bleedeth, so My heart hath bled;
+          As I have need of thee                                      15
+          Thou needest Me."
+
+  That night Van Elsen kissed the baby feet,
+  And kneeling by the narrow winding-sheet
+          Praised him with fervent breath
+          Who conquered death.                                        20
+
+      _-Frederick George Scott_ (_By permission_)
+
+
+  By what means is the introductory line kept distinct
+  from the rest of the poem? (Introduction, p. 10.)
+
+  How does the reader indicate the comparatively long
+  space of time which elapses between the events of the
+  first, second, and third stanzas respectively?
+  (Introduction, p. 9.)
+
+  Show that each of the first three stanzas falls
+  according to meaning, into two parts. How does the
+  reader indicate this division?
+
+  Why should the last two stanzas, in this respect, be
+  together treated as one of the preceding? Illustrate by
+  means of Pause.
+
+       *       *       *       *       *
+
+
+PIBROCH OF DONUIL DHU
+
+
+  Pibroch of Donuil Dhu,
+    Pibroch of Donuil,
+  Wake thy wild voice anew,
+    Summon Clan Conuil.
+  Come away, come away,                                                5
+    Hark to the summons!
+  Come in your war array,
+    Gentles and commons.
+
+  Come from deep glen, and
+    From mountains so rocky,                                          10
+  The war-pipe and pennon
+    Are at Inverlocky.
+  Come every hill-plaid, and
+    True heart that wears one,
+  Come every steel blade, and                                         15
+    Strong hand that bears one.
+
+  Leave untended the herd,
+    The flock without shelter;
+  Leave the corpse uninterr'd
+    The bride at the altar;                                           20
+  Leave the deer, leave the steer,
+    Leave nets and barges:
+  Come with your fighting gear,
+    Broadswords and targes.
+
+  Come as the winds come, when                                        25
+    Forests are rended,
+  Come as the waves come, when
+    Navies are stranded;
+  Faster come, faster come,
+    Faster and faster,                                                30
+  Chief, vassal, page and groom,
+    Tenant and master.
+
+  Fast they come, fast they come;
+    See how they gather!
+  Wide waves the eagle plume,                                         35
+    Blended with heather.
+  Cast your plaids, draw your blades,
+    Forward each man set!
+  Pibroch of Donuil Dhu
+    Knell for the onset!                                              40
+
+      --_Sir Walter Scott_
+
+
+  HERD, UNINTERR'D. What sound has the vowel _e_?
+  (Appendix A, 1.)
+
+  GENTLES AND COMMONS; NETS AND BARGES; FIGHTING GEAR;
+  BROADSWORDS AND TARGES; FORESTS ARE RENDED; NAVIES ARE
+  STRANDED. (Appendix A, 3 and 6.)
+
+  For Pause read (Introduction, pp. 7 and 8.)
+
+  How is the gradually increasing excitement and energy
+  indicated in Time, Pitch, and Force? (Introduction, pp.
+  13, 23, and 27.)
+
+       *       *       *       *       *
+
+
+THE DAY IS DONE
+
+
+  The day is done, and the darkness
+    Falls from the wings of Night,
+  As a feather is wafted downwards
+    From an eagle in its flight.
+
+  I see the lights of the village                                      5
+    Gleam through the rain and the mist,
+  And a feeling of sadness comes o'er me,
+    That my soul cannot resist:
+
+  A feeling of sadness and longing,
+    That is not akin to pain,                                         10
+  And resembles sorrow only
+    As the mist resembles the rain.
+
+  Come, read to me some poem,
+    Some simple and heartfelt lay,
+  That shall soothe this restless feeling,                            15
+    And banish the thoughts of day.
+
+  Not from the grand old masters,
+    Not from the bards sublime,
+  Whose distant footsteps echo
+    Through the corridors of Time.                                    20
+
+  For, like strains of martial music,
+    Their mighty thoughts suggest
+  Life's endless toil and endeavour;
+    And to-night I long for rest.
+
+  Read from some humbler poet,                                        25
+    Whose songs gushed from his heart,
+  As showers from the clouds of summer,
+    Or tears from the eyelids start;
+
+  Who, through long days of labour,
+    And nights devoid of ease,                                        30
+  Still heard in his soul the music
+    Of wonderful melodies.
+
+  Such songs have power to quiet
+    The restless pulse of care,
+  And come like the benediction                                       35
+    That follows after prayer.
+
+  Then read from the treasured volume
+    The poem of thy choice,
+  And lend to the rhyme of the poet
+    The beauty of thy voice.                                          40
+
+  And the night shall be filled with music,
+    And the cares that infest the day,
+  Shall fold their tents, like the Arabs,
+    And as silently steal away.
+
+      --_Henry Wadsworth Longfellow_
+
+
+  What is the atmosphere of this poem? Compare it in this
+  respect with _Pibroch of Donuil Dhu_.
+
+  How does it differ from the latter in expression, so far
+  as Time, Pitch, and Force are concerned? (Introduction,
+  pp. 13, 22 and 26.)
+
+  WAFTED, AFTER, MASTERS, POEM, CORRIDORS, SORROW.
+  (Appendix A, 1.)
+
+  Observe the difficulties of Articulation in ll. 3, 11,
+  15, 18, 22, 26, 28 and 31. (Appendix A, 3 and 6.)
+
+       *       *       *       *       *
+
+
+THE SCHOOLMASTER AND THE BOYS
+
+From "The Old Curiosity Shop"
+
+
+1. The schoolmaster had scarcely arranged the room in due order, and
+taken his seat behind his desk, when a white-headed boy with a
+sunburnt face appeared at the door, and stopping there to make a
+rustic bow, came in and took his seat upon one of the forms. The
+white-headed boy then put an open book, astonishingly dog-eared, upon
+his knees, and thrusting his hands into his pockets, began counting
+the marbles with which they were filled. Soon afterwards another
+white-headed little boy came straggling in, and after him a red-headed
+lad, and after him two more with white heads, and then one with a
+flaxen poll, and so on until there were about a dozen boys in all,
+with heads of every colour but gray, and ranging in their ages from
+four years old to fourteen years or more; for the legs of the youngest
+were a long way from the floor when he sat upon the form, and the
+eldest was a heavy, good-tempered, foolish fellow, about half a head
+taller than the schoolmaster.
+
+2. At the top of the first form--the post of honour in the school--was
+the vacant place of the little sick scholar, and at the head of the
+row of pegs on which the hats and caps were hung, one peg was left
+empty. No boy attempted to violate the sanctity of seat or peg, but
+many a one looked from the empty spaces to the schoolmaster, and
+whispered to his idle neighbour behind his hand.
+
+3. Then began the hum of conning over lessons and getting them by
+heart, the whispered jest and stealthy game, and all the noise and
+drawl of school; and in the midst of the din sat the poor
+schoolmaster, the very image of meekness and simplicity, vainly
+attempting to fix his mind upon the duties of the day, and to forget
+his little sick friend. But the tedium of his office reminded him more
+strongly of the willing scholar, and his thoughts were rambling from
+his pupils--it was plain. None knew this better than the idlest boys,
+who, growing bolder with impunity, waxed louder and more
+daring--eating apples under the master's eye, pinching each other in
+sport or malice, and cutting their autographs in the very legs of his
+desk. The puzzled dunce, who stood beside it to say his lesson out of
+book, looked no longer at the ceiling for forgotten words, but drew
+closer to the master's elbow and boldly cast his eyes upon the page.
+If the master did chance to rouse himself and seem alive to what was
+going on, the noise subsided for a moment, and no eyes met his but
+wore a studious and deeply humble look; but, the instant he relapsed
+again, it broke out afresh, and ten times louder than before.
+
+4. Oh, how some of those idle fellows longed to be outside, and how
+they looked at the open door and window, as if they half meditated
+rushing violently out, plunging into the woods, and being wild boys
+and savages from that time forth. What rebellious thoughts of the cool
+river, and some shady bathing-place beneath willow-trees with branches
+dipping in the water, kept tempting and urging that sturdy boy, who
+sat fanning his flushed face with a spelling-book wishing himself a
+whale, or a fly, or anything but a boy at school on that hot, broiling
+day!
+
+5. Heat! Ask that other boy, whose seat being nearest the door gave
+him opportunities of gliding out into the garden and driving his
+companions to madness by dipping his face into the bucket of the well
+and then rolling on the grass--ask him if there were ever such a day
+as that, when even the bees were diving deep down into the cups of
+flowers and stopping there, as if they had made up their minds to
+retire from business and be manufacturers of honey no more. The day
+was made for laziness, and lying on one's back in green places, and
+staring at the sky till its brightness forced one to shut one's eyes
+and go to sleep; and was this a time to be poring over musty books in
+a dark room, slighted by the very sun itself? Monstrous!
+
+6. The lessons over, writing-time began; and there being but one desk
+and that the master's, each boy sat at it in turn and laboured at his
+crooked copy, while the master walked about. This was a quieter time;
+for he would come and look over the writer's shoulder, and tell him
+mildly to observe how such a letter was turned in such a copy on the
+wall, and bid him take it for his model. Then he would stop and tell
+them what the sick child had said last night, and how he had longed to
+be among them once again; and such was the schoolmaster's gentle and
+affectionate manner that the boys seemed quite remorseful that they
+had worried him so much, and were absolutely quiet; eating no apples,
+cutting no names, inflicting no pinches, for full two minutes
+afterwards.
+
+7. "I think, boys," said the schoolmaster, when the clock struck
+twelve, "that I shall give an extra half-holiday this afternoon."
+
+8. At this intelligence the boys, led on and headed by the tall boy,
+raised a great shout, in the midst of which the master was seen to
+speak, but could not be heard. As he held up his hand, however, in
+token of his wish that they should be silent, they were considerate
+enough to leave off, as soon as the longest-winded among them were
+quite out of breath.
+
+9. "You must promise me first," said the schoolmaster, "that you 'll
+not be noisy, or, at least, if you are, that you'll go away and be
+so--away out of the village, I mean. I'm sure you wouldn't disturb
+your old playmate and companion."
+
+10. There was a general murmur in the negative.
+
+11. "Then, pray, don't forget--there's my dear scholars," said the
+schoolmaster--"what I have asked you, and do it as a favour to me. Be
+as happy as you can, and likewise be mindful that you are blessed with
+health. Good-bye, all!"
+
+12. "Thank you, sir," and "Good-bye, sir," were said a great many
+times in a variety of voices, and the boys went out very slowly and
+softly.
+
+13. But there was the sun shining and there were the birds singing, as
+the sun only shines and the birds only sing on holidays and
+half-holidays; there were the trees waving to all free boys to climb
+and nestle among their leafy branches; the hay, entreating them to
+come and scatter it in the pure air; the green corn, gently beckoning
+toward wood and stream; the smooth ground rendered smoother still by
+blending lights and shadows, inviting to runs and leaps, and long
+walks no one knows whither. It was more than boy could bear, and with
+a joyous whoop the whole company took to their heels and spread
+themselves about, shouting and laughing as they went.
+
+14. "It's natural, thank heaven!" said the poor schoolmaster, looking
+after them. "I'm very glad they didn't mind me!"
+
+      --_Charles Dickens_
+
+
+  Par. 1. DUE. (Appendix A 2.)
+
+  Indicate the pauses required to allow time for the
+  Imaging process. Discriminate between the short and the
+  long pauses. (Introduction, pp. 8 and 11.)
+
+  ORDER, DESK, DOOR. Account for the Inflection on each of
+  these words. (Introduction, pp. 15 and 16.)
+
+  What clause in the first sentence should be made most
+  prominent? Indicate the relative value of each part of
+  this sentence by the Shading. (Introduction, p. 33.)
+
+  Par. 2. What two phrases suggest the central idea of
+  this paragraph?
+
+  How does the voice indicate that the parenthetical
+  clause is subordinate in thought? (Introduction, pp. 24
+  and 33.)
+
+  Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8
+  and 2.)
+
+  DID CHANCE. What is the emphatic word? Why?
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+  NO EYES MET HIS ... How does the Inflection on HIS
+  indicate the exact meaning? (Introduction, p. 16.)
+
+  Par. 4. Give examples of Grouping in the last sentence
+  and show how Grouping affects the Pause. (Introduction,
+  p. 11.)
+
+  Par. 5. WHOSE SEAT--GRASS. What is the Shading? Indicate
+  the pauses in this group of words giving your reason in
+  each case.
+
+  What Inflection is placed on the question in the last
+  sentence? Account for it. (Introduction, p. 19.)
+
+  Par. 6. WRITER'S SHOULDER, BOYS SEEMED, ABSOLUTELY.
+  (Appendix A, 6, 2.)
+
+  Give examples of Grouping in the second sentence.
+
+  BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic
+  word? Why?
+
+  Par. 7. How is I THINK, BOYS connected with the rest of
+  the speech? Apply this principle to other examples of
+  direct speech interrupted by narrative. (Introduction,
+  p. 24.)
+
+  Par. 9. IF YOU ARE ... BE SO. Select the two emphatic
+  Words and give your reason for emphasizing them,
+  (Introduction, p. 30.)
+
+       *       *       *       *       *
+
+
+THE KNIGHTS' CHORUS
+
+From "Idylls of the King"
+
+
+    Blow trumpet, for the world is white with May;
+  Blow trumpet, the long night hath roll'd away!
+  Blow thro' the living world--Let the King reign.
+
+    Shall Rome or Heathen rule in Arthur's realm?
+  Flash brand and lance, fall battleaxe upon helm,                     5
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Strike for the King and live! his knights have heard
+  That God hath told the King a secret word.
+  Fall battleaxe, and flash brand! Let the King reign.
+
+    Blow trumpet! he will lift us from the dust!                      10
+  Blow trumpet! live the strength, and die the lust!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    Strike for the King and die! and if thou diest,
+  The King is King, and ever wills the highest.
+  Clang battleaxe, and clash brand! Let the king reign.               15
+
+    Blow, for our Sun is mighty in his May!
+  Blow, for our Sun is mightier day by day!
+  Clang battleaxe, and clash brand! Let the King reign.
+
+    The King will follow Christ, and we the King
+  In whom high God hath breathed a secret thing.                      20
+  Fall battleaxe, and flash brand! Let the King reign.
+
+      --_Alfred Tennyson_
+
+
+  How do you describe this poem from the standpoint of;
+  (1) the amount of energy, (2) excitement or nervous
+  tension? With what Force and in what Pitch should it be
+  read? (Introduction, pp. 22 and 25.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 13.)
+
+  What is the purpose of the question in stanza ii? How is
+  this purpose indicated by the Inflection? (Introduction,
+  p. 19.)
+
+       *       *       *       *       *
+
+
+THE NORTHERN STAR
+
+A Tynemouth Ship
+
+
+      The Northern Star
+      Sail'd over the bar
+  Bound to the Baltic Sea;
+      In the morning gray
+      She stretched away:--                                            5
+  'Twas a weary day to me!
+
+      For many an hour
+      In sleet and shower
+  By the lighthouse rock I stray;
+      And watch till dark                                             10
+      For the wingéd bark
+  Of him that is far away.
+
+      The castle's bound
+      I wander round
+  Amidst the grassy graves:                                           15
+      But all I hear
+      Is the north-wind drear,
+  And all I see are the waves.
+
+      The Northern Star
+      Is set afar!                                                    20
+  Set in the Baltic Sea:
+      And the waves have spread
+      The sandy bed
+  That holds my Love from me.
+
+      --_Unknown_
+
+
+  PREPARATORY.--Tell the story of the poem, making as
+  vivid as possible the scenes depicted. Compare
+  Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah
+  binding Shoes_.
+
+  Compare this poem with _The Knights' Chorus_ from the
+  standpoint of the amount of energy. How is the
+  difference between the two indicated vocally by the
+  Force? (Introduction, p. 26.)
+
+  What is the difference in nervous tension between the
+  last stanza and the preceding ones? What difference in
+  Pitch? (Introduction, p. 23.)
+
+  Account for the Time in which it is read. (Introduction,
+  p. 14.)
+
+  11. WINGÉD, with sails
+
+  15. TYNEMOUTH CASTLE used as a graveyard.
+
+       *       *       *       *       *
+
+
+THE INDIGO BIRD
+
+
+                    When I see,
+  High on the tip-top twig of a tree,
+  Something blue by the breezes stirred,
+  But so far up that the blue is blurred,
+  So far up no green leaf flies.                                       5
+  Twixt its blue and the blue of the skies,
+  Then I know, ere a note be heard,
+  That is naught but the Indigo bird.
+
+      Blue on the branch and blue in the sky,
+      And naught between but the breezes high,                        10
+      And naught so blue by the breezes stirred
+      As the deep, deep blue of the Indigo bird.
+
+                    When I hear
+  A song like a bird laugh, blithe and clear,
+  As though of some airy jest he had heard                            15
+  The last and the most delightful word,
+  A laugh as fresh in the August haze
+  As it was in the full-voiced April days,
+  Then I know that my heart is stirred
+  By the laugh-like song of the Indigo bird.                          20
+
+      Joy in the branch and joy in the sky,
+      And naught between but the breezes high;
+      And naught so glad on the breezes heard
+      As the gay, gay note of the Indigo bird.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Suggest a picture which would serve as an
+  illustration for this poem.
+
+  How does the Imaging affect the Pitch in the first two
+  stanzas?
+
+  What feelings does the poem arouse? Where do these
+  feelings reach a Climax? What is the effect on the
+  Pitch?
+
+  What other Climax is found in the poem besides the
+  Climax of feeling?
+
+  FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.)
+
+  BREEZES STIRRED. (Appendix A, 6.)
+
+  What is the Inflection on ll. 1-6 of stanza i and iii?
+  (Introduction, p. 17.) How does the Pitch of these lines
+  differ from that of ll. 7 and 8 of these stanzas?
+  Account for the change. (Introduction, p. 23.)
+
+  What are the contrasting words in l. 6, stanza i?
+
+  Note the Grouping and Pause in ll. 3 and 4, stanza iii.
+
+       *       *       *       *       *
+
+
+THE PASTURE FIELD
+
+
+  When spring has burned
+    The ragged robe of winter, stitch by stitch,
+  And deftly turned
+    To moving melody the wayside ditch,
+  The pale-green pasture field behind the bars                         5
+  Is goldened o'er with dandelion stars.
+
+  When summer keeps
+    Quick pace with sinewy white-shirted arms,
+  And daily steeps
+    In sunny splendour all her spreading farms,                       10
+  The pasture field is flooded foamy white
+  With daisy faces looking at the light.
+
+  When autumn lays
+    Her golden wealth upon the forest floor,
+  And all the days                                                    15
+    Look backward at the days that went before,
+  A pensive company, the asters, stand,
+  Their blue eyes brightening the pasture land.
+
+  When winter lifts
+    A sounding trumpet to his strenuous lips,                         20
+  And shapes the drifts
+    To curves of transient loveliness, he slips
+  Upon the pasture's ineffectual brown
+  A swan-soft vestment delicate as down.
+
+      --_Ethelwyn Wetherald_ (_By permission_)
+
+
+  PREPARATORY.--Select the phrases which call into play
+  the Imaging process.
+
+  Describe four typical Canadian scenes suggested by this
+  poem.
+
+  Distinguish the sound of _a_ in PASTURE, RAGGED, BARS,
+  etc. (Appendix A, 1.)
+
+  What words express the central ideas in each stanza, and
+  at the same time form a contrast with one another?
+
+  What Inflection is used in the first four lines of each
+  stanza? (Introduction, p. 16.)
+
+  How does the Shading of these lines compare with that of
+  the last two of each stanza? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+SHIPWRECKED
+
+From "Kidnapped"
+
+
+1. The time I spent upon the island is still so horrible a thought to
+me that I must pass it lightly over. In all the books I have read of
+people cast away, either they had their pockets full of tools, or a
+chest of things would be thrown upon the beach along with them, as if
+on purpose. My case was very much different. I had nothing in my
+pockets but money and Alan's silver button; and being inland bred, I
+was as much short of knowledge as of means.
+
+2. I knew indeed that shellfish were counted good to eat; and among
+the rocks of the isle I found a great plenty of limpets, which at
+first I could scarcely strike from their places, not knowing quickness
+to be needful. There were, besides, some of the little shells that we
+call buckies; I think periwinkle is the English name. Of these two I
+made my whole diet, devouring them cold and raw as I found them; and
+so hungry was I that at first they seemed to me delicious.
+
+3. Perhaps they were out of season, or perhaps there was something
+wrong in the sea about my island. But at least I had no sooner eaten
+my first meal than I was seized with giddiness and retching, and lay
+for a long time no better than dead. A second trial of the same food
+(indeed, I had no other) did better with me and revived my strength.
+
+4. But as long as I was on the island, I never knew what to expect
+when I had eaten; sometimes all was well, and sometimes I was thrown
+into a miserable sickness; nor could I ever distinguish what
+particular fish it was that hurt me. All day it streamed rain; there
+was no dry spot to be found; and when I lay down that night, between
+two boulders that made a kind of roof, my feet were in a bog.
+
+5. From a little up the hillside over the bay I could catch a sight of
+the great ancient church and the roofs of the people's houses in Iona.
+And on the other hand, over the low country of the Ross, I saw smoke
+go up, morning and evening, as if from a homestead in a hollow of the
+land.
+
+6. I used to watch this smoke, when I was wet and cold and had my head
+half-turned with loneliness, and think of the fireside and of the
+company till my heart burned. Altogether, this sight I had of men's
+homes and comfortable lives, although it put a point on my own
+sufferings, yet it kept hope alive, and helped me to eat my raw
+shellfish (which had soon grown to be a disgust), and saved me from
+the sense of horror I had whenever I was quite alone with dead rocks,
+and fowls, and the rain, and the cold sea.
+
+7. Charles the Second declared a man could stay outdoors more days in
+the year in the climate of England than in any other. That was very
+like a king with a palace at his back and changes of dry clothes. But
+he must have had better luck on his flight from Worcester than I had
+on that miserable isle. It was the height of summer; yet it rained for
+more than twenty-four hours, and did not clear until the afternoon of
+the third day.
+
+8. There is a pretty high rock on the north-west of Earraid, which
+(because it had a flat top and overlooked the Sound) I was much in the
+habit of frequenting; not that I ever stayed in one place, save when
+asleep, my misery giving me no rest. Indeed, I wore myself down with
+continual and aimless goings and comings in the rain.
+
+9. As soon, however, as the sun came out, I lay down on the top of
+that rock to dry myself. The comfort of the sunshine is a thing I
+cannot tell. It set me thinking hopefully of my deliverance, of which
+I had begun to despair; and I scanned the sea and the Ross with a
+fresh interest. On the south of my rock a part of the island jutted
+out and hid the open ocean so that a boat could thus come quite near
+me upon that side and I be none the wiser.
+
+10. Well, all of a sudden, a coble, with a brown sail and a pair of
+fishers aboard of it, came flying round that corner of the isle, bound
+for Iona. I shouted out, and then fell on my knees on the rock and
+prayed to them. They were near enough to hear--I could even see the
+colour of their hair--and there was no doubt but they observed me, for
+they cried out in the Gaelic tongue, and laughed. But the boat never
+turned aside, and flew right on, before my eyes, for Iona.
+
+11. I could not believe such wickedness, and ran along the shore from
+rock to rock, crying on them piteously; even after they were out of
+reach of my voice I still cried and waved to them; and when they were
+quite gone I thought my heart would burst.
+
+12. The next day (which was the fourth of this horrible life of mine)
+I found my bodily strength run very low. But the sun shone, the air
+was sweet, and what I managed to eat of the shellfish agreed well with
+me and revived my courage.
+
+13. I was scarce back on my rock (where I went always the first thing
+after I had eaten) before I observed a boat coming down the Sound, and
+with her head, as I thought, in my direction.
+
+14. I began at once to hope and fear exceedingly; for I thought these
+men might have thought better of their cruelty and be coming back to
+my assistance. But another disappointment, such as yesterday's, was
+more than I could bear. I turned my back accordingly upon the sea, and
+did not look again till I had counted many hundreds.
+
+15. The boat was still heading for the island. The next time I counted
+the full thousand, as slowly as I could, my heart beating so as to
+hurt me. And then it was out of all question. She was coming straight
+to Earraid. I could no longer hold myself back, but ran to the seaside
+and out, from one rock to another, as far as I could go. It is a
+marvel I was not drowned; for when I was brought to a stand at last my
+legs shook under me, and my mouth was so dry I must wet it with the
+sea water before I was able to shout.
+
+16. All this time the boat was coming on; and now I was able to
+perceive it was the same boat and the same two men as yesterday. This
+I knew by their hair, which the one had of bright yellow and the other
+black. But now there was a third man along with them, who looked to be
+of a better class.
+
+17. As soon as they were come within easy speech, they let down their
+sail and lay quiet. In spite of my supplications, they drew no nearer
+in, and what frightened me most of all, the new man tee-heed with
+laughter as he talked and looked at me.
+
+18. Then he stood up in the boat and addressed me a long while,
+speaking fast and with many wavings of his hand. I told him I had no
+Gaelic; and at this he became very angry, and I began to suspect he
+thought he was talking English. Listening very close, I caught the
+word "whateffer" several times; but all the rest was Gaelic, and might
+have been Greek and Hebrew for me.
+
+19. "Whatever," said I, to show him I had caught a word. "Yes,
+yes--yes, yes," said he; and then he looked at the other men as much
+as to say, "I told you I spoke English," and began again as hard as
+ever in the Gaelic.
+
+20. This time I picked out another word, "tide." Then I had a flash of
+hope. I remembered he was always waving his hand toward the mainland
+of the Ross.
+
+21. "Do you mean when the tide is out?"--I cried, and could not
+finish.
+
+22. "Yes, yes," said he. "Tide."
+
+23. At that I turned tail upon their boat (where my adviser had once
+more begun to tee-hee with laughter), leaped back the way I had come,
+from one stone to another, and set off running across the isle as I
+had never run before. In about half an hour I came upon the shores of
+the creek, and, sure enough, it was shrunk into a little trickle of
+water, through which I dashed, not above my knees, and landed with a
+shout on the main island.
+
+24. A sea-bred boy would not have stayed a day on Earraid, which is
+only what they call a tidal islet, and, except, in the bottom of the
+neaps, can be entered and left twice in every twenty-four hours,
+either dry-shod, or, at the most, by wading. Even I, who had seen the
+tide going out and in before me in the bay, and even watched for the
+ebbs, the better to get my shellfish--even I (I say), if I had sat
+down to think, instead of raging at my fate, must have soon guessed
+the secret and got free.
+
+25. It was no wonder the fishers had not understood me. The wonder was
+rather that they had ever guessed my pitiful illusion, and taken the
+trouble to come back. I had starved with cold and hunger on that
+island for close upon one hundred hours. But for the fishers, I might
+have left my bones there, in pure folly. And even as it was, I had
+paid for it pretty dear, not only in past sufferings but in my present
+case, being clothed like a beggar man, scarce able to walk, and in
+great pain of my sore throat.
+
+26. I have seen wicked men and fools--a great many of both--and I
+believe they both get paid in the end; but the fools first.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  How are the parenthetical clauses in this selection kept
+  in the back-ground? (Introduction, p. 24.)
+
+  11. I could not believe such wickedness ... heart would
+  burst. Observe the Climax. (Introduction, p. 31.)
+
+  19. Whatever, said I, ... How is the direct speech made
+  to stand out from the narration which interrupts it?
+  (Introduction, p. 24.)
+
+       *       *       *       *       *
+
+
+ON HIS BLINDNESS
+
+
+  When I consider how my light is spent
+    Ere half my days, in this dark world and wide,
+    And that one talent which is death to hide,
+  Lodged with me useless, though my soul more bent
+  To serve therewith my Maker, and present
+    My true account, lest He, returning, chide;
+    "Doth God exact day labour, light denied?"
+
+  I fondly ask. But Patience, to prevent
+  That murmur, soon replies, "God doth not need
+    Either man's work, or His own gifts. Who best
+    Bear His mild yoke, they serve Him best: His state
+  Is kingly; thousands at His bidding speed,
+    And post o'er land and ocean without rest:
+    They also serve who only stand and wait."
+
+      --_Milton_
+
+
+  PREPARATORY.--Divide the sonnet into two parts, giving
+  each part a title.
+
+  Read the first part in prose order, supplying the
+  ellipses.
+
+  How many distinct statements are there in the second
+  part?
+
+  Select the clauses of the first part that are equal in
+  rank and have the same Shading. Show which should be
+  made prominent, and which held in the background.
+
+  Read the first part of this sonnet, with a view to
+  Perspective. (Introduction, p. 33.)
+
+  1-4. With what do you connect WHEN ... SPENT, and
+  LODGED? How?
+
+  How do you make the statements of the second part stand
+  out singly? (Introduction, pp. 8 and 10.)
+
+       *       *       *       *       *
+
+
+BRIGGS IN LUCK
+
+From "Doctor Birch and his Young Friends"
+
+
+_Enter the Knife-boy._ Hamper for Briggses!
+_Master Brown._ Hurray, Tom Briggs! I'll lend you my knife.
+
+If this story does not carry its own moral, what fable does, I wonder?
+Before the arrival of that hamper, Master Briggs was in no better
+repute than any other young gentleman of the lower school; and in fact
+I had occasion myself, only lately, to correct Master Brown for
+kicking his friend's shins during the writing-lesson. But how this
+basket, directed by his mother's house-keeper, and marked "GLASS WITH
+CARE," whence I concluded that it contained some jam and some bottles
+of wine probably, as well as the usual cake and game-pie, and half a
+sovereign for the elder Master B., and five new shillings for Master
+Decimus Briggs--how, I say, the arrival of this basket alters all
+Master Briggs's circumstances in life, and the estimation in which
+many persons regard him!
+
+If he is a good-hearted boy, as I have reason to think, the very first
+thing he will do, before inspecting the contents of the hamper, or
+cutting into them with the knife which Master Brown has so
+considerately lent him, will be to read over the letter from home
+which lies on top of the parcel. He does so, as I remarked to Miss
+Raby (for whom I happened to be mending pens when the little
+circumstance arose), with a flushed face and winking eyes. Look how
+the other boys are peering into the basket as he reads--I say to her,
+"Isn't it a pretty picture?" Part of the letter is in a very large
+hand. That is from his little sister. And I would wager that she
+netted the little purse which he has just taken out of it, and which
+Master Lynx is eyeing.
+
+"You are a droll man, and remark all sorts of queer things," Miss Raby
+says, smiling, and plying her swift needle and fingers as quick as
+possible.
+
+"I am glad we were both on the spot, and that the little fellow lies
+under our guns as it were, and so is protected from some such brutal
+school-pirate as young Duval for instance, who would rob him,
+probably, of some of those good things; good in themselves, and better
+because fresh from home. See, there is a pie as I said, and which I
+daresay is better than those which are served at our table (but you
+never take any notice of these kind of things, Miss Raby), a cake, of
+course, a bottle of currant wine, jam-pots, and no end of pears in
+the straw. With this money little Briggs will be able to pay the tick
+which that impudent child has run up with Mrs. Ruggles; and I shall
+let Briggs Major pay for the pencil-case which Bullock sold to
+him.--It will be a lesson to the young prodigal for the future.
+
+"But, I say, what a change there will be in his life for some time to
+come, and at least until his present wealth is spent! The boys who
+bully him will mollify toward him and accept his pie and sweetmeats.
+They will have feasts in the bedroom; and that wine will taste more
+deliciously to them than the best out of the Doctor's cellar. The
+cronies will be invited. Young Master Wagg will tell his most dreadful
+story and sing his best song for a slice of that pie. What a jolly
+night they will have! When we go the rounds at night, Mr. Prince and I
+will take care to make a noise before we come to Briggs's room, so
+that the boys may have time to put the light out, to push the things
+away, and to scud into bed. Doctor Spry may be put in requisition the
+next morning."
+
+"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I
+lay down the twelfth pen very nicely mended.
+
+"Yes; after luxury comes the doctor, I say; after extravagance, a hole
+in the breeches pocket. To judge from his disposition, Briggs Major
+will not be much better off a couple of days hence than he is now,
+and, if I am not mistaken, will end life a poor man. Brown will be
+kicking his shins before a week is over, depend upon it. There are
+boys and men of all sorts, Miss R.--there are selfish sneaks who hoard
+until the store they daren't use grows mouldy--there are spendthrifts
+who fling away, parasites who flatter and lick its shoes, and
+snarling curs who hate and envy good fortune."
+
+I put down the last of the pens, brushing away with it the quill chips
+from her desk first, and she looked at me with a kind, wondering face.
+I brushed them away, clicked the pen-knife into my pocket, made her a
+bow, and walked off--for the bell was ringing for school.
+
+      --_William Makepeace Thackeray_
+
+
+  MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.)
+
+  FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix
+  A, 3 and 6.)
+
+  Make an analysis from the standpoint of Perspective of
+  the following sentences: BUT HOW THIS BASKET ... REGARD
+  HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO
+  ... WINKING EYES; SEE THERE IS A PIE ... STRAW.
+
+       *       *       *       *       *
+
+
+THE LAUGHING SALLY
+
+
+  A wind blew up from Pernambuco,
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  A wind blew out of the east-sou'-east
+    And boomed at the break of day.                                    5
+
+  The _Laughing Sally_ sped for her life,
+    And a speedy craft was she.
+  The black flag flew at her top to tell
+    How she took toll of the sea.
+
+  The wind blew up from Pernambuco;                                   10
+    And in the breast of the blast
+  Came the King's black ship like a hound let slip
+    On the trail of the _Sally_ at last.
+
+  For a day and a night, a night and a day;
+    Over the blue, blue round,                                        15
+  Went on the chase of the pirate quarry,
+    The hunt of the tireless hound.
+
+  "Land on the port bow!" came the cry;
+    And the _Sally_ raced for shore,
+  Till she reached the bar at the river-mouth                         20
+    Where the shallow breakers roar.
+
+  She passed the bar by a secret channel
+    With clear tide under her keel,--
+  For he knew the shoals like an open book,
+    The captain at the wheel.                                         25
+
+  She passed the bar, she sped like a ghost,
+    Till her sails were hid from view
+  By the tall, liana'd, unsunned boughs
+    O'erbrooding the dark bayou.
+
+  At moonrise up to the river-mouth                                   30
+    Came the King's black ship of war,
+  The red cross flapped in wrath at her peak,
+    But she could not cross the bar.
+
+  And while she lay in the run of the seas,
+    By the grimmest whim of chance,                                   35
+  Out of the bay to the north came forth
+    Two battle-ships of France.
+
+  On the English ship the twain bore down
+    Like wolves that range by night;
+  And the breakers' roar was heard no more                            40
+    In the thunder of the fight.
+
+  The crash of the broadsides rolled and stormed
+    To the _Sally_ hid from view
+  Under the tall liana'd boughs
+    Of the moonless dark bayou.                                       45
+
+  A boat ran out for news of the fight,
+    And this was the word she brought--
+  "The King's ship fights the ships of France
+    As the King's ships all have fought!"
+
+  Then muttered the mate, "I'm a man of Devon!"                       50
+    And the captain thundered then--
+  "There's English rope that bides for our necks,
+    But we all be Englishmen!"
+
+  The _Sally_ glided out of the gloom
+    And down the moon-white river.                                    55
+  She stole like a gray shark over the bar
+    Where the long surf seethes for ever.
+
+  She hove to under a high French hull,
+    And the red cross rose to her peak.
+  The French were looking for fight that night,                       60
+    And they hadn't far to seek.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!                                      65
+
+  And when the stars paled out of heaven
+    And the red dawn-rays uprushed,
+  The oaths of battle, the crash of timbers,
+    The roar of the guns was hushed.
+
+  With one foe beaten under his bow,                                  70
+    The other far in flight,
+  The English captain turned to look
+    For his fellow in the fight.
+
+  The English captain turned and stared;--
+    For where the _Sally_ had been                                    75
+  Was a single spar upthrust from the sea
+    With the red cross flag serene!
+
+  A wind blew up from Pernambuco
+    (Yeo heave ho! the _Laughing Sally_!
+    Hi yeo, heave away!)
+  And boomed for the doom of the _Laughing Sally_!
+    Gone down at the break of day.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+
+  PREPARATORY.--Divide the poem into sections giving to
+  each part a descriptive title. (Introduction, p. 10.)
+  How is each section made to stand out?
+
+  In what Time is the section which describes the flight
+  of the _Laughing Sally_ read? Give your reason.
+  (Introduction, pp. 5 and 13.)
+
+  Contrast the first and last stanzas from the standpoint
+  of feeling. How does the voice express the difference?
+
+  BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
+  A, 2, 3, 5, and 6.)
+
+  Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
+  LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
+  (Appendix A, 1.)
+
+  8-9. Note the Grouping and Pause. (Introduction, p. 11.)
+
+  11-13. Observe the Grouping. Which phrases have the
+  heaviest Shading? (Introduction, p. 33.)
+
+  16. Where is the Pause? Why?
+
+  18. LAND ON THE PORT BOW. What change is made in Pitch
+  and Force? Account for it. (Introduction, pp. 22 and
+  25.)
+
+  24. What is the Inflection on this line?
+
+  30-37. Observe the Grouping and Shading throughout these
+  stanzas.
+
+  38-45. What sense is appealed to in these stanzas? How
+  is the Time affected?
+
+  46-53. How are the transitions to direct discourse
+  indicated? (Introduction, p. 24.)
+
+  What is the difference in Pitch between the mate's and
+  the captain's speech? (Introduction, p. 23.)
+
+  66-67. Note the contrast with the preceding stanza and
+  with the two following lines.
+
+       *       *       *       *       *
+
+
+THE PRODIGAL SON
+
+Luke xv 11-32
+
+
+A certain man had two sons: And the younger of them said to his
+father, Father, give me the portion of goods that falleth to me. And
+he divided unto them his living.
+
+And not many days after the younger son gathered all together, and
+took his journey into a far country, and there wasted his substance
+with riotous living. And when he had spent all, there arose a mighty
+famine in that land; and he began to be in want. And he went and
+joined himself to a citizen of that country; and he sent him into his
+fields to feed swine. And he would fain have filled his belly with the
+husks that the swine did eat: and no man gave unto him. And when he
+came to himself, he said, How many hired servants of my father's have
+bread enough and to spare, and I perish with hunger! I will arise and
+go to my father, and will say unto him, Father, I have sinned against
+heaven, and before thee, and am no more worthy to be called thy son:
+make me as one of thy hired servants.
+
+And he arose, and came to his father. But when he was yet a great way
+off, his father saw him, and had compassion, and ran, and fell on his
+neck, and kissed him. And the son said unto him, Father, I have sinned
+against heaven, and in thy sight, and am no more worthy to be called
+thy son. But the father said to his servants, Bring forth the best
+robe, and put it on him; and put a ring on his hand, and shoes on his
+feet: And bring hither the fatted calf, and kill it; and let us eat,
+and be merry; For this my son was dead, and is alive again; he was
+lost, and is found. And they began to be merry.
+
+Now his elder son was in the field: and as he came and drew nigh to
+the house, he heard musick and dancing. And he called one of the
+servants, and asked what these things meant. And he said unto him, Thy
+brother is come; and thy father hath killed the fatted calf, because
+he hath received him safe and sound. And he was angry, and would not
+go in: therefore came his father out, and intreated him. And he
+answering said to his father, Lo, these many years do I serve thee,
+neither transgressed I at any time thy commandment; and yet thou never
+gavest me a kid, that I might make merry with my friends: But as soon
+as this thy son was come, which hath devoured thy living with harlots,
+thou hast killed for him the fatted calf. And he said unto him, Son,
+thou art ever with me, and all that I have is thine. It was meet that
+we should make merry, and be glad, for this thy brother was dead, and
+is alive again; and was lost, and is found.
+
+
+  PREPARATORY.--Divide this parable into four parts,
+  giving each part a descriptive title.
+
+  Describe pictures to illustrate each part.
+
+  Connect the parable with any similar story drawn from
+  modern life. Fill in details to account for (_a_) the
+  prodigal's desire to leave home, (_b_) the father's
+  great joy at his return, (_c_) the elder brother's
+  jealousy.
+
+  HOW MANY HIRED SERVANTS, ETC. What are the prodigal's
+  feelings? What new feeling is introduced with (_a_) I
+  WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.?
+
+  In what Time and Pitch do you read the passages which
+  describe the father's joy? (Introduction, pp. 12 and
+  22.)
+
+  What feeling pervades the speech of the elder son? What
+  is the motive of the father's reply?
+
+  Explain the Emphasis in the following; (_a_) AND HE SENT
+  HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_)
+  THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST
+  ME A KID. (Introduction, pp. 30 and 31.)
+
+  Explain the Inflection on DEAD, ALIVE, LOST, FOUND.
+
+       *       *       *       *       *
+
+
+CHRISTMAS AT SEA
+
+
+  The sheets were frozen hard, and they cut the naked hand;
+  The decks were like a slide, where a seaman scarce could stand;
+  The wind was a nor'-wester, blowing squally off the sea;
+  And cliffs and spouting breakers were the only things a-lee.
+
+  They heard the surf a-roaring before the break of day;               5
+  But 'twas only with the peep of light we saw how ill we lay.
+  We tumbled every hand on deck instanter, with a shout,
+  And we gave her the maintops'l, and stood by to go about.
+
+  All day we tacked and tacked between the South Head and the North;
+  All day we hauled the frozen sheets, and got no further forth;      10
+  All day as cold as charity, in bitter pain and dread,
+  For very life and nature we tacked from Head to Head.
+
+  We gave the South a wider berth, for there the tide-race roared,
+  But every tack we made we brought the North Head close aboard;
+  So's we saw cliffs and houses, and the breakers running high,       15
+  And the coast-guard in his garden, with his glass against his eye.
+
+  The frost was on the village roofs as white as ocean foam;
+  The good red fires were burning bright in every 'longshore home;
+  The windows sparkled clear, and the chimneys volleyed out;
+  And I vow we sniffed the victuals, as the vessel went about.        20
+
+  The bells upon the church were rung with a mighty jovial cheer;
+  For it's just that I should tell you how (of all days in the year)
+  This day of our adversity was blessèd Christmas morn,
+  And the house above the coast-guard's was the house where I was born.
+
+  O well I saw the pleasant room, the pleasant faces there,           25
+  My mother's silver spectacles, my father's silver hair;
+  And well I saw the firelight, like a flight of homely elves,
+  Go dancing round the china plates that stand upon the shelves.
+
+  And well I knew the talk they had, the talk that was of me,
+  Of the shadow on the household and the son that went to sea;        30
+  And O the wicked fool I seemed, in every kind of way,
+  To be here and hauling frozen ropes on blessèd Christmas day.
+
+  They lit the high sea-light, and the dark began to fall.
+  "All hands to loose topgallant sails," I heard the captain call.
+  "Captain, she'll never stand it," our first mate, Jackson, cried. 35
+  "It's the one way or the other, Mr. Jackson," he replied.
+
+  She staggered to her bearings, but the sails were new and good,
+  And the ship smelt up to windward just as though she understood.
+  As the winter's day was ending, in the entry of the night,
+  We cleared the weary headland, and passed below the light.          40
+
+  And they heaved a mighty breath, every soul on board but me,
+  As they saw her nose again pointing handsome out to sea;
+  But all that I could think of, in the darkness and the cold,
+  Was just that I was leaving home, and my folks were growing old.
+
+      --_Robert Louis Stevenson_ (_By arrangement_)
+
+
+  PREPARATORY.--Supply an introduction and a conclusion
+  for the story suggested by this poem.
+
+  Indicate the pauses which should be made in this poem
+  after words and phrases: (_a_) because of the Imaging
+  process, (_b_) in order to conceive the thought more
+  fully, (_c_) in passing from the narration of one action
+  to that of another, (_d_) because of direct speech
+  interrupted by narrative. (Introduction, pp. 7, 24, and
+  27.)
+
+  20 and 22. Indicate the Pause before phrases to prepare
+  the mind for what is coming. (Introduction, p. 8.) What
+  Inflection is used as a connecting link? (Introduction,
+  p. 16.)
+
+  27. FIRELIGHT. With what should it be connected? How?
+  (Introduction, p. 24.)
+
+  34. ALL HANDS ... SAILS. What change in Pitch and Force?
+  (Introduction, pp. 22 and 26.)
+
+  40. What is the Shading? (Introduction, p. 33.)
+
+  Compare the mental state of the captain with that of the
+  first mate. How is the difference indicated in the Pitch
+  of their respective speeches? (Introduction, p. 22.)
+
+  Connect stanzas vii and viii with the last two lines of
+  the poem. What background of thought is suggested? How
+  is the rate of reading affected by the thoughts
+  suggested? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+THE EVENING WIND
+
+
+  Spirit that breathest through my lattice, thou
+    That cool'st the twilight of the sultry day,
+  Gratefully flows thy freshness round my brow:
+    Thou hast been out upon the deep at play,
+  Riding all day the wild blue waves till now,                         5
+    Roughening their crests, and scattering high their spray,
+  And swelling the white sail. I welcome thee
+  To the scorched land, thou wanderer of the sea!
+
+  Nor I alone;--a thousand bosoms round
+    Inhale thee in the fulness of delight;                            10
+  And languid forms rise up, and pulses bound
+    Livelier at coming of the wind of night;
+  And, languishing to hear thy grateful sound,
+    Lies the vast inland stretched beyond the sight.
+  Go forth into the gathering shade; go forth,                        15
+  God's blessing breathed upon the fainting earth!
+
+  Go, rock the little wood-bird in his nest,
+    Curl the still waters, bright with stars, and rouse
+  The wide old wood from his majestic rest,
+    Summoning from the innumerable boughs                             20
+  The strange deep harmonies that haunt his breast:
+    Pleasant shall be thy way, where meekly bows
+  The shutting flower and darkling waters pass,
+  And where the o'ershadowing branches sweep the grass.
+
+  The faint old man shall lean his silver head                        25
+    To feel thee; thou shalt kiss the child asleep,
+  And dry the moistened curls that overspread
+    His temples, while his breathing grows more deep;
+  And they who stand about the sick man's bed
+    Shall joy to listen to thy distant sweep,                         30
+  And softly part his curtains to allow
+  Thy visit, grateful to his burning brow.
+
+  Go,--but the circle of eternal change,
+    Which is the life of nature, shall restore,
+  With sounds and scents from all thy mighty range,                   35
+    Thee to thy birthplace of the deep once more;
+  Sweet odours in the sea-air, sweet and strange,
+    Shall tell the home-sick manner of the shore;
+  And, listening to thy murmur, he shall dream
+  He hears the rustling leaf and running stream.                      40
+
+      --_William Cullen Bryant_
+
+
+  PREPARATORY.--Describe fully the picture suggested by
+  (_a_) the first three lines of stanza i, (_b_) the last
+  four lines of stanza i, (_c_) stanza ii. Give to each a
+  suitable title.
+
+  1, 2, and 6. (Appendix A, 3, 4, and 8.)
+
+  1. THOU. What is the Inflection?
+
+  6. How does the sound accord with the sense?
+
+  15. GO FORTH ... GO FORTH. Where is the Emphasis?
+  (Introduction, p. 31.)
+
+  19-21. What feeling is aroused? How is the Quality of
+  voice affected? (Introduction, p. 34.)
+
+  25-32. What change in Time? Account for it.
+  (Introduction, p. 13.)
+
+  31. What atmosphere is created in this line? What
+  Quality of voice is the result? What lines in the last
+  stanza have the same atmosphere? (Introduction, p. 34.)
+
+  36. With what should THEE be connected? In what way?
+
+  33-36. What portions are read in lighter Shading?
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+PARADISE AND THE PERI
+
+From "Lalla Rookh"
+
+
+    One morn a Peri at the gate
+    Of Eden stood, disconsolate;
+  And as she listened to the Springs
+    Of Life within, like music flowing,
+  And caught the light upon her wings                                  5
+    Through the half-open portal glowing,
+  She wept to think her recreant race
+  Should e'er have lost that glorious place!
+  "How happy," exclaimed this child of air,
+  "Are the holy spirits who wander there,                             10
+    'Mid flowers that never shall fade or fall;
+  Though mine are the gardens of earth and sea,
+  And the stars themselves have flowers for me,
+    One blossom of Heaven out-blooms them all!"
+
+  The glorious Angel, who was keeping                                 15
+  The Gates of Light, beheld her weeping;
+  And, as he nearer drew and listened
+  To her sad song, a tear-drop glistened
+  Within his eyelids, like the spray
+    From Eden's fountain, when it lies                                20
+  On the blue flower, which--Brahmins say--
+    Blooms nowhere but in Paradise.
+  "Nymph of a fair, but erring line!"
+  Gently he said,--"One hope is thine.
+    'Tis written in the Book of Fate,                                 25
+    _The Peri yet may be forgiven
+  Who brings to this Eternal Gate
+    The Gift that is most dear to Heaven!_
+  Go, seek it, and redeem thy sin:
+  'Tis sweet to let the Pardoned in!"                                 30
+
+  Downward the Peri turns her gaze,
+  And, through the war-field's bloody haze,
+  Beholds a youthful warrior stand
+    Alone, beside his native river,--
+  The red blade broken in his hand,                                   35
+    And the last arrow in his quiver.
+  "Live," said the conqueror, "live to share
+  The trophies and the crowns I bear!"
+  Silent that youthful warrior stood--
+  Silent he pointed to the flood                                      40
+  All crimson with his country's blood,
+  Then sent his last remaining dart,
+  For answer, to th' invader's heart.
+
+  False flew the shaft, though pointed well;
+  The tyrant lived, the hero fell!                                    45
+  Yet marked the Peri where he lay,
+    And when the rush of war was past,
+  Swiftly descending on a ray
+    Of morning light, she caught the last,
+  Last glorious drop his heart had shed,                              50
+  Before its free-born spirit fled!
+
+  "Be this," she cried, as she winged her flight,
+  "My welcome gift at the Gates of Light."
+  "Sweet," said the Angel, as she gave
+    The gift into his radiant hand,                                   55
+  "Sweet is our welcome of the brave
+    Who die thus for their native land.--
+  But see--alas!--the crystal bar
+  Of Eden moves not--holier far
+  Than e'en this drop the boon must be,                               60
+  That opes the Gates of Heaven for thee!"
+
+  But nought can charm the luckless Peri;
+  Her soul is sad, her wings are weary.
+    When, o'er the vale of Balbec winging
+  Slowly, she sees a child at play,                                   65
+  Among the rosy wild-flowers singing,
+    As rosy and as wild as they;
+  Chasing, with eager hands and eyes,
+  The beautiful blue damsel-flies
+  That fluttered round the jasmine stems,                             70
+  Like-wingèd flowers or flying gems:
+  And, near the boy, who, tired with play,
+  Now nestling 'mid the roses lay,
+  She saw a wearied man dismount
+    From his hot steed, and on the brink                              75
+  Of a small imaret's rustic fount
+    Impatient fling him down to drink.
+  Then swift his haggard brow he turned
+    To the fair child, who fearless sat,
+  Though never yet hath daybeam burned                                80
+    Upon a brow more fierce than that.
+
+  But hark! the vesper call to prayer,
+    As slow the orb of daylight sets,
+  Is rising sweetly on the air,
+    From Syria's thousand minarets!                                   85
+  The boy has started from the bed
+  Of flowers, where he had laid his head,
+  And down upon the fragrant sod
+    Kneels, with his forehead to the south,
+  Lisping th' eternal name of God                                     90
+    From purity's own cherub mouth.
+
+  And how felt he, the wretched man,
+  Reclining there--while memory ran
+  O'er many a year of guilt and strife,
+  Flew o'er the dark flood of his life,                               95
+  Nor found one sunny resting-place,
+  Nor brought him back one branch of grace?
+  "There was a time," he said, in mild,
+  Heart-humbled tones, "thou blessed child!
+    When, young and haply pure as thou,                              100
+    I looked and prayed like thee--but now--"
+  He hung his head--each nobler aim,
+    And hope, and feeling, which had slept
+  From boyhood's hour, that instant came
+    Fresh o'er him, and he wept--he wept!                            105
+
+  And now, behold him kneeling there
+  By the child's side, in humble prayer,
+  While the same sunbeam shines upon
+  The guilty and the guiltless one,
+  And hymns of joy proclaim through Heaven                           110
+  The triumph of a soul forgiven!
+
+  'Twas when the golden orb had set,
+  While on their knees they lingered yet,
+  There fell a light, more lovely far
+  Than ever came from sun or star,                                   115
+  Upon the tear that, warm and meek,
+  Dewed that repentant sinner's cheek:
+  To mortal eye that light might seem
+  A northern flash or meteor beam--
+  But well th' enraptured Peri knew                                  120
+  'Twas a bright smile the Angel threw
+  From Heaven's gate, to hail that tear--
+  Her harbinger of glory near!
+  "Joy, joy for ever! my task is done:
+  The Gates are passed, and Heaven is won!"                          125
+
+      --_Thomas Moore_
+
+
+  PREPARATORY.--Divide this selection into four scenes,
+  describing minutely each scene, and pointing out what
+  part of the poem it covers. (Introduction, p. 10.)
+
+  What feelings are aroused by each scene?
+
+  SPIRIT, NATIVE, PURITY. (Appendix A, 8.)
+
+  1-4. Give two examples of Grouping from these lines.
+  Give numerous other examples throughout the selection,
+  and show how Grouping affects the Inflection and Pause.
+  (Introduction, pp. 10-12.)
+
+  3-7. Read with a view to Perspective. Select other
+  examples, noting especially ll. 17-22, 47-51, 72-77, and
+  112-117. (Introduction, p. 33.)
+
+  9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24
+  and 27.) Give other examples of direct discourse broken
+  by narration.
+
+  54 and 56. SWEET ... SWEET. Which word is more emphatic?
+  (Introduction, p. 31.) Compare l. 105.
+
+  84. With what should IS RISING be connected? How?
+  Compare UPON THE TEAR, l. 116.
+
+       *       *       *       *       *
+
+
+THE LADY OF SHALOTT
+
+PART 1
+
+
+  On either side the river lie
+  Long fields of barley and of rye,
+  That clothe the wold and meet the sky;
+  And thro' the field the road runs by
+      To many-tower'd Camelot;
+  And up and down the people go,
+  Gazing where the lilies blow
+  Round an island there below,
+      The island of Shalott.
+
+  Willows whiten, aspens quiver,
+  Little breezes dusk and shiver
+  Thro' the wave that runs for ever
+  By the island in the river
+      Flowing down to Camelot.
+  Four gray walls, and four gray towers,
+  Overlook a space of flowers,
+  And the silent isle embowers
+      The Lady of Shalott.
+
+  By the margin, willow-veil'd,
+  Slide the heavy barges trail'd
+  By slow horses; and unhail'd
+  The shallop flitteth silken-sail'd
+      Skimming down to Camelot:
+  But who has seen her wave her hand?
+  Or at the casement seen her stand?
+  Or is she known in all the land,
+      The Lady of Shalott?
+
+  Only reapers, reaping early
+  In among the bearded barley,
+  Hear a song that echoes cheerly
+  From the river winding clearly,
+      Down to tower'd Camelot:
+  And by the moon the reaper weary,
+  Piling sheaves in uplands airy,
+  Listening, whispers "'Tis the fairy
+      Lady of Shalott."
+
+
+PART II
+
+  There she weaves by night and day
+  A magic web with colours gay.
+  She has heard a whisper say,
+  A curse is on her if she stay
+      To look down to Camelot.
+  She knows not what the curse may be,
+  And so she weaveth steadily,
+  And little other care hath she,
+      The Lady of Shalott.
+
+  And moving thro' a mirror clear
+  That hangs before her all the year,
+  Shadows of the world appear.
+  There she sees the highway near
+      Winding down to Camelot:
+  There the river eddy whirls,
+  And there the surly village-churls,
+  And the red cloaks of market girls,
+      Pass onward from Shalott.
+
+  Sometimes a troop of damsels glad,
+  An abbot on an ambling pad,
+  Sometimes a curly shepherd-lad,
+  Or long-hair'd page in crimson clad,
+      Goes by to tower'd Camelot;
+  And sometimes thro' the mirror blue
+  The knights come riding two and two:
+  She hath no loyal knight and true,
+      The Lady of Shalott.
+
+  But in her web she still delights
+  To weave the mirror's magic sights,
+  For often thro' the silent nights
+  A funeral, with plumes and lights
+      And music, went to Camelot:
+  Or when the moon was overhead,
+  Came two young lovers lately wed;
+  "I am half sick of shadows," said
+      The Lady of Shalott.
+
+
+PART III
+
+  A bow-shot from her bower-eaves,
+  He rode between the barley-sheaves,
+  The sun came dazzling thro' the leaves,
+  And flamed upon the brazen greaves
+      Of bold Sir Lancelot.
+  A red-cross knight for ever kneel'd
+  To a lady in his shield,
+  That sparkled on the yellow field,
+      Beside remote Shalott.
+
+  The gemmy bridle glitter'd free,
+  Like to some branch of stars we see
+  Hung in the golden Galaxy.
+  The bridle bells rang merrily
+      As he rode down to Camelot:
+  And from his blazon'd baldric slung
+  A mighty silver bugle hung,
+  And as he rode his armour rung,
+      Beside remote Shalott.
+
+  All in the blue unclouded weather
+  Thick-jewell'd shone the saddle-leather,
+  The helmet and the helmet-feather
+  Burn'd like one burning flame together,
+      As he rode down to Camelot.
+  As often thro' the purple night,
+  Below the starry clusters bright,
+  Some bearded meteor, trailing light,
+      Moves over still Shalott.
+
+  His broad clear brow in sunlight glow'd;
+  On burnished hooves his war-horse trode;
+  From underneath his helmet flow'd
+  His coal-black curls as on he rode,
+      As he rode down to Camelot.
+  From the bank and from the river
+  He flash'd into the crystal mirror,
+  "Tirra lirra," by the river
+      Sang Sir Lancelot.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+      She look'd down to Camelot.
+  Out flew the web and floated wide;
+  The mirror crack'd from side to side;
+  "The curse is come upon me," cried
+      The Lady of Shalott.
+
+
+PART IV
+
+  In the stormy east-wind straining,
+  The pale yellow woods were waning,
+  The broad stream in his banks complaining,
+  Heavily the low sky raining
+      Over tower'd Camelot;
+  Down she came and found a boat
+      Beneath a willow left afloat,
+  And round about the prow she wrote
+      _The Lady of Shalott_.
+
+  And down the river's dim expanse
+  Like some bold seër in a trance,
+  Seeing all his own mischance--
+  With a glassy countenance
+      Did she look to Camelot.
+  And at the closing of the day
+  She loosed the chain and down she lay;
+  The broad stream bore her far away,
+      The Lady of Shalott.
+
+  Lying, robed in snowy white
+  That loosely flew to left and right--
+  The leaves upon her falling light--
+  Thro' the noises of the night
+      She floated down to Camelot:
+  And as the boat-head wound along
+  The willowy hills and fields among,
+  They heard her singing her last song,
+      The Lady of Shalott.
+
+  Heard a carol, mournful, holy,
+  Chanted loudly, chanted lowly,
+  Till her blood was frozen slowly,
+  And her eyes were darken'd wholly,
+      Turn'd to tower'd Camelot.
+  For ere she reach'd upon the tide
+  The first house by the water-side,
+  Singing in her song she died,
+      The Lady of Shalott.
+
+  Under tower and balcony,
+  By garden-wall and gallery,
+  A gleaming shape she floated by,
+  Dead-pale between the houses high,
+      Silent into Camelot.
+  Out upon the wharfs they came,
+  Knight and burgher, lord and dame,
+  And round the prow they read her name,
+      _The Lady of Shalott_.
+
+  Who is this? and what is here?
+  And in the lighted palace near
+  Died the sound of royal cheer;
+  And they cross'd themselves for fear,
+      All the knights at Camelot:
+  But Lancelot mused a little space;
+  He said, "She has a lovely face;
+  God in his mercy lend her grace,
+      The Lady of Shalott."
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Compare the poet's treatment of the story
+  of _The Lady of Shalott_ with that given in _Lancelot
+  and Elaine_.
+
+  Combine the smaller pictures in this poem into a number
+  of larger ones.
+
+  Give to the larger pictures titles which suggest the
+  different stages in the development of the story.
+
+  Exercises in Articulation. (Appendix A. See Examples)
+
+
+  PART I
+
+  Stanza i, ll. 1 and 4. Where is the Pause in each line?
+  Why? (Introduction, p. 11.)
+
+  Stanza iii, ll. 1 and 2. Account for the change in Time.
+  (Introduction, p. 13.)
+
+  2. Where is the Pause?
+
+  6-9. What is the Inflection in these questions?
+  (Introduction, p. 19.)
+
+  Stanza iv, l. 3. HEAR. With what word should this be
+  connected? How? (Introduction, p. 16.) Note the Shading.
+
+  6. Where are the Pauses in this line? Account for them.
+
+  8-9. In what Quality of voice are these lines read?
+  (Introduction, p. 6.) Compare from this standpoint the
+  last lines of Parts II, III, and IV.
+
+
+  Part II
+
+  Stanza i, ll. 3-5. Note the spontaneous imitation.
+  (Introduction, pp. 5 and 6.)
+
+  AND THERE THE SURLY ... TWO AND TWO. Note the three
+  separate groups of passers-by. Which group has the most
+  significance in its bearing on the rest of the poem? How
+  does the voice indicate this relative significance?
+  (Introduction, pp. 24 and 30.)
+
+  Stanza iii, l. 8. How is the transition made effective?
+  (Introduction, pp. 8, 9, and 25.)
+
+  Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading.
+  (Introduction, p. 33.)
+
+
+  PART III
+
+  HIS SHIELD, RODE DOWN, ARMOUR RUNG, SADDLE-LEATHER,
+  COAL-BLACK CURLS. (Appendix A, 6.)
+
+  Stanza i, l. 4. Observe the Grouping.
+
+  Stanza ii, l. 2. Where is the Pause? Explain. What is
+  the Inflection on STARS?
+
+  Compare the Shading in ll. 6 and 7.
+
+  Stanza iii. What are the central ideas of ll. 2 and 3?
+  How does the reader make them stand out?
+
+  6-8. Note the continuous Inflection. (Introduction, p.
+  17.)
+
+  Stanza iv, ll. 3 and 4. How does the Grouping here
+  affect the Pause and the Inflection?
+
+  Stanza v, ll. 1-4. What change in the voice indicates
+  the abrupt transition? What atmosphere does the voice
+  create as a preparation for the climax of the last four
+  lines?
+
+  1. What is the central idea of this line?
+
+  6-7. What change in Force, Pitch, and Stress expresses
+  the sudden disaster?
+
+
+  PART IV
+
+  Compare the atmosphere of the first four and a half
+  stanzas of this Part with the first four of Part III,
+  and also with the remainder of Part IV. What is the
+  difference in Pitch, Force, and Time? (Introduction, pp.
+  22, 26, and 13.)
+
+       *       *       *       *       *
+
+
+HOME THEY BROUGHT HER WARRIOR DEAD
+
+From "The Princess"
+
+
+  Home they brought her warrior dead:
+  She nor swoon'd, nor utter'd cry:
+  All her maidens, watching, said,
+  "She must weep or she will die."
+
+  Then they praised him, soft and low,
+  Call'd him worthy to be loved,
+  Truest friend and noblest foe;
+  Yet she neither spoke nor moved.
+
+  Stole a maiden from her place,
+  Lightly to the warrior stept,
+  Took the face-cloth from the face;
+  Yet she neither moved nor wept.
+
+  Rose a nurse of ninety years,
+  Set his child upon her knee--
+  Like summer tempest came her tears--
+  "Sweet my child, I live for thee."
+
+      --_Alfred Tennyson_
+
+
+  See Introduction, p. 6.
+
+       *       *       *       *       *
+
+
+THE SKY
+
+From "Modern Painters"
+
+
+1. It is a strange thing how little in general people know about the
+sky. It is the part of creation in which nature has done more for the
+sake of pleasing man, more for the sole and evident purpose of talking
+to him and teaching him, than in any other of her works, and it is
+just the part in which we least attend to her.
+
+2. There are not many of her other works in which some more material
+or essential purpose than the mere pleasing of man is not answered by
+every part of their organization; but every essential purpose of the
+sky might, so far as we know, be answered, if once in three days, or
+thereabouts, a great ugly black rain-cloud were brought up over the
+blue, and everything well watered, and so all left blue again till
+next time, with perhaps a film of morning and evening mist for dew.
+
+3. And instead of this, there is not a moment of any day of our lives,
+when nature is not producing scene after scene, picture after picture,
+glory after glory, and working still upon such exquisite and constant
+principles of the most perfect beauty, that it is quite certain it is
+all done for us, and intended for our perpetual pleasure. And every
+man, wherever placed, however far from other sources of interest or of
+beauty, has this doing for him constantly.
+
+4. The noblest scenes of the earth can be seen and known but by few;
+it is not intended that man should live always in the midst of them,
+he injures them by his presence, he ceases to feel them if he be
+always with them; but the sky is for all; bright as it is, it is not
+"too bright, nor good, for human nature's daily food"; it is fitted in
+all its functions for the perpetual comfort and exalting of the heart,
+for the soothing it and purifying it from its dross and dust.
+Sometimes gentle, sometimes capricious, sometimes awful, never the
+same for two moments together; almost human in its passions, almost
+spiritual in its tenderness, almost divine in its infinity, its appeal
+to what is immortal in us, is as distinct, as its ministry of
+chastisement or of blessing to what is mortal, is essential.
+
+5. And yet we never attend to it, we never make it a subject of
+thought, but as it has to do with our animal sensations; we look upon
+all by which it speaks to us more clearly than to brutes, upon all
+which bears witness to the intention of the Supreme, that we are to
+receive more from the covering vault than the light and the dew which
+we share with the weed and the worm, only as a succession of
+meaningless and monotonous accidents too common and too vain to be
+worthy of a moment of watchfulness, or a glance of admiration. If in
+our moments of utter idleness and insipidity, we turn to the sky as a
+last resource, which of its phenomena do we speak of?
+
+6. One says it has been wet, and another it has been windy, and
+another it has been warm. Who, among the whole chattering crowd, can
+tell me of the forms and the precipices of the chain of tall white
+mountains that girded the horizon at noon yesterday? Who saw the
+narrow sunbeam that came out of the south, and smote upon their
+summits until they melted and mouldered away in a dust of blue rain?
+Who saw the dance of the dead clouds when the sunlight left them last
+night, and the west wind blew them before it like withered leaves?
+
+7. All has passed, unregretted as unseen; or if the apathy be ever
+shaken off, even for an instant, it is only by what is gross, or what
+is extraordinary; and yet it is not in the broad and fierce
+manifestations of the elemental energies, not in the clash of the
+hail, nor the drift of the whirlwind, that the highest characters of
+the sublime are developed. God is not in the earthquake, nor in the
+fire, but in the still, small voice.
+
+8. They are but the blunt and the low faculties of our nature, which
+can only be addressed through lamp-black and lightning. It is in
+quiet and subdued passages of unobtrusive majesty, the deep, and the
+calm, and the perpetual,--that which must be sought ere it is seen,
+and loved ere it is understood,--things which the angels work out for
+us daily, and yet vary eternally, which are never wanting, and never
+repeated, which are to be found always yet each found but once; it is
+through these that the lesson of devotion is chiefly taught, and the
+blessing of beauty given.
+
+      --_John Ruskin_
+
+     (_By arrangement with George Allen, Publisher_)
+
+
+  SPIRITUAL, PRECIPICES, SUMMITS, UNOBTRUSIVE. (Appendix
+  A, 8.)
+
+  Par. 1. With what is LEAST ATTEND contrasted?
+
+  Par. 2. Why is SKY an emphatic word? Give examples of
+  momentary completeness. (Introduction, p. 16.)
+
+  Par. 3. What Inflection is placed on PERFECT BEAUTY?
+
+  Par. 4. Point out the contrasts in the first sentence.
+  What word is contrasted with DISTINCT?
+
+  Par. 5. With what is ONLY AS A SUCCESSION, ETC.,
+  connected in sense? How does the voice make the
+  connection? (Introduction, p. 33.)
+
+  Par. 7. UNREGRETTED, UNSEEN. Note the transferred
+  emphasis. (Introduction, p. 32.)
+
+  Par. 7. AND YET IT IS NOT ... NOR IN THE FIRE. Account
+  for the Inflection. (Introduction, p. 17.)
+
+       *       *       *       *       *
+
+
+THE RETURN OF THE SWALLOWS
+
+
+  "Out in the meadows the young grass springs,
+    Shivering with sap," said the larks, "and we
+  Shoot into air with our strong young wings,
+    Spirally up over level and lea;
+  Come, O Swallows, and fly with us
+  Now that horizons are luminous!
+    Evening and morning the world of light,
+    Spreading and kindling, is infinite!"
+
+  Far away, by the sea in the south,
+    The hills of olive and slopes of fern
+  Whiten and glow in the sun's long drouth,
+    Under the heavens that beam and burn;
+  And all the swallows were gather'd there
+  Flitting about in the fragrant air,
+    And heard no sound from the larks, but flew
+    Flashing under the blinding blue.
+
+  Out of the depths of their soft rich throats
+    Languidly fluted the thrushes, and said:
+  "Musical thought in the mild air floats,
+    Spring is coming and winter is dead!
+  Come, O Swallows, and stir the air,
+  For the buds are all bursting unaware,
+    And the drooping eaves and the elm-trees long
+    To hear the sound of your low sweet song."
+
+  Over the roofs of the white Algiers,
+    Flashingly shadowing the bright bazaar,
+  Flitted the swallows, and not one hears
+    The call of the thrushes from far, from far;
+  Sigh'd the thrushes; then, all at once,
+  Broke out singing the old sweet tones,
+    Singing the bridal of sap and shoot,
+    The tree's slow life between root and fruit.
+
+  But just when the dingles of April flowers
+    Shine with the earliest daffodils,
+  When, before sunrise, the cold clear hours
+    Gleam with a promise that noon fulfils,--
+  Deep in the leafage the cuckoo cried,
+  Perch'd on a spray by a rivulet-side,
+    "Swallows, O Swallows, come back again
+    To swoop and herald the April rain."
+
+  And something awoke in the slumbering heart
+    Of the alien birds in their African air,
+  And they paused, and alighted, and twitter'd apart,
+    And met in the broad white dreamy square;
+  And the sad slave-woman, who lifted up
+  From the fountain her broad-lipp'd earthen cup,
+  Said to herself, with a weary sigh,
+  "To-morrow the swallows will northward fly!"
+
+     --_Edmund William Gosse_
+
+
+  How does the vocal expression of the descriptive parts
+  of the poem differ from that of the call of the birds?
+  Account for the difference. (Introduction, p. 22.)
+
+  Point out the contrasts of thought and feeling in the
+  third and fourth stanzas respectively. Show a
+  corresponding contrast in vocal expression.
+
+  What line expresses the central idea of the fifth
+  stanza? How is this shown? (Introduction, p. 33.)
+
+  Account for the Pitch and the Force used in the
+  slave-woman's speech.
+
+  Supply a background of thought for the last four lines.
+  How does this affect the Time? (Introduction, p. 14.)
+
+       *       *       *       *       *
+
+
+BARBARA FRIETCHIE
+
+
+  Up from the meadows rich with corn,
+  Clear in the cool September morn,
+
+  The clustered spires of Frederick stand
+  Green walled by the hills of Maryland.
+
+  Round about them orchards sweep,                                     5
+  Apple-and peach-tree fruited deep,--
+
+  Fair as a garden of the Lord
+  To the eye of the famished rebel horde,
+
+  On that pleasant morn of the early fall
+  When Lee march'd over the mountain-wall,--                          10
+
+  Over the mountains winding down,
+  Horse and foot, into Frederick town.
+
+  Forty flags with their silver stars,
+  Forty flags with their crimson bars,
+
+  Flapped in the morning wind: the sun                                15
+  Of noon looked down, and saw not one.
+
+  Up rose old Barbara Frietchie then,
+  Bowed with her fourscore years and ten;
+
+  Bravest of all in Frederick town,
+  She took up the flag the men hauled down;                           20
+
+  In her attic window the staff she set,
+  To show that one heart was loyal yet.
+
+  Up the street came the rebel tread,
+  Stonewall Jackson riding ahead.
+
+  Under his slouched hat left and right                               25
+  He glanced; the old flag met his sight.
+
+  "Halt!"--the dust-brown ranks stood fast.
+  "Fire!"--out blazed the rifle-blast.
+
+  It shivered the window, pane and sash;
+  It rent the banner with seam and gash.                              30
+
+  Quick, as it fell, from the broken staff
+  Dame Barbara snatched the silken scarf;
+
+  She leaned far out on the window-sill,
+  And shook it forth with a royal will.
+
+  "Shoot, if you must, this old gray head,                            35
+  But spare your country's flag!" she said.
+
+  A shade of sadness, a blush of shame,
+  Over the face of the leader came;
+
+  The nobler nature within him stirred
+  To life at that woman's deed and word:                              40
+
+  "Who touches a hair of yon gray head,
+  Dies like a dog! March on!" he said.
+
+  All day long through Frederick street
+  Sounded the tread of marching feet:
+
+  All day long that free flag tossed                                  45
+  Over the heads of the rebel host.
+
+  Ever its torn folds rose and fell
+  On the loyal winds that loved it well;
+
+  And, through the hill-gaps, sunset light
+  Shone over it with a warm good-night.                               50
+
+  Barbara Frietchie's work is o'er,
+  And the Rebel rides on his raids no more.
+
+  Honour to her! and let a tear
+  Fall, for her sake, on Stonewall's bier.
+
+  Over Barbara Frietchie's grave,                                     55
+  Flag of Freedom and Union wave!
+
+  Peace and order and beauty draw
+  Round thy symbol of light and law;
+
+  And ever the stars above look down
+  On thy stars below in Frederick town!                               60
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--Divide the poem into sections, giving each
+  a descriptive title. (Introduction, p. 10.)
+
+  Describe the scene portrayed in the first fifteen lines,
+  supplementing your description by a black-board diagram.
+
+  ll. 1-2. What is the Inflection? Why?
+
+  l. 3. Note the Grouping and Pause.
+
+  l. 3. STAND; l. 7, LORD; l. 8, HORDE. What is the
+  Inflection? Why?
+
+  l. 15. (Introduction, p. 9.)
+
+  l. 20. What are the emphatic words? Are both words of a
+  contrast necessarily emphatic?
+
+  ll. 17-22. Note the change in nervous tension. What
+  effect has this on the key of the voice? (Introduction,
+  p. 25.)
+
+  ll. 25-26. How do these lines illustrate the truth that
+  the Visualization of a scene is a necessary forerunner
+  of correct vocal expression?
+
+  ll. 27-28. HALT! FIRE! What change in vocal expression
+  accompanies the transition to abrupt command?
+
+  l. 31. With what do you connect FROM THE BROKEN STAFF?
+  How? (Introduction, p. 16.)
+
+  ll. 31-36. What part should Imitation play here?
+  (Introduction, pp. 5 and 6.)
+
+  ll. 37-38. (Introduction, p. 14.)
+
+  l. 39. Note Grouping and Pause.
+
+  ll. 41-42. (Introduction, p. 5.)
+
+  l. 43. With what do you connect THROUGH FREDERICK
+  STREET? How? Where do you pause in this line?
+
+  l. 51. (Introduction, p. 9.)
+
+       *       *       *       *       *
+
+
+BLESS THE LORD, O MY SOUL
+
+Psalm ciii
+
+
+  Bless the Lord, O my soul:
+    And all that is within me, bless his holy name
+  Bless the Lord, O my soul,
+    And forget not all his benefits:
+  Who forgiveth all thine iniquities;
+    Who healeth all thy diseases;
+  Who redeemeth thy life from destruction;
+    Who crowneth thee with lovingkindness and tender mercies:
+  Who satisfieth thy mouth with good things;
+    So that thy youth is renewed like the eagle's.
+
+  The Lord executeth righteousness
+    And judgment for all that are oppressed.
+  He made known his ways unto Moses,
+    His acts unto the children of Israel.
+  The Lord is merciful and gracious,
+    Slow to anger, and plenteous in mercy.
+  He will not always chide:
+    Neither will he keep his anger for ever.
+  He hath not dealt with us after our sins;
+    Nor rewarded us according to our iniquities.
+
+  For as the heaven is high above the earth,
+    So great is his mercy toward them that fear him.
+  As far as the east is from the west,
+    So far hath he removed our transgressions from us
+  Like as a father pitieth his children,
+    So the Lord pitieth them that fear him.
+  For he knoweth our frame;
+    He remembereth that we are dust.
+
+  As for man, his days are as grass:
+    As a flower of the field, so he flourisheth.
+  For the wind passeth over it, and it is gone;
+    And the place thereof shall know it no more.
+  But the mercy of the Lord is from everlasting to everlasting
+       upon them that fear him,
+    And his righteousness unto children's children;
+  To such as keep his covenant,
+    And to those that remember his commandments to do them.
+
+  The Lord hath prepared his throne in the heavens;
+    And his kingdom ruleth over all.
+  Bless the Lord, ye his angels,
+    That excel in strength,
+  That do his commandments,
+    Hearkening unto the voice of his word.
+  Bless ye the Lord, all ye his hosts;
+    Ye ministers of his, that do his pleasure.
+  Bless the Lord, all his works,
+    In all places of his dominion:
+  Bless the Lord, O my soul.
+
+      --_As arranged by Richard G. Moulton_
+
+
+  PREPARATORY.--What attitude of mind does the language of
+  this Psalm indicate? What Stress of voice is its natural
+  expression? (Introduction, p. 29.)
+
+  Articulation. (Appendix A, 3.)
+
+       *       *       *       *       *
+
+
+THE ETERNAL GOODNESS
+
+
+  I know not what the future hath
+  Of marvel or surprise,
+  Assured alone that life and death
+  His mercy underlies.
+
+  And if my heart and flesh are weak                                   5
+  To bear an untried pain,
+  The bruised reed He will not break,
+  But strengthen and sustain.
+
+  No offering of my own I have,
+  Nor works my faith to prove;                                        10
+  I can but give the gifts He gave,
+  And plead His love for love.
+
+  And so beside the Silent Sea
+  I wait the muffled oar;
+  No harm from Him can come to me                                     15
+  On ocean or on shore.
+
+  I know not where His islands lift
+  Their fronded palms in air;
+  I only know I cannot drift
+  Beyond His love and care.                                           20
+
+      --_John Greenleaf Whittier_
+
+
+  PREPARATORY.--What attitude of mind is suggested by this
+  poem?
+
+  How does it differ from that suggested by the preceding
+  selection? What is the difference in vocal expression?
+
+  Account for the Inflection placed on the negative
+  statements in this poem. (Introduction, pp. 17 and 18.)
+
+       *       *       *       *       *
+
+
+THE KING OF GLORY
+
+Psalm xxiv
+
+(Anthems for the Inauguration of Jerusalem)
+
+
+_I.--At the Foot of the Hill_
+
+FIRST CHOIR
+
+  The earth is the LORD'S, and the fulness thereof;
+    The world, and they that dwell therein.
+  For He hath founded it upon the seas,
+    And established it upon the floods.
+  Who shall ascend into the hill of the LORD?
+    And who shall stand in His holy place?
+
+
+SECOND CHOIR
+
+  He that hath clean hands, and a pure heart;
+    Who hath not lifted up his soul unto vanity,
+    And hath not sworn deceitfully.
+  He shall receive a blessing from the LORD,
+    And righteousness from the God of his salvation.
+  This is the generation of them that seek after Him,
+    That seek Thy face, O God of Jacob.
+
+
+_II.--Before the Gates_
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+    And be ye lift up, ye everlasting doors:
+    And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is the King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD strong and mighty,
+  The LORD mighty in battle.
+
+
+FIRST CHOIR
+
+  Lift up your heads, O ye gates;
+  Yea, lift them up, ye everlasting doors:
+  And the King of Glory shall come in.
+
+
+SECOND CHOIR
+
+  Who is this King of Glory?
+
+
+FIRST CHOIR
+
+  The LORD of Hosts,
+  He is the King of Glory.
+
+      --_As arranged by Richard G. Moulton_
+
+       *       *       *       *       *
+
+
+THE FOUR-HORSE RACE
+
+From "Black Rock"
+
+
+1. The great event of the day, however, was to be the four-horse race,
+for which three teams were entered--one from the mines driven by
+Nixon, Craig's friend, a citizens' team, and Sandy's. The race was
+really between the miners' team and that from the woods, for the
+citizens' team, though made up of speedy horses, had not been driven
+much together, and knew neither their driver nor each other. In the
+miners' team were four bays, very powerful, a trifle heavy perhaps,
+but well matched, perfectly trained, and perfectly handled by their
+driver. Sandy had his long rangy roans, and for leaders, a pair of
+half-broken pinto bronchos. The pintos, caught the summer before upon
+the Alberta prairies, were fleet as deer, but wicked and uncertain.
+They were Baptiste's special care and pride. If they would only run
+straight, there was little doubt that they would carry the roans and
+themselves to glory; but one could not tell the moment they might
+bolt or kick things to pieces.
+
+2. Being the only non-partisan in the crowd, I was asked to referee.
+The race was about half a mile and return, the first and last quarters
+being upon the ice. The course, after leaving the ice, led up from the
+river by a long, easy slope to the level above; and at the further
+end, curved somewhat sharply around the Old Fort. The only condition
+attaching to the race was, that the teams should start from the
+scratch, make the turn of the Fort, and finish at the scratch. There
+were no vexing regulations as to fouls. The man making the foul would
+find it necessary to reckon with the crowd, which was considered
+sufficient guarantee for a fair and square race. Owing to the hazards
+of the course, the result would depend upon the skill of the drivers
+quite as much as the speed of the teams. The points of hazard were at
+the turn round the Old Fort, and at a little ravine which led down to
+the river, over which the road passed by means of a long, log bridge
+or causeway.
+
+3. From a point upon the high bank of the river, the whole course lay
+in open view. It was a scene full of life and vividly picturesque.
+There were miners in dark clothes and peak caps; citizens in ordinary
+garb; ranch-men in wide cowboy hats and buckskin shirts and leggings,
+some with cartridge-belts and pistols; a few half-breeds and Indians
+in half-native, half-civilized dress; and scattering through the
+crowd, the lumbermen with gay scarlet and blue blanket coats, and some
+with knitted tuques of the same colour. A very good-natured but
+extremely uncertain crowd it was. At the head of each horse stood a
+man, but at the pintos' heads Baptiste stood alone, trying to hold
+down the off-leader, thrown into a frenzy of fear by the yelling of
+the crowd.
+
+4. Gradually all became quiet, till, in the midst of absolute
+stillness, came the words: "Are you ready?" then the pistol-shot, and
+the great race had begun. Above the roar of the crowd came the shrill
+cry of Baptiste, as he struck his broncho with the palm of his hand,
+and swung himself into the sleigh beside Sandy, as it shot past.
+
+5. Like a flash the bronchos sprang to the front, two lengths before
+the other teams; but, terrified by the yelling of the crowd, instead
+of bending to the left bank up which the road wound, they wheeled to
+the right and were almost across the river before Sandy could swing
+them back into the course.
+
+6. Baptiste's cries, a curious mixture of French and English,
+continued to strike through all other sounds, till they gained the top
+of the slope to find the others almost a hundred yards in front, the
+citizens' team leading, with the miners' following close. The moment
+the pintos caught sight of the teams before them, they set off at a
+terrific pace and steadily devoured the intervening space. Nearer and
+nearer the turn came, the eight horses in front, running straight and
+well within their speed. After them flew the pintos, running savagely
+with ears set back, leading well the big roans, thundering along and
+gaining at every bound. And now the citizens' team had almost reached
+the Fort, running hard and drawing away from the bays. But Nixon knew
+what he was about, and was simply steadying his team for the turn. The
+event proved his wisdom, for in the turn the leading team left the
+track, lost a moment or two in the deep snow, and before they could
+regain the road, the bays had swept superbly past, leaving their
+rivals to follow in the rear. On came the pintos, swiftly nearing the
+Fort. Surely at that pace they cannot make the turn. But Sandy knows
+his leaders. They have their eyes upon the teams in front, and need no
+touch of rein. Without the slightest change in speed the nimble-footed
+bronchos round the turn, hauling the big roans after them, and fall in
+behind the citizens' team, which is regaining steadily the ground lost
+in the turn.
+
+7. And now the struggle is for the bridge over the ravine. The bays in
+front, running with mouths wide open, are evidently doing their best;
+behind them, and every moment nearing them, but at the limit of their
+speed too, come the lighter and fleeter citizens' team; while opposite
+their driver are the pintos, pulling hard, eager and fresh. Their
+temper is too uncertain to send them to the front; they run well
+following, but when leading cannot be trusted, and besides, a broncho
+hates a bridge; so Sandy holds them where they are, waiting and hoping
+for his chance after the bridge is crossed. Foot by foot the citizens'
+team creep up upon the flank of the bays, with the pintos in turn
+hugging them closely, till it seems as if the three, if none slackens,
+must strike the bridge together; and this will mean destruction to one
+at least. This danger Sandy perceives, but he dare not check his
+leaders. Suddenly, within a few yards of the bridge, Baptiste throws
+himself upon the lines, wrenches them out of Sandy's hands, and, with
+a quick swing, forces the pintos down the steep side of the ravine,
+which is almost sheer ice with a thin coat of snow. It is a daring
+course to take, for the ravine, though not deep, is full of
+undergrowth, and is partially closed up by a brush heap at the further
+end. But with a yell, Baptiste hurls his four horses down the slope,
+and into the undergrowth. "Allons, mes enfants! Courage! vite, vite!"
+cries their driver, and nobly do the pintos respond. Regardless of
+bushes and brush heaps, they tear their way through; but as they
+emerge, the hind bob-sleigh catches a root, and, with a crash, the
+sleigh is hurled high into the air. Baptiste's cries ring out high and
+shrill as ever, encouraging his team, and never cease till, with a
+plunge and a scramble, they clear the brush heap lying at the mouth of
+the ravine, and are out on the ice on the river, with Baptiste
+standing on the front bob, the box trailing behind, and Sandy nowhere
+to be seen.
+
+8. Three hundred yards of the course remain. The bays, perfectly
+handled, have gained at the bridge, and in the descent to the ice, and
+are leading the citizens' team by half a dozen sleigh lengths. Behind
+both comes Baptiste. It is now or never for the pintos. The rattle of
+the trailing box, together with the wild yelling of the crowd rushing
+down the bank, excites the bronchos to madness, and, taking the bits
+in their teeth, they do their first free running that day. Past the
+citizens' team like a whirlwind they dash, clear the intervening
+space, and gain the flanks of the bays. Can the bays hold them? Over
+them leans their driver, plying for the first time the hissing lash.
+Only fifty yards more. The miners begin to yell. But Baptiste, waving
+his lines high in one hand, seizes his tuque with the other, whirls it
+above his head and flings it with a fiercer yell than ever at the
+bronchos. Like the bursting of a hurricane the pintos leap forward,
+and with a splendid rush cross the scratch, winners by their own
+length.
+
+      --_By arrangement with the Westminster Co., Limited,
+           and Rev. C. W. Gordon (Ralph Connor)_
+
+
+  PREPARATORY.--Make a black-board sketch of the
+  race-course, fixing the position of "the scratch," "the
+  Old Fort," "the high bank with the spectators," "the
+  bridge," etc.
+
+  In what passages does the excitement reach its greatest
+  height? How are the Pitch and Time affected?
+  (Introduction, pp. 13 and 22.)
+
+  What is the Stress employed throughout? Where is the
+  Stress most marked? Give reasons. (Introduction, pp. 27
+  and 28.)
+
+       *       *       *       *       *
+
+
+MRS. MALAPROP'S VIEWS
+
+From "The Rivals"
+
+
+The scene is Mrs. Malaprop's lodgings at Bath. Present, Lydia Languish.
+Enter Mrs. Malaprop and Sir Anthony Absolute.
+
+
+_Mrs. Malaprop._--There, Sir Anthony, there sits the deliberate
+simpleton who wants to disgrace her family, and lavish herself on a
+fellow not worth a shilling.
+
+_Lydia._--Madam, I thought you once--
+
+_Mrs. Malaprop._--You thought, miss! I don't know any business you
+have to think at all: thought does not become a young woman. But the
+point we would request of you is, that you will promise to forget this
+fellow; to illiterate him, I say, quite from your memory.
+
+_Lydia._--Ah, madam! our memories are independent of our wills. It is
+not so easy to forget.
+
+_Mrs. Malaprop._--But I say it is, miss! there is nothing on earth so
+easy as to forget, if a person chooses to set about it. I'm sure I
+have as much forgot your poor dear uncle as if he had never
+existed--and I thought it my duty so to do; and let me tell you,
+Lydia, these violent memories don't become a young woman.
+
+_Sir Anthony._--Why, sure she won't pretend to remember what she's
+ordered not! Ay, this comes of her reading!
+
+_Lydia._--What crime, madam, have I committed to be treated thus?
+
+_Mrs. Malaprop._--Now don't attempt to extirpate yourself from the
+matter; you know I have proof controvertible of it. But tell me, will
+you promise to do as you're bid? Will you take a husband of your
+friends' choosing?
+
+_Lydia._--Madam, I must tell you plainly that had I no preference for
+any one else, the choice you have made would be my aversion.
+
+_Mrs. Malaprop._--What business have you, miss, with preference and
+aversion. They don't become a young woman; and you ought to know that
+as both always wear off, 'tis safest in matrimony to begin with a
+little aversion. I am sure I hated your poor dear uncle before
+marriage as if he'd been a blackamoor; and yet, miss, you are sensible
+what a wife I made? and when it pleased Heaven to release me from him,
+'tis unknown what tears I shed! But suppose we were going to give you
+another choice, will you promise us to give up this Beverley?
+
+_Lydia._--Could I belie my thoughts so far as to give that promise, my
+actions would certainly as far belie my words.
+
+_Mrs. Malaprop._--Take yourself to your room. You are fit company for
+nothing but your own ill-humours.
+
+_Lydia._--Willingly, ma'am--I cannot change for the worse.
+  (_Exit_)
+
+_Mrs. Malaprop._--There's a little intricate hussy for you!
+
+_Sir Anthony._--It is not to be wondered at, ma'am: all this is the
+natural consequence of teaching girls to read. Had I a thousand
+daughters, by heaven I'd as soon have them taught the black art as
+their alphabet!
+
+_Mrs. Malaprop._--Nay, nay, Sir Anthony: you are an absolute
+misanthropy.
+
+_Sir Anthony._--In my way hither, Mrs. Malaprop, I observed your
+niece's maid coming forth from a circulating library! She had a book
+in each hand; they were half-bound volumes with marble covers! From
+that moment I guessed how full of duty I should see her mistress!
+
+_Mrs. Malaprop._--Those are vile places indeed!
+
+_Sir Anthony._--Madam, a circulating library in a town is an evergreen
+tree of diabolical knowledge,--it blossoms through the year! And
+depend on it, Mrs. Malaprop, that they who are so fond of handling the
+leaves will long for the fruit at last.
+
+_Mrs. Malaprop._--Fy, fy, Sir Anthony! you surely speak laconically.
+
+_Sir Anthony._--Why, Mrs. Malaprop, in moderation now, what would you
+have a woman know?
+
+_Mrs. Malaprop._--Observe me, Sir Anthony. I would by no means wish a
+daughter of mine to be a progeny of learning; I don't think so much
+learning becomes a young woman: for instance, I would never let her
+meddle with Greek, or Hebrew, or algebra, or simony, or fluxions, or
+paradoxes, or such inflammatory branches of learning; neither would it
+be necessary for her to handle any of your mathematical, astronomical,
+diabolical instruments. But, Sir Anthony, I would send her at nine
+years old to a boarding-school, in order to learn a little ingenuity
+and artifice. Then, sir, she should have a supercilious knowledge in
+accounts; and as she grew up I would have her instructed in geometry,
+that she might know something of the contagious countries: but above
+all, Sir Anthony, she should be mistress of orthodoxy, that she might
+not misspell and mispronounce words so shamefully as girls usually do;
+and likewise that she might reprehend the true meaning of what she is
+saying. This, Sir Anthony, is what I would have a woman know; and I
+don't think there is a superstitious article in it.
+
+_Sir Anthony._--Well, well, Mrs. Malaprop, I will dispute the point no
+further with you; though I must confess that you are a truly moderate
+and polite arguer, for almost every third word you say is on my side
+of the question. But, Mrs. Malaprop, to the more important point in
+debate: you say you have no objection to my proposal?
+
+_Mrs. Malaprop._--None, I assure you. I am under no positive
+engagement with Mr. Acres; and as Lydia is so obstinate against him,
+perhaps your son may have better success.
+
+_Sir Anthony._--Well, madam, I will write for the boy directly. He
+knows not a syllable of this yet, though I have for some time had the
+proposal in my head. He is at present with his regiment.
+
+_Mrs. Malaprop._--We have never seen your son, Sir Anthony; but I hope
+no objection on his side.
+
+_Sir Anthony._--Objection! let him object if he dare! No, no, Mrs.
+Malaprop, Jack knows that the least demur puts me in a frenzy
+directly. My process was always very simple: in their younger days,
+'twas "Jack, do this"; if he demurred I knocked him down, and if he
+grumbled at that I always sent him out of the room.
+
+_Mrs. Malaprop._--Ay, and the properest way, o'my conscience! Nothing
+is so conciliating to young people as severity. Well, Sir Anthony, I
+shall give Mr. Acres his discharge, and prepare Lydia to receive your
+son's invocations; and I hope you will represent her to the captain as
+an object not altogether illegible.
+
+_Sir Anthony._--Madam, I will handle the subject prudently. Well I
+must leave you; and let me beg you, Mrs. Malaprop, to enforce this
+matter roundly to the girl. Take my advice--keep a tight hand: if she
+rejects this proposal, clap her under lock and key; and if you were
+just to let the servants forget to bring her dinner for three or four
+days, you can't conceive how she'd come about. (Exit)
+
+_Mrs. Malaprop._--Well, at any rate I shall be glad to get her from
+under my intuition. She has somehow discovered my partiality for Sir
+Lucius O'Trigger: sure Lucy can't have betrayed me! No, the girl is
+such a simpleton, I should have made her confess it. (Calls) Lucy!
+Lucy!--Had she been one of your artificial ones, I should never have
+trusted her.
+
+    --_Richard Brinsley Sheridan_
+
+
+  What is the difference between Mrs. Malaprop's mental
+  attitude toward Lydia and toward Sir Anthony? How is
+  this difference indicated in the Stress of voice?
+  (Introduction, pp. 27 and 28.)
+
+       *       *       *       *       *
+
+
+THE GLOVE AND THE LIONS
+
+
+  King Francis was a hearty king, and lov'd a royal sport,
+  And one day, as his lions strove, sat looking on the court;
+  The nobles fill'd the benches round, the ladies by their side,
+  And 'mongst them Count de Lorge, with one he hoped to make
+    his bride;
+  And truly 'twas a gallant thing to see that crowning show,           5
+  Valour and love, and a king above, and the royal beasts below.
+
+  Ramp'd and roar'd the lions, with horrid laughing jaws;
+  They bit, they glared, gave blows like beams, a wind went with
+    their paws;
+  With wallowing might and stifled roar, they roll'd one on another,
+  Till all the pit, with sand and mane, was in a thund'rous smother;  10
+  The bloody foam above the bars came whizzing through the air;
+  Said Francis then, "Good gentlemen, we're better here than there!"
+
+  De Lorge's love o'erheard the King, a beauteous, lively dame,
+  With smiling lips, and sharp bright eyes, which always seem'd
+    the same:
+  She thought, "The Count, my lover, is as brave as brave can be;     15
+  He surely would do desperate things to show his love of me!
+  King, ladies, lovers, all look on; the chance is wond'rous fine;
+  I'll drop my glove to prove his love; great glory will be mine!"
+
+  She dropp'd her glove to prove his love: then looked on him
+    and smiled;
+  He bow'd, and in a moment leap'd among the lions wild:              20
+  The leap was quick; return was quick; he soon regain'd his place;
+  Then threw the glove, but not with love, right in the lady's face!
+  "In truth!" cried Francis, "rightly done!" and he rose from where
+    he sat:
+  "No love," quoth he, "but vanity, sets love a task like that!"
+
+      --_Leigh Hunt_
+
+
+  PREPARATORY.--Divide the poem into four scenes, and
+  describe each scene.
+
+  What are the difficulties of Articulation in ll. 2, 9,
+  10, and 14.
+
+  What attitude of mind is indicated by the King's first
+  speech? By his second speech? What difference in Stress?
+  (Introduction, pp. 27-29.) What is the Force in each
+  case? (Introduction, p. 25.)
+
+  15, 16, and 17. Use these lines as an illustration to
+  show that Visualization is necessary in order to secure
+  good vocal expression.
+
+  In what Time do you read the lady's thoughts!
+  (Introduction, p. 13.)
+
+  Give examples from stanzas ii, and iv, where the
+  sympathy with the picture may be sufficiently strong to
+  lead to imitation of movements or sounds. (Introduction,
+  pp. 5 and 6.)
+
+       *       *       *       *       *
+
+
+THE FICKLENESS OF A ROMAN MOB
+
+From "Julius Cæsar" Act I. Scene i.
+
+_Enter_ FLAVIUS, MARULLUS, _and certain Commoners over the Stage._
+
+
+_Flav._ Hence! home, you idle creatures, get you home.
+Is this a holiday? What! know you not,
+Being mechanical, you ought not walk
+Upon a labouring day without the sign
+Of your profession?--Speak, what trade art thou?                       5
+
+_1 Cit._ Why, sir, a carpenter.
+
+_Mar._ Where is thy leather apron, and thy rule?
+What dost thou with thy best apparel on?--
+You, sir, what trade are you?
+
+_2 Cit._ Truly, sir, in respect of a fine workman, I am               10
+but, as you would say, a cobbler.
+
+_Mar._ But what trade are thou? Answer me directly.
+
+_2 Cit._ A trade, sir, that I hope I may use with a safe
+conscience; which is, indeed, sir, a mender of bad soles.
+
+_Mar._ What trade, thou knave? thou naughty knave,                    15
+what trade?
+
+_2 Cit._ Nay, I beseech you, sir, be not out with me;
+yet, if you be out, sir, I can mend you.
+
+_Mar._ What mean'st thou by that? Mend me, thou saucy fellow?
+
+_2 Cit._ Why, sir, cobble you.                                        20
+
+_Flav._ Thou art a cobbler, art thou?
+
+_2 Cit._ Truly, sir, all that I live by is with the awl.
+I meddle with no tradesman's matters, nor women's
+matters, but with all. I am, indeed, sir, a surgeon to
+old shoes; when they are in great danger, I re-cover                  25
+them. As proper men as ever trod upon neat's leather
+have gone upon my handiwork.
+
+_Flav._ But wherefore art not in thy shop to-day?
+Why dost thou lead these men about the streets?
+
+_2 Cit._ Truly, sir, to wear out their shoes, to get                  30
+myself into more work.  But, indeed, sir, we make
+holiday to see Cæsar, and to rejoice in his triumph.
+
+_Mar._ Wherefore rejoice? What conquest brings he home?
+What tributaries follow him to Rome,
+To grace in captive bonds his chariot wheels?                         35
+You blocks, you stones, you worse than senseless things!
+O, you hard hearts, you cruel men of Rome,
+Knew you not Pompey? Many a time and oft
+Have you climbed up to walls and battlements,
+To towers and windows, yea, to chimney-tops,                          40
+Your infants in your arms, and there have sat
+The livelong day, with patient expectation,
+To see great Pompey pass the streets of Rome;
+And when you saw his chariot but appear,
+Have you not made an universal shout,                                 45
+That Tiber trembled underneath her banks,
+To hear the replication of your sounds
+Made in her concave shores?
+And do you now put on your best attire?
+And do you now cull out a holiday?                                    50
+And do you now strew flowers in his way
+That comes in triumph over Pompey's blood?
+Be gone!
+Run to your houses, fall upon your knees,
+Pray to the gods to intermit the plague                               55
+That needs must light on this ingratitude.
+
+_Flav._ Go, go, good countrymen, and for this fault
+Assemble all the poor men of your sort;
+Draw them to Tiber banks, and weep your tears
+Into the channel, till the lowest stream                              60
+Do kiss the most exalted shores of all.
+
+[_Exeunt all the Commoners_]
+
+See, whe'r their basest metal be not moved!
+They vanish tongue-tied in their guiltiness.
+Go you down that way towards the Capitol;
+This way will I. Disrobe the images,                                  65
+If you do find them deck'd with ceremonies.
+
+_Mar._ May we do so?
+You know it is the feast of Lupercal.
+
+_Flav._ It is no matter; let no images
+Be hung with Cæsar's trophies. I'll about,                            70
+And drive away the vulgar from the streets;
+So do you too, where you perceive them thick.
+These growing feathers pluck'd from Cæsar's wing
+Will make him fly an ordinary pitch,
+Who else would soar above the view of men,                            75
+And keep us all in servile fearfulness.
+
+[_Exeunt]_
+
+      --_Shakespeare_
+
+
+  In what Stress do Flavius and Marullus speak when
+  questioning the citizens? Why?
+
+  What Stress does the first citizen use?
+
+  How does the mental attitude of the second citizen
+  influence his Stress and Inflection? (Introduction, pp.
+  21, 22, and 30.) Where does he change his Stress? For
+  what reason?
+
+  WHEREFORE REJOICE? Point out the various examples of
+  Climax in this speech, and show how the voice indicates
+  them. (Introduction, p. 31.)
+
+  Account for the Inflection on the various questions.
+  (Introduction, pp. 18 and 19.)
+
+  SEE WHE'R THEIR BASEST METAL, ETC. Note the change in
+  tension and energy. What change in Pitch and Force is
+  the natural result? (Introduction, pp. 25 and 26.)
+
+       *       *       *       *       *
+
+
+SIR PETER AND LADY TEAZLE
+
+From "The School for Scandal"
+
+
+_Sir Peter._--Lady Teazle, Lady Teazle, I'll not bear it!
+
+_Lady Teazle._--Sir Peter, Sir Peter, you may bear it or not, as you
+please; but I ought to have my own way in everything, and, what's
+more, I will, too. What though I was educated in the country, I know
+very well that women of fashion in London are accountable to nobody
+after they are married.
+
+_Sir Peter._--Very well, ma'am, very well; so a husband is to have no
+influence, no authority?
+
+_Lady Teazle._--Authority! No, to be sure: if you wanted authority
+over me, you should have adopted me and not married me: I am sure you
+were old enough.
+
+_Sir Peter._--Old enough!--ay, there it is. Well, well, Lady Teazle,
+though my life may be made unhappy by your temper, I'll not be ruined
+by your extravagance!
+
+_Lady Teazle._--My extravagance! I'm sure I'm not more extravagant
+than a woman of fashion ought to be.
+
+_Sir Peter._--No, no, madam, you shall throw away no more sums on such
+unmeaning luxury. To spend as much to furnish your dressing room with
+flowers in winter as would suffice to turn the Pantheon into a
+greenhouse, and give a fête champêtre at Christmas!
+
+_Lady Teazle._--And am I to blame, Sir Peter, because flowers are dear
+in cold weather? You should find fault with the climate, and not with
+me. For my part, I'm sure I wish it was spring all the year round,
+and that roses grew under our feet!
+
+_Sir Peter._--Oons! madam--if you had been born to this, I shouldn't
+wonder at your talking thus; but you forget what your situation was
+when I married you.
+
+_Lady Teazle._--No, no, I don't; 'twas a very disagreeable one, or I
+should never have married you.
+
+_Sir Peter._--Yes, yes, madam, you were then in somewhat a humbler
+style--the daughter of a plain country squire. Recollect, Lady Teazle,
+when I saw you first sitting at your tambour, in a pretty figured
+linen gown, with a bunch of keys at your side, your hair combed smooth
+over a roll, and your apartment hung round with fruits in worsted, of
+your own working.
+
+_Lady Teazle._--Oh, yes! I remember it very well, and a curious life I
+led. My daily occupation to inspect the dairy, superintend the
+poultry, make extracts from the family receipt book, and comb my aunt
+Deborah's lap-dog.
+
+_Sir Peter._--Yes, yes, ma'am, 'twas so indeed.
+
+_Lady Teazle._--And then, you know, my evening amusements! To draw
+patterns for ruffles, which I had not materials to make up; to play
+Pope Joan with the curate; to read a sermon to my aunt; or to be stuck
+down to an old spinet to strum my father to sleep after a fox chase.
+
+_Sir Peter._--I am glad you have so good a memory. Yes, madam, these
+were the recreations I took you from; but now you must have your
+coach--_vis-à-vis_--and three powdered footmen before your chair; and,
+in the summer, a pair of white cats to draw you to Kensington Gardens.
+No recollection, I suppose, when you were content to ride double,
+behind the butler, on a docked coach horse.
+
+_Lady Teazle._--No--I swear I never did that: I deny the butler and
+the coach horse.
+
+_Sir Peter._--This, madam, was your situation; and what have I done
+for you? I have made you a woman of fashion, of fortune, of rank,--in
+short, I have made you my wife.
+
+_Lady Teazle._--Well, then, and there is but one thing more you can
+make me to add to the obligation, that is--
+
+_Sir Peter._--My widow, I suppose?
+
+_Lady Teazle._--Hem! hem!
+
+_Sir Peter._--I thank you, madam--but don't flatter yourself, for,
+though your ill conduct may disturb my peace of mind, it shall never
+break my heart, I promise you: however, I am equally obliged to you
+for the hint.
+
+_Lady Teazle._--Then why will you endeavour to make yourself so
+disagreeable to me, and thwart me in every little elegant expense.
+
+_Sir Peter._--Oons! madam, I say, had you any of these little elegant
+expenses when you married me?
+
+_Lady Teazle._--Lud, Sir Peter! would you have me be out of the
+fashion?
+
+_Sir Peter._--The fashion, indeed! what had you to do with the fashion
+before you married me?
+
+_Lady Teazle._--For my part, I should think you would like to have
+your wife thought a woman of taste.
+
+_Sir Peter._--Ay--there again--taste! Zounds! madam, you had no taste
+when you married me!
+
+_Lady Teazle._--That's very true, indeed, Sir Peter! and, after
+having married you, I should never pretend to taste again, I allow.
+But now, Sir Peter, since we have finished our daily jangle, I presume
+I may go to my engagement at Lady Sneerwell's.
+
+_Sir Peter._--Ay, there's another precious circumstance--a charming
+set of acquaintance you have made there.
+
+_Lady Teazle._--Nay, Sir Peter, they are all people of rank and
+fortune, and remarkably tenacious of reputation.
+
+_Sir Peter._--Yes, they are tenacious of reputation with a vengeance;
+for they don't choose anybody should have a character but themselves!
+Such a crew! Ah! many a wretch has rid on a hurdle who has done less
+mischief than these utterers of forged tales, coiners of scandal, and
+clippers of reputation.
+
+_Lady Teazle._--What! would you restrain the freedom of speech?
+
+_Sir Peter._--Ah! they have made you just as bad as any one of the
+society.
+
+_Lady Teazle._--Why, I believe I do bear a part with a tolerable
+grace.
+
+_Sir Peter._--Grace indeed!
+
+_Lady Teazle._--But I vow I bear no malice against the people I abuse:
+when I say an ill-natured thing, 'tis out of pure good humour: and I
+take it for granted they deal exactly the same with me. But, Sir
+Peter, you know you promised to come to Lady Sneerwell's too.
+
+_Sir Peter._--Well, well, I'll call in, just to look after my own
+character.
+
+_Lady Teazle._--Then, indeed, you must make haste after me, or you'll
+be too late. So good-bye to ye. (_Exit_)
+
+_Sir Peter._--So--I have gained much by my intended expostulation!
+Yet with what a charming air she contradicts everything I say, and how
+pleasantly she shows her contempt for my authority! Well, though I
+can't make her love me, there is great satisfaction in quarrelling
+with her; and I think she never appears to such advantage as when she
+is doing everything in her power to plague me. _(Exit_)
+
+      --_Richard Brinsley Sheridan_
+
+
+  Select the passages where Lady Teazle tries to enforce
+  her opinion by (a) strong assertion, (b) peevishness and
+  whining.
+
+  In what passages does her desire to taunt and ridicule
+  Sir Peter predominate?
+
+  In what passages does she address Sir Peter in the tone
+  of ordinary conversation?
+
+  What Stress is used in each case? (Introduction, pp.
+  28-30.)
+
+  HAD YOU ANY OF THESE LITTLE ELEGANT EXPENSES? What
+  Stress is placed on the last four words?
+
+       *       *       *       *       *
+
+
+THE PARTING OF MARMION AND DOUGLAS
+
+From "Marmion"
+
+
+  Not far advanced was morning day,
+  When Marmion did his troop array
+      To Surrey's camp to ride;
+  He had safe-conduct for his band,
+  Beneath the royal seal and hand,                                     5
+      And Douglas gave a guide.
+
+  The ancient Earl, with stately grace,
+  Would Clara on her palfrey place,
+  And whispered in an undertone,
+  "Let the hawk stoop, his prey is flown."                            10
+  The train from out the castle drew,
+  But Marmion stopped to bid adieu:
+  "Though something I might plain," he said,
+  "Of cold respect to stranger guest,
+  Sent hither by your King's behest,                                  15
+      While in Tantallon's towers I stayed;
+  Part we in friendship from your land,
+  And, noble earl, receive my hand."
+
+  But Douglas round him drew his cloak,
+  Folded his arms, and thus he spoke:                                 20
+  "My manors, halls, and bowers, shall still
+  Be open, at my Sovereign's will,
+  To each one whom he lists, howe'er
+  Unmeet to be the owner's peer.
+  My castles are my King's alone,                                     25
+  From turret to foundation-stone:
+  The hand of Douglas is his own;
+  And never shall, in friendly grasp,
+  The hand of such as Marmion clasp."
+
+  Burned Marmion's swarthy cheek like fire,                           30
+  And shook his very frame for ire;
+      And--"This to me," he said,
+  "An't were not for thy hoary beard,
+  Such hand as Marmion's had not spared
+      To cleave the Douglas' head!                                    35
+  And, first, I tell thee, haughty peer,
+  He who does England's message here,
+  Although the meanest in her state,
+  May well, proud Angus, be thy mate:
+  And, Douglas, more I tell thee here,                                40
+      Even in thy pitch of pride
+  Here in thy hold, thy vassals near
+  (Nay, never look upon your lord,
+  And lay your hands upon your sword,)
+      I tell thee, thou'rt defied!                                    45
+  And if thou saidst, I am not peer
+  To any lord in Scotland here,
+  Lowland or Highland, far or near,
+      Lord Angus, thou hast lied!"
+
+  On the Earl's cheek the flush of rage                               50
+  O'ercame the ashen hue of age:
+  Fierce he broke forth: "And darest thou, then,
+  To beard the lion in his den,
+      The Douglas in his hall?
+  And hopest thou hence unscathed to go?--                            55
+  No, by Saint Bride of Bothwell, no!--
+  Up drawbridge, grooms!--what, Warder, ho!
+      Let the portcullis fall."
+
+  Lord Marmion turned,--well was his need,--
+  And dashed the rowels in his steed,                                 60
+  Like arrow through the archway sprung,
+  The ponderous grate behind him rung:
+  To pass there was such scanty room,
+  The bars, descending, grazed his plume.
+
+  The steed along the drawbridge flies,                               65
+  Just as it trembles on the rise;
+  Nor lighter does the swallow skim
+  Along the smooth lake's level brim:
+  And when Lord Marmion reached his band,
+  He halts, and turns with clenched hand,                             70
+  And shout of loud defiance pours,
+  And shook his gauntlet at the towers.
+
+  "Horse! horse!" the Douglas cried, "and chase!"
+  But soon he reined his fury's pace:
+  "A royal messenger he came,                                         75
+  Though most unworthy of the name.
+  A letter forged! Saint Jude to speed!
+  Did ever knight so foul a deed!
+  At first, in heart, it liked me ill,
+  When the King praised his clerkly skill.                            80
+  Thanks to Saint Bothan, son of mine,
+  Save Gawain, ne'er could pen a line.
+  Saint Mary mend my fiery mood!
+  Old age ne'er cools the Douglas blood;
+  I thought to slay him where he stood.                               85
+  'Tis pity of him, too," he cried:
+  "Bold can he speak, and fairly ride:
+  I warrant him a warrior tried."--
+  With this his mandate he recalls,
+  And slowly seeks his castle halls.                                  90
+
+      --_Sir Walter Scott_
+
+
+  In what Quality of voice should the following passages
+  of this poem be read: (_a_) the descriptive parts; (_b_)
+  l. 10; (_c_) the first speeches of Marmion and Douglas,
+  ll. 14-18, and ll. 21-29; (_d_) the second speeches of
+  Marmion and Douglas, ll. 32-49, and ll. 52-56; (_e_) ll.
+  57-58, and ll. 75-88?
+
+       *       *       *       *       *
+
+
+COLUMBUS
+
+
+  Behind him lay the gray Azores.
+    Behind him the gates of Hercules;
+  Before him not the ghost of shores,
+    Before him only shoreless seas.
+  The good mate said: "Now we must pray,                               5
+    For, lo! the very stars are gone.
+  Brave Adm'r'l, speak; what shall I say?"
+    "Why, say: 'Sail on! sail on! and on!'"
+
+  "My men grow mutinous day by day;
+    My men grow ghastly wan and weak."                                10
+  The stout mate thought of home; a spray
+    Of salt wave washed his swarthy cheek.
+  "What shall I say, brave Adm'r'l, say,
+    If we sight naught but seas at dawn?"
+  "Why, you shall say, at break of day:                               15
+    'Sail on! sail on! sail on! and on!'"
+
+  They sailed and sailed as winds might blow,
+    Until at last the blanched mate said:
+  "Why, now not even God would know
+    Should I and all my men fall dead.                                20
+  These very winds forget the way,
+    For God from these dread seas is gone.
+  Now speak, brave Adm'r'l, speak and say--"
+    He said: "Sail on! sail on! and on!"
+
+  They sailed. They sailed. Then spake the mate:                      25
+    "This mad sea shows his teeth to-night;
+  He curls his lip, he lies in wait,
+    With lifted teeth as if to bite:
+  Brave Adm'r'l, say but one good word;
+    What shall we do when hope is gone?"                              30
+  The words leapt as a leaping sword:
+    "Sail on! sail on! sail on! and on!"
+
+  Then, pale and worn, he kept his deck
+  And peered through darkness. Ah, that night
+  Of all dark nights! And then, a speck--                             35
+  A light! a light! a light! a light!
+  It grew, a starlit flag unfurled!
+  It grew to be Time's burst of dawn.
+  He gained a world; he gave that world
+  Its greatest lesson; "On! sail on!"                                 40
+
+    --_Joaquin Miller_
+
+    --_By permission of the publishers, Whitaker & Ray-Wiggin Co._
+
+
+  WHAT, SHALL, WHY. (Appendix A, 7 and 8.)
+
+  Give examples of words or phrases which when repeated
+  become (1) unemphatic, (2) more emphatic, (3) equivalent
+  to a climax. (Introduction, pp. 31 and 32.)
+
+  Compare the mate's attitude of mind with that of the
+  Admiral. How is the difference indicated by the Stress?
+
+       *       *       *       *       *
+
+
+FROM THE "APOLOGY" OF SOCRATES
+
+From "The Dialogues of Plato"
+
+
+1. Not much time will be gained, O Athenians, in return for the evil
+name which you will get from the detractors of the city, who will say
+that you killed Socrates, a wise man; for they will call me wise, even
+although I am not wise, when they want to reproach you. If you had
+waited a little while, your desire would have been fulfilled in the
+course of nature. For I am far advanced in years, as you may perceive,
+and not far from death. I am speaking now only to those of you who
+have condemned me to death. And I have another thing to say to them:
+You think that I was convicted through deficiency of words--I mean,
+that if I had thought fit to leave nothing undone, nothing unsaid, I
+might have gained an acquittal. Not so; the deficiency which led to
+my conviction was not of words--certainly not. But I had not the
+boldness or impudence or inclination to address you as you would have
+liked me to address you, weeping and wailing and lamenting, and saying
+and doing many things which you have been accustomed to hear from
+others, and which, as I say, are unworthy of me. But I thought that I
+ought not to do anything common or mean in the hour of danger; nor do
+I now repent of the manner of my defence, and I would rather die
+having spoken after my manner, than speak in your manner and live. For
+neither in war nor yet at law ought any man to use every way of
+escaping death. For often in battle there is no doubt that if a man
+will throw away his arms, and fall on his knees before his pursuers,
+he may escape death; and in other dangers there are other ways of
+escaping death, if a man is willing to say and do anything. The
+difficulty, my friends, is not in avoiding death, but in avoiding
+unrighteousness; for that runs faster than death. I am old and move
+slowly, and the slower runner has overtaken me, and my accusers are
+keen and quick, and the faster runner, who is unrighteousness, has
+overtaken them. And now I depart hence, condemned by you to suffer the
+penalty of death, and they too go their ways, condemned by the truth
+to suffer the penalty of villainy and wrong; and I must abide by my
+reward--let them abide by theirs. I suppose that these things may be
+regarded as fated,--and I think that they are well.
+
+2. And now, O men who have condemned me, I would fain prophesy to you;
+for I am about to die, and that is the hour in which men are gifted
+with prophetic power. And I prophesy to you who are my murderers,
+that immediately after my death punishment far heavier than you have
+inflicted on me will surely await you. Me you have killed because you
+wanted to escape the accuser, and not to give an account of your
+lives. But that will not be as you suppose: far otherwise. For I say
+that there will be more accusers of you than there are now; accusers
+whom hitherto I have restrained: and as they are younger they will be
+more severe with you, and you will be more offended at them. For if
+you think that by killing men you can avoid the accuser censuring your
+lives, you are mistaken; that is not a way of escape which is either
+possible or honourable; the easiest and the noblest way is not to be
+crushing others, but to be improving yourselves. This is the prophecy
+which I utter before my departure to the judges who have condemned me.
+
+3. Friends, who would have acquitted me, I would like also to talk
+with you about this thing which has happened, while the magistrates
+are busy, and before I go to the place at which I must die. Stay then
+a while, for we may as well talk with one another while there is time.
+You are my friends, and I should like to show you the meaning of this
+event which has happened to me. O my judges--for you I may truly call
+judges--I should like to tell you of a wonderful circumstance.
+Hitherto the familiar oracle within me has constantly been in the
+habit of opposing me even about trifles, if I was going to make a slip
+or error about anything; and now, as you see, there has come upon me
+that which may be thought, and is generally believed to be, the last
+and worst evil. But the oracle made no sign of opposition, either as I
+was leaving my house and going out in the morning, or when I was going
+up into this court, or while I was speaking, at anything which I was
+going to say; and yet I have often been stopped in the middle of a
+speech, but now in nothing I either said or did touching this matter
+has the oracle opposed me. What do I take to be the explanation of
+this? I will tell you. I regard this as a proof that what has happened
+to me is a good, and that those of us who think that death is an evil
+are in error. This is a great proof to me of what I am saying, for the
+customary sign would surely have opposed me had I been going to evil
+and not to good.
+
+4. Let us reflect in another way, and we shall see that there is a
+great reason to hope that death is a good, for one of two things:
+either death is a state of nothingness and utter unconsciousness, or,
+as men say, there is a change and migration of the soul from this
+world to another. Now if you suppose that there is no consciousness,
+but a sleep like the sleep of him who is undisturbed even by the sight
+of dreams, death will be an unspeakable gain. For if a person were to
+select the night in which his sleep was undisturbed even by dreams,
+and were to compare with this the other days and nights of his life,
+and then were to tell us how many days and nights he had passed in the
+course of his life better and more pleasantly than this one, I think
+that any man, I will not say a private man, but even the great king
+will not find many such days or nights, when compared with the others.
+Now if death is like this, I say that to die is gain; for eternity is
+then only a single night. But if death is the journey to another
+place, and there, as men say, all the dead are, what good, O my
+friends and judges, can be greater than this? If indeed when the
+pilgrim arrives in the world below, he is delivered from the
+professors of justice in this world, and finds the true judges who
+are said to give judgment there, Minos and Rhadamanthus, and Aeacus,
+and Triptolemus, and other sons of God who were righteous in their own
+life, that pilgrimage will be worth making. What would not a man give
+if he might converse with Orpheus and Musaeus and Hesiod and Homer?
+Nay, if this be true, let me die again and again. I, too, shall have a
+wonderful interest in a place where I can converse with Palamedes, and
+Ajax the son of Telamon, and other heroes of old, who have suffered
+death through an unjust judgment; and there will be no small pleasure,
+as I think, in comparing my own sufferings with theirs. Above all, I
+shall be able to continue my search into true and false knowledge; as
+in this world, so also in that; I shall find out who is wise, and who
+pretends to be wise and is not. What would not a man give, O judges,
+to be able to examine the leader of the great Trojan expedition; or
+Odysseus, or Sisyphus, or numberless others, men and women too! What
+infinite delight would there be in conversing with them and asking
+them questions! For in that world they do not put a man to death for
+this; certainly not. For besides being happier in that world than in
+this, they will be immortal, if what is said is true.
+
+5. Wherefore, O judges, be of good cheer about death, and know this of
+a truth--that no evil can happen to a good man, either in life or
+after death. He and his are not neglected by the gods; nor has my own
+approaching end happened by mere chance. But I see clearly that to die
+and be released was better for me; and therefore the oracle gave no
+sign. For which reason, also, I am not angry with my accusers or my
+condemners; they have done me no harm, although neither of them meant
+to do me any good; and for this I may gently blame them.
+
+6. Still I have a favour to ask of them. When my sons are grown up, I
+would ask you, O my friends, to punish them and I would have you
+trouble them, as I have troubled you, if they seem to care about
+riches, or anything, more than about virtue; or if they pretend to be
+something when they are really nothing,--then reprove them, as I have
+reproved you, for not caring about that for which they ought to care,
+and thinking that they are something when they are really nothing. And
+if you do this, I and my sons will have received justice at your
+hands.
+
+7. The hour of departure has arrived, and we go our ways--I to die,
+and you to live. Which is better God only knows.
+
+      --_Benjamin Jowett_
+
+
+  Illustrate from this extract the general principle that
+  incompleteness is expressed by means of the Rising, and
+  completeness by means of the Falling Inflection.
+
+  Par. 1. FOR NEITHER IN WAR NOR YET AT LAW ... DEATH.
+  Explain the Inflection placed on this negative
+  statement. Give a similar example from Par. 2.
+
+  I MUST ABIDE BY MY AWARD ... LET THEM ABIDE BY THEIRS.
+  Explain the opposite Inflections on antithetical words
+  and phrases. If one part of the antithesis is a
+  negation, what is the Inflection? (Introduction, pp. 19
+  and 20.) Give examples from Par. 2.
+
+  I AM OLD AND MOVE SLOWLY ... WRONG. Explain the Emphasis
+  in these sentences. Which one of a pair of contrasted
+  words is necessarily emphatic? Give examples from this
+  and the following paragraph, in which both are emphatic,
+  and explain why. (Introduction, pp. 30-32.)
+
+  Par. 4. Explain the Inflection on the questions.
+  (Introduction, pp. 18 and 19.)
+
+  What clauses in this paragraph are really parenthetical
+  in force? How does the voice subordinate them? Give
+  similar examples from other paragraphs. (Introduction,
+  pp. 24 and 25.)
+
+       *       *       *       *       *
+
+
+HIGHLAND HOSPITALITY
+
+From "The Lady of the Lake"
+
+
+  The shades of eve come slowly down,
+  The woods are wrapt in deeper brown,
+  The owl awakens from her dell,
+  The fox is heard upon the fell;
+  Enough remains of glimmering light                                   5
+  To guide the wanderer's steps aright,
+  Yet not enough from far to show
+  His figure to the watchful foe.
+  With cautious step, and ear awake,
+  He climbs the crag and threads the brake;                           10
+  And not the summer solstice there,
+  Tempered the midnight mountain air,
+  But every breeze that swept the wold,
+  Benumbed his drenched limbs with cold.
+  In dread, in danger, and alone,                                     15
+  Famished and chilled, through ways unknown,
+  Tangled and steep, he journeyed on;
+  Till, as a rock's huge point he turned,
+  A watch-fire close before him burned.
+
+  Beside its embers red and clear,                                    20
+  Basked, in his plaid, a mountaineer;
+  And up he sprung with sword in hand,--
+  "Thy name and purpose! Saxon, stand!"--
+  "A stranger."--"What dost thou require?"--
+  "Rest and a guide, and food and fire.                               25
+  My life's beset, my path is lost.
+  The gale has chilled my limbs with frost."--
+  "Art thou a friend to Roderick?"--"No."--
+  "Thou darest not call thyself a foe?"--
+  "I dare! to him and all the band                                    30
+  He brings to aid his murderous hand."--
+  "Bold words!--but, though the beast of game
+  The privilege of chase may claim,
+  Though space and law the stag we lend,
+  Ere hound we slip, or bow we bend,                                  35
+  Who ever recked, where, how, or when,
+  The prowling fox was trapped or slain?
+  Thus, treacherous scouts,--yet sure they lie,
+  Who say thou camest a secret spy!"--
+  "They do, by Heaven!--Come Roderick Dhu,                            40
+  And of his clan the boldest two,
+  And let me but till morning rest,
+  I write the falsehood on their crest."--
+  "If by the blaze I mark aright,
+  Thou bear'st the belt and spur of Knight."--                        45
+  "Then, by these tokens mayest thou know,
+  Each proud oppressor's mortal foe."--
+  "Enough, enough; sit down and share
+  A soldier's couch, a soldier's fare."--
+
+  He gave him of his Highland cheer,                                  50
+  The hardened flesh of mountain deer;
+  Dry fuel on the fire he laid,
+  And bade the Saxon share his plaid.
+  He tended him like welcome guest,
+  Then thus his further speech addressed:--                           55
+  "Stranger, I am to Roderick Dhu
+  A clansman born, a kinsman true;
+  Each word against his honour spoke,
+  Demands of me avenging stroke;
+  Yet more,--upon thy fate, 'tis said,                                60
+  A mighty augury is laid.
+  It rests with me to wind my horn,
+  Thou art with numbers overborne;
+  It rests with me, here, brand to brand,
+  Worn as thou art, to bid thee stand:                                65
+  But not for clan, nor kindred's cause,
+  Will I depart from honour's laws;
+  To assail a wearied man were shame,
+  And stranger is a holy name;
+  Guidance and rest, and food and fire,                               70
+  In vain he never must require.
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward.
+  Till past Clan-Alpine's outmost guard,                              75
+  As far as Coilantogle's ford;
+  From thence thy warrant is thy sword."--
+  "I take thy courtesy, by Heaven,
+  As freely as 'tis nobly given!"--
+  "Well, rest thee; for the bittern's cry                             80
+  Sings us the lake's wild lullaby."
+  With that he shook the gathered heath,
+  And spread his plaid upon the wreath;
+  And the brave foemen, side by side,
+  Lay peaceful down, like brothers tried,                             85
+  And slept until the dawning beam
+  Purpled the mountain and the stream.
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Connect this scene with the rest of the
+  poem.
+
+  Give a dramatic form to this extract, describing
+  definitely the scenery and stage-setting. One reader may
+  render the descriptive parts, another the speeches of
+  Roderick Dhu, and a third those of Fitz-James.
+
+  WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS,
+  BOLDEST TWO. (Appendix A, 6.)
+
+  25 and 70. (Appendix A, 5.) 1-4. Note the word-pictures.
+  How do they affect the Pause? (Introduction, pp. 7 and
+  8.)
+
+  7. NOT ENOUGH. With what is it contrasted? Which word is
+  emphatic? Where do the Pauses occur in this line?
+
+  9. What is the atmosphere of this line? What is the
+  Quality of voice? (Introduction, p. 34.)
+
+  10-11. What Inflection? Why? What is the Shading when
+  compared with the two following lines? (Introduction, p.
+  24.)
+
+  16-17. Give an example of Grouping.
+
+  18-19. Compare the Shading of these two lines.
+
+  22. What feeling and movement are here expressed? How
+  does the voice give expression to them? (Introduction,
+  pp. 5, 6, and 27.)
+
+  Describe the mental attitude of each of the speakers.
+  What is the Stress in each case? (Introduction, pp.
+  27-29.)
+
+  38. THE PROWLING FOX ... SCOUTS. What is the mental
+  attitude here? What Stress is the result? (Introduction,
+  p. 28.) How does the rest of the speech differ from the
+  preceding? What is the Inflection? (Introduction, p.
+  18.)
+
+  What is the Stress of ordinary conversation? Illustrate
+  from the above selection.
+
+  32-39. BOLD WORDS ... SPY. (Introduction, p. 24.)
+
+  48. Why should SIT DOWN be kept distinct from SHARE? How
+  is this effected?
+
+  60. 'TIS SAID. How does the voice subordinate this
+  phrase? (Introduction, p. 24.)
+
+  66-69. Which are the emphatic words and why are they
+  emphatic?
+
+  77. What feeling is introduced here? How does the voice
+  express it?
+
+       *       *       *       *       *
+
+
+THE OUTLAW
+
+From "Rokeby"
+
+
+  O, Brignall banks are wild and fair,
+    And Greta woods are green,
+  And you may gather garlands there,
+    Would grace a summer queen.
+
+  And as I rode by Dalton-Hall,                                        5
+    Beneath the turrets high,
+  A Maiden on the castle wall
+    Was singing merrily,--
+
+  "O, Brignall banks are fresh and fair,
+    And Greta woods are green;                                        10
+  I'd rather rove with Edmund there
+    Than reign our English queen."--
+
+  "If, Maiden, thou would'st wend with me,
+    To leave both tower and town,
+  Thou first must guess what life lead we                             15
+    That dwell by dale and down.
+  And if thou canst that riddle read,
+    As read full well you may,
+  Then to the greenwood shalt thou speed
+    As blithe as Queen of May."--                                     20
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are green;
+  I'd rather rove with Edmund there.
+    Than reign our English queen.
+
+  "I read you by your bugle-horn,                                     25
+    And by your palfrey good,
+  I read you for a Ranger sworn,
+    To keep the king's greenwood."--
+  "A Ranger, lady, winds his horn,
+   And 'tis at peep of light;                                         30
+  His blast is heard at merry morn,
+    And mine at dead of night."--
+
+  Yet sung she, "Brignall banks are fair,
+    And Greta woods are gay;
+  I would I were with Edmund there,                                   35
+    To reign his Queen of May!
+
+  "With burnish'd brand and musketoon,
+    So gallantly you come,
+  I read you for a bold Dragoon,
+    That lists the tuck of drum."--                                   40
+  "I list no more the tuck of drum,
+    No more the trumpet hear;
+  But when the beetle sounds his hum
+    My comrades take the spear.
+
+  "And O! though Brignall banks be fair                               45
+    And Greta woods be gay,
+  Yet mickle must the maiden dare
+    Would reign my Queen of May!
+
+  "Maiden! a nameless life I lead,
+    A nameless death I'll die!                                        50
+  The fiend whose lantern lights the mead
+    Were better mate than I!
+  And when I'm with my comrades met
+    Beneath the greenwood bough,
+  What once we were we all forget,                                    55
+    Nor think what we are now.
+
+  "Yet Brignall banks are fresh and fair,
+    And Greta woods are green,
+  And you may gather garlands there
+    Would grace a summer queen."                                      60
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--"The Life of an Outlaw." Speak on this
+  subject, illustrating from such characters as Rob Roy,
+  Robin Hood, etc., and emphasizing the pathos of such a
+  life.
+
+  For dramatic rendering see preparatory notes on
+  _Highland Hospitality_.
+
+  1-4. What Stress indicates the state of mind reflected
+  by these lines? (Introduction, p. 29.)
+
+  3, 11. What Inflection is placed on THERE?
+  (Introduction, p. 16.)
+
+  12. What word may be supplied after REIGN? How is this
+  indicated in the reading? (Introduction, p. 10.)
+
+  13-20. Read these lines with a view to Perspective.
+  (Introduction, p. 33.)
+
+  Give examples of Grouping throughout the poem and show
+  how the Pause is affected. (Introduction, p. 11.)
+
+  What words in stanza iii are emphatic through contrast?
+  In stanza v?
+
+  What feeling in the last half of stanza v?
+  (Introduction, pp. 10-12.) In what Time, Pitch, and
+  Force are these lines read? Give your reasons.
+
+       *       *       *       *       *
+
+
+OF STUDIES
+
+From the "Essays"
+
+
+Studies serve for delight, for ornament, and for ability. Their chief
+use for delight, is in privateness and retiring; for ornament, is in
+discourse; and for ability, is in the judgment and disposition of
+business. For expert men can execute, and perhaps judge of
+particulars, one by one; but the general counsels, and the plots, and
+marshalling of affairs, come best from those that are learned.
+
+To spend too much time in studies, is sloth; to use them too much for
+ornament, is affectation; to make judgment wholly by their rules, is
+the humour of a scholar. They perfect nature and are perfected by
+experience: for natural abilities are like natural plants, that need
+pruning by study; and studies themselves do give forth directions too
+much at large, except they be bounded in by experience.
+
+Crafty men contemn studies; simple men admire them; and wise men use
+them; for they teach not their own use; but that is a wisdom without
+them, and above them, won by observation. Read not to contradict and
+confute; nor to believe and take for granted; nor to find talk and
+discourse; but to weigh and consider.
+
+Some books are to be tasted, others to be swallowed, and some few to
+be chewed and digested; that is, some books are to be read only in
+parts; others to be read, but not curiously; and some few to be read
+wholly, and with diligence and attention. Some books also may be read
+by deputy, and extracts made of them by others; but that would be only
+in the less important arguments, and the meaner sort of books; else
+distilled books are like common distilled waters, flashy things.
+
+Reading maketh a full man; conference a ready man; and writing an
+exact man. And therefore, if a man write little, he had need have a
+good memory, if he confer little, he had need have a present wit; and
+if he read little, he had need have much cunning, to seem to know that
+he doth not.
+
+If a man's wit be wandering, let him study the mathematics; for in
+demonstrations, if his wit be called away never so little, he must
+begin again; if his wits be not apt to distinguish or find
+differences, let him study the schoolmen; if he be not apt to beat
+over matters, and to call up one thing to prove and illustrate
+another, let him study the lawyers' cases. So every defect of the mind
+may have a special receipt.
+
+      --_Lord Bacon_
+
+
+  Preparatory.--Observe the sentence structure employed
+  throughout this extract, and make a list of the
+  antithetical words and phrases.
+
+  This lesson may be used as an exercise to illustrate the
+  principle of Inflection as applied to antithetical words
+  or phrases and to series of words or phrases parallel in
+  construction. (Introduction, p. 20.)
+
+       *       *       *       *       *
+
+
+THE INFLUENCE OF ATHENS
+
+From essay "On Mitford's History of Greece"
+
+
+If we consider merely the subtlety of disquisition, the force of
+imagination, the perfect energy and elegance of expression, which
+characterize the great works of Athenian genius, we must pronounce
+them intrinsically most valuable. But what shall we say when we
+reflect that from hence have sprung, directly or indirectly, all the
+noblest creations of the human intellect; that from hence were the
+vast accomplishments and the brilliant fancy of Cicero, the withering
+fire of Juvenal, the plastic imagination of Dante, the humour of
+Cervantes, the comprehension of Bacon, the wit of Butler, the supreme
+and universal excellence of Shakespeare?
+
+All the triumphs of truth and genius over prejudice and power, in
+every country and in every age, have been the triumphs of Athens.
+Wherever a few great minds have made a stand against violence and
+fraud, in the cause of liberty and reason, there has been her spirit
+in the midst of them; inspiring, encouraging, consoling;--by the
+lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune
+of Mirabeau, in the cell of Galileo, on the scaffold of Sidney.
+
+But who shall estimate her influence on private happiness? Who shall
+say how many thousands have been made wiser, happier, and better, by
+those pursuits in which she has taught mankind to engage; to how many
+the studies which took their rise from her have been wealth in
+poverty, liberty in bondage, health in sickness, society in solitude?
+
+Her power is, indeed, manifested at the bar, in the senate, in the
+field of battle, in the schools of philosophy. But these are not her
+glory. Wherever literature consoles sorrow, or assuages pain; wherever
+it brings gladness to eyes which fail with wakefulness and tears, and
+ache for the dark house and the long sleep,--there is exhibited, in
+its noblest form, the immortal influence of Athens.
+
+The dervish, in the Arabian tale, did not hesitate to abandon to his
+comrade the camels with their loads of jewels and gold, while he
+retained the casket of that mysterious juice which enabled him to
+behold at one glance all the hidden riches of the universe. Surely it
+is no exaggeration to say that no external advantage is to be compared
+with that purification of the intellectual eye which gives us to
+contemplate the infinite wealth of the mental world, all the hoarded
+treasures of its primeval dynasties, all the shapeless ore of its yet
+unexplored mines. This is the gift of Athens to man.
+
+Her freedom and her power have, for more than twenty centuries, been
+annihilated; her people have degenerated into timid slaves; her
+language, into a barbarous jargon; her temples have been given up to
+the successive depredations of Romans, Turks, and Scotchmen; but her
+intellectual empire is imperishable.
+
+And when those who have rivalled her greatness shall have shared her
+fate; when civilization and knowledge shall have fixed their abode in
+distant continents; when the sceptre shall have passed away from
+England; when, perhaps, travellers from distant regions shall in vain
+labour to decipher on some mouldering pedestal the name of our
+proudest chief, shall hear savage hymns chaunted to some misshapen
+idol over the ruined dome of our proudest temple, and shall see a
+single naked fisherman wash his nets in the river of the ten thousand
+masts,--her influence and her glory will still survive,--fresh in
+eternal youth, exempt from mutability and decay, immortal as the
+intellectual principle from which they derived their origin, and over
+which they exercise their control.
+
+      --_Macaulay_
+
+
+  Illustrate from this lesson the principle of Inflection
+  as applied to (1) a series of words parallel in
+  construction; (2) rhetorical questions.
+
+  How should the principal clause in the last paragraph be
+  made prominent by the voice? (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+NATIONAL MORALITY
+
+
+1. I believe there is no permanent greatness to a nation except it be
+based upon morality. I do not care for military greatness or military
+renown. I care for the condition of the people among whom I live.
+There is no man in England who is less likely to speak irreverently of
+the Crown and Monarchy of England than I am; but crowns, coronets,
+mitres, military display, the pomp of war, wide colonies, and a huge
+empire, are, in my view, all trifles light as air, and not worth
+considering, unless with them you can have a fair share of comfort,
+contentment, and happiness, among the great body of the people.
+Palaces, baronial castles, great halls, stately mansions, do not make
+a nation. The nation in every country dwells in the cottage; and
+unless the light of your Constitution can shine there, unless the
+beauty of your legislation and the excellence of your statesmanship
+are impressed there on the feelings and condition of the people, rely
+upon it, you have yet to learn the duties of government.
+
+2. I have not pleaded, as you have observed, that this country should
+remain without adequate and scientific means of defence. I acknowledge
+it to be the duty of your statesmen, acting upon the known opinions
+and principles of ninety-nine out of every one hundred persons in the
+country, at all times, with all possible moderation, but with all
+possible efficiency, to take steps which shall preserve order within
+and on the confines of your kingdom. But I shall repudiate and
+denounce the expenditure of every shilling, the engagement of every
+man, the employment of every ship which has no object but
+intermeddling in the affairs of other countries and endeavouring to
+extend the boundaries of an Empire which is already large enough to
+satisfy the greatest ambition, and I fear is much too large for the
+highest statesmanship to which any man has yet attained.
+
+3. The most ancient of profane historians has told us that the
+Scythians of his time were a very warlike people, and that they
+elevated an old scimitar upon a platform as a symbol of Mars, for to
+Mars alone, I believe, they built altars and offered sacrifices. To
+this scimitar they offered sacrifices of horses and cattle, the main
+wealth of the country, and more costly sacrifices than to all the rest
+of their gods. I often ask myself whether we are at all advanced in
+one respect beyond those Scythians. What are our contributions to
+charity, to education, to morality, to religion, to justice, and to
+civil government, when compared with the wealth we expend in
+sacrifices to the old scimitar?
+
+4. Two nights ago I addressed in this hall a vast assembly composed to
+a great extent of your countrymen, who have no political power, who
+are at work from the dawn of the day to the evening, and who have
+therefore limited means of informing themselves on these great
+subjects. Now I am privileged to speak to a somewhat different
+audience. You represent those of your great community who have a more
+complete education, who have on some points greater intelligence, and
+in whose hands reside the power and influence of the district. I am
+speaking, too, within the hearing of those whose gentle nature, whose
+finer instincts, whose purer minds, have not suffered as some of us
+have suffered in the turmoil and strife of life. You can mould
+opinion, you can create political power,--you cannot think a good
+thought on this subject and communicate it to your neighbours,--you
+cannot make these points topics of discussion in your social circles
+and more general meetings, without affecting sensibly and speedily the
+course which the government of your country will pursue. May I ask
+you, then, to believe, as I do most devoutly believe, that the moral
+law was not written for men alone in their individual character, but
+that it was written as well for nations, and for nations great as this
+of which we are citizens. If nations reject and deride that moral law,
+there is a penalty which will inevitably follow. It may not come at
+once, it may not come in our lifetime; but, rely upon it, the great
+Italian is not a poet only, but a prophet, when he says:
+
+  The sword of heaven is not in haste to smite,
+  Nor yet doth linger.
+
+5. We have experience, we have beacons, we have landmarks enough. We
+know what the past has cost us, we know how much and how far we have
+wandered, but we are not left without a guide. It is true, we have
+not, as an ancient people had, Urim and Thummin--those oraculous gems
+in Aaron's breast--from which to take counsel, but we have the
+unchangeable and eternal principles of the moral law to guide us, and
+only so far as we walk by that guidance can we be permanently a great
+nation, or our people a happy people.
+
+      --_The Right Honourable John Bright_
+
+
+  BARONIAL, CASTLES, CHARACTER, PAST. (Appendix A, 1.)
+
+  Par. 1. MILITARY GREATNESS, MILITARY RENOWN. Note the
+  transferred Emphasis. (Introduction, pp. 31 and 32.)
+
+  CROWNS, CORONETS, ETC. Explain the Inflection on each
+  member of this series. Give similar examples from this
+  paragraph and from Pars. 3, 4, and 5.
+
+  UNLESS WITH THEM, ETC. How does the voice prepare the
+  listener for this clause? Give a similar example from
+  Par. 4.
+
+  YOU HAVE YET TO LEARN, ETC. How is this clause made
+  prominent?
+
+  Par. 2. Give an analysis of the second sentence from the
+  standpoint of Perspective.
+
+  THE EXPENDITURE ... SHIP. How is the Climax brought out?
+
+  FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give
+  another example from this sentence.
+
+  Par. 4. NATIONS. What Inflection on this word? With what
+  is it contrasted?
+
+       *       *       *       *       *
+
+
+HAMLET'S ADVICE TO THE PLAYERS
+
+Act III. Scene 2
+
+
+Speak the speech, I pray you, as I pronounced it to
+you, trippingly on the tongue: but if you mouth it, as
+many of your players do, I had as lief the town-crier
+spoke my lines. Nor do not saw the air too much with
+your hand, thus; but use all gently: for in the very                   5
+torrent, tempest, and, as I may say, the whirlwind of
+passion, you must acquire and beget a temperance that
+may give it smoothness. O, it offends me to the soul to
+hear a robustious periwig-pated fellow tear a passion to
+tatters, to very rags, to split the ears of the groundlings,          10
+who, for the most part, are capable of nothing but
+inexplicable dumb-shows and noise: I would have such
+a fellow whipped for o'erdoing Termagant; it out-herods
+Herod: pray you, avoid it.
+
+Be not too tame neither, but let your own discretion                  15
+be your tutor: suit the action to the word, the word to
+the action; with this special observance, that you o'erstep
+not the modesty of nature: for anything so overdone
+is from the purpose of playing, whose end, both at the
+first and now, was and is, to hold, as 'twere, the mirror             20
+up to nature; to show virtue her own feature, scorn her
+own image, and the very age and body of the time his
+form and pressure. Now, this overdone or come tardy
+off, though it make the unskilful laugh, cannot but make
+the judicious grieve; the censure of the which one                    25
+must, in your allowance, o'erweigh a whole theatre of
+others. O, there be players that I have seen play, and
+heard others praise, and that highly, not to speak it
+profanely, that neither having the accent of Christains
+nor the gait of Christain, pagan, nor man, have so                    30
+strutted and bellowed, that I have thought some of
+nature's journeymen had made men, and not made them
+well, they imitated humanity so abominably.
+
+      --_Shakespeare_
+
+
+  MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words
+  emphatic? (Introduction, p. 30.)
+
+  Explain FROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE
+  CENSURE OF THE WHICH ... OTHERS. What are the emphatic
+  words in each?
+
+  TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.
+
+  Give other examples of Climax from this selection and
+  show how the Emphasis is employed. (Introduction, p.
+  31.)
+
+  Select parenthetical clauses and show how they are
+  subordinated. (Introduction, p. 24.)
+
+  Read the last two sentences with a view to Perspective.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+ROSABELLE
+
+  From "The Lay of the Last Minstrel"
+
+
+    O listen, listen, ladies gay!
+      No haughty feat of arms I tell;
+    Soft is the note, and sad the lay
+      That mourns the lovely Rosabelle.
+
+  "Moor, moor the barge, ye gallant crew!
+    And, gentle ladye, deign to stay!
+  Rest thee in Castle Ravensheuch,
+    Nor tempt the stormy firth to-day.
+
+  "The blackening wave is edged with white;
+    To inch and rock the sea-mews fly;
+  The fishers have heard the Water-Sprite,
+    Whose screams forebode that wreck is =nigh=.
+
+  "Last night the gifted Seer did view
+    A wet shroud swathed round ladye gay;
+  Then stay thee, Fair, in Ravensheuch;
+    Why cross the gloomy firth to-day?"--
+
+  "'Tis not because Lord Lindesay's heir
+    To-night at Roslin leads the ball,
+  But that my ladye-mother there
+    Sits lonely in her castle-hall.
+
+  "'Tis not because the ring they ride,
+    And Lindesay at the ring rides well,
+  But that my sire the wine will chide
+    If 'tis not fill'd by Rosabelle."--
+
+  O'er Roslin all that dreary night
+    A wondrous blaze was seen to gleam;
+  'Twas broader than the watch-fire's light,
+    And redder than the bright moonbeam.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from cavern'd Hawthornden.
+
+  Seem'd all on fire that chapel proud,
+    Where Roslin's chiefs uncoffin'd lie,
+  Each Baron, for a sable shroud,
+    Sheathed in his iron panoply.
+
+  Seem'd all on fire within, around,
+    Deep sacristy and altar's pale;
+  Shone every pillar foliage-bound,
+    And glimmer'd all the dead men's mail.
+
+  Blazed battlement and pinnet high,
+    Blazed every rose-carved buttress fair--
+  So still they blaze, when fate is nigh
+    The lordly line of high Saint Clair.
+
+  There are twenty of Roslin's barons bold
+    Lie buried within that proud chapelle;
+  Each one the holy vault doth hold--
+    But the sea holds lovely Rosabelle!
+
+  And each Saint Clair was buried there
+    With candle, with book, and with knell;
+  But the sea-caves rung, and the wild winds sung
+    The dirge of lovely Rosabelle!
+
+      --_Sir Walter Scott_
+
+
+  PREPARATORY.--Describe the scene suggested by the first
+  stanza.
+
+  Make three scenes of the rest of the poem, and give a
+  descriptive title to each.
+
+  Articulation. (Appendix A, 1, 3, and 6.)
+
+  Stanza i. How is the ellipsis in l. 3 indicated?
+
+  Stanza ii. What is the difference between the way the
+  speaker addresses the crew and that in which he
+  addresses the lady?
+
+  Stanzas iii-iv. How does the reader make prominent the
+  four different arguments of the speaker in ll. 9-15, at
+  the same time showing that each is a stronger warning
+  than the last? (Introduction, pp. 24, 25, and 31.)
+
+  Stanzas v-vi. What is the Inflection on the negative
+  statements in the first two lines of each stanza?
+
+  Stanzas vii-xi. What feeling pervades the description of
+  the ominous light over Roslyn? What Quality of voice is
+  the natural outcome? (Introduction, p. 34.)
+
+  What are the central ideas in stanzas vii, ix, and x?
+
+  How is the break in the thought after FAIR, (stanza xi)
+  shown? (Introduction, pp. 8, 9, and 25.)
+
+  Stanzas xii-xiii. What phrases contrast the burial of
+  the Saint Clairs with that of Rosabelle? What contrast
+  of feeling?
+
+       *       *       *       *       *
+
+
+THE ISLAND OF THE SCOTS
+
+December, 1697
+
+
+  The Rhine is running deep and red, the island lies before,--
+  "Now is there one of all the host will dare to venture o'er?
+  For not alone the river's sweep might make a brave man quail;
+  The foe are on the further side, their shot comes fast as hail.
+  God help us, if the middle isle we may not hope to win;              5
+  Now is there any of the host will dare to venture in?"
+  "The ford is deep, the banks are steep, the island-shore lies wide;
+  Nor man nor horse could stem its force, or reach the further side.
+  See there! amidst the willow-boughs the serried bayonets gleam;
+  They've flung their bridge,--they've won the isle; the foe have
+    cross'd the stream!                                               10
+  Their volley flashes sharp and strong,--by all the saints! I trow
+  There never yet was soldier born could force that passage now!"
+
+  So spoke the bold French Mareschal with him who led the van,
+  Whilst rough and red before their view the turbid river ran.
+  Nor bridge nor boat had they to cross the wild and swollen Rhine, 15
+  And thundering on the other bank far stretch'd the German line.
+  Hard by there stood a swarthy man was leaning on his sword,
+  And a sadden'd smile lit up his face as he heard the Captain's word.
+  "I've seen a wilder stream ere now than that which rushes there;
+  I've stemm'd a heavier torrent yet and never thought to dare.       20
+  If German steel be sharp and keen, is ours not strong and true?
+  There may be danger in the deed, but there is honour too."
+
+  The old lord in his saddle turn'd, and hastily he said,
+  "Hath bold Duguesclin's fiery heart awaken'd from the dead?
+  Thou art the leader of the Scots,--now well and sure I know,        25
+  That gentle blood in dangerous hour ne'er yet ran cold nor slow,
+  And I have seen ye in the fight do all that mortal may:
+  If honour is the boon ye seek, it may be won this day,--
+  The prize is in the middle isle, there lies the adventurous way,
+  And armies twain are on the plain, the daring deed to see,--        30
+  Now ask thy gallant company if they will follow thee!"
+
+  Right gladsome look'd the Captain then, and nothing did he say,
+  But he turn'd him to his little band, O, few, I ween, were they!
+  The relics of the bravest force that ever fought in fray.
+  No one of all that company but bore a gentle name,                  35
+  Not one whose fathers had not stood in Scotland's fields of fame.
+  All they had march'd with great Dundee to where he fought and fell,
+  And in the deadly battle-strife had venged their leader well;
+  And they had bent the knee to earth when every eye was dim,
+  As o'er their hero's buried corpse they sang the funeral hymn;      40
+  And they had trod the Pass once more, and stoop'd on either side.
+  To pluck the heather from the spot where he had dropp'd and died;
+  And they had bound it next their hearts, and ta'en a last farewell
+  Of Scottish earth and Scottish sky, where Scotland's glory fell.
+  Then went they forth to foreign lands like bent and broken men,     45
+  Who leave their dearest hope behind, and may not turn again.
+
+  "The stream," he said, "is broad and deep, and stubborn is
+    the foe,--
+  Yon island-strength is guarded well,--say, brothers, will ye go?
+  From home and kin for many a year our steps have wander'd wide,
+  And never may our bones be laid our fathers' graves beside.         50
+  No children have we to lament, no wives to wail our fall;
+  The traitor's and the spoiler's hand have reft our hearths of all.
+  But we have hearts, and we have arms, as strong to will and dare
+  As when our ancient banners flew within the northern air.
+  Come, brothers! let me name a spell shall rouse your souls again, 55
+  And send the old blood bounding free through pulse and heart
+    and vein.
+  Call back the days of bygone years,--be young and strong once more;
+  Think yonder stream, so stark and red, is one we've cross'd before.
+
+  Rise, hill and glen! rise, crag and wood! rise up on either hand,--
+  Again upon the Garry's banks, on Scottish soil we stand!            60
+  Again I see the tartans wave, again the trumpets ring;
+  Again I hear our leader's call: 'Upon them for the King!'
+  Stay'd we behind that glorious day for roaring flood or linn?
+  The soul of Græme is with us still,--now, brothers, will ye in?"
+
+  No stay,--no pause. With one accord, they grasp'd each
+    other's hand,                                                     65
+  Then plunged into the angry flood, that bold and dauntless band.
+  High flew the spray above their heads, yet onward still they bore,
+  Midst cheer, and shout, and answering yell, and shot,
+    and cannon-roar,--
+  "Now, by the Holy Cross! I swear, since earth and sea began,
+  Was never such a daring deed essay'd by mortal man!"                70
+  Thick blew the smoke across the stream, and faster flash'd
+    the flame:
+  The water plash'd in hissing jets as ball and bullet came.
+  Yet onward push'd the Cavaliers all stern and undismay'd,
+  With thousand armed foes before, and none behind to aid
+  Once, as they near'd the middle stream, so strong
+    the torrent swept,                                                75
+  That scarce that long and living wall their dangerous footing kept.
+  Then rose a warning cry behind, a joyous shout before:
+  "The current's strong,--the way is long,--they'll never reach
+    the shore!
+  See, see! they stagger in the midst, they waver in their line!
+  Fire on the madmen! break their ranks, and whelm them
+   in the Rhine!"                                                     80
+
+  Have you seen the tall trees swaying when the blast is sounding
+    shrill,
+  And the whirlwind reels in fury down the gorges of the hill?
+  How they toss their mighty branches struggling with
+    the tempest's shock;
+  How they keep their place of vantage, cleaving firmly to the rock?
+  Even so the Scottish warriors held their own against the river;     85
+  Though the water flashed around them, not an eye was seen to quiver;
+  Though the shot flew sharp and deadly, not a man relax'd his hold;
+  For their hearts were big and thrilling with the mighty thoughts
+    of old.
+  One word was spoken among them, and through the ranks it spread,--
+  "Remember our dead Claverhouse!" was all the Captain said.          90
+  Then, sternly bending forward, they wrestled on a while,
+  Until they clear'd the heavy stream, then rush'd toward the isle.
+
+  The German heart is stout and true, the German arm is strong;
+  The German foot goes seldom back where armed foemen throng.
+  But never had they faced in field so stern a charge before,         95
+  And never had they felt the sweep of Scotland's broad claymore.
+  Not fiercer pours the avalanche adown the steep incline,
+  That rises o'er the parent springs of rough and rapid Rhine,--
+  Scarce swifter shoots the bolt from heaven than came
+    the Scottish band
+  Right up against the guarded trench, and o'er it sword in hand.    100
+  In vain their leaders forward press,--they meet the deadly brand!
+
+  O lonely island of the Rhine,--where seed was never sown,
+  What harvest lay upon thy sands, by those strong reapers thrown?
+  What saw the winter moon that night, as, struggling through
+    the rain,
+  She pour'd a wan and fitful light on marsh, and stream,
+    and plain?                                                       105
+  A dreary spot with corpses strewn, and bayonets glistening round;
+  A broken bridge, a stranded boat, a bare and batter'd mound;
+  And one huge watch-fire's kindled pile, that sent its
+    quivering glare
+  To tell the leaders of the host the conquering Scots were there.
+
+  And did they twine the laurel-wreath, for those who fought
+    so well?                                                         110
+  And did they honour those who liv'd, and weep for those who fell?
+  What meed of thanks was given to them let agèd annals tell.
+  Why should they bring the laurel-wreath,--why crown the cup
+    with wine?
+  It was not Frenchmen's blood that flow'd so freely on the Rhine,--
+  A stranger band of beggar'd men had done the venturous deed:       115
+  The glory was to France alone, the danger was their meed.
+  And what cared they for idle thanks from foreign prince and peer?
+  What virtue had such honey'd words the exiled heart to cheer?
+  What matter'd it that men should vaunt and loud and fondly swear,
+
+  That higher feat of chivalry was never wrought elsewhere?          120
+  They bore within their breasts the grief that fame
+    can never heal,--
+  The deep, unutterable woe which none save exiles feel.
+  Their hearts were yearning for the land they ne'er might
+    see again,--
+  For Scotland's high and heather'd hills, for mountains,
+    loch and glen--
+  For those who haply lay at rest beyond the distant sea,            125
+  Beneath the green and daisied turf where they would gladly be!
+
+  Long years went by. The lonely isle in Rhine's tempestuous flood
+  Has ta'en another name from those who bought it with their blood:
+  And, though the legend does not live,--for legends lightly die--
+  The peasant, as he sees the stream in winter rolling by,           130
+  And foaming o'er its channel-bed between him and the spot
+  Won by the warriors of the sword, still calls that deep
+    and dangerous ford
+  The Passage of the Scot.
+
+      --_William Edmondstoune Aytoun_
+
+
+  PREPARATORY.--Narrate briefly the events of this poem,
+  and show by a blackboard diagram the situation of the
+  island, the position of the armies, etc.
+
+  Into how many dramatic scenes can the poem be divided?
+  Describe each one, showing what part of the poem it
+  covers.
+
+  For exercise in dramatic rendering, see notes on
+  _Highland Hospitality_, pp. 153 and 154.
+
+  In what state of mind are the first two speakers?
+  Compare their speeches in this respect with the first
+  speech of the Scottish Captain--"I'VE SEEN A WILDER,"
+  ETC. What is the difference in Time, Pitch, and Stress?
+
+  3. RIVER'S SWEEP, FOE. Which is more emphatic? Compare
+  MAN and HORSE, l. 8.
+
+  10-12. Give some examples of Climax in the second stanza
+  and show how the Force and the Pitch are affected.
+
+  24. "HATH BOLD DUGUESCLIN'S," ETC. Supply the
+  undercurrent of thought between the first line of this
+  speech and the second. How is this suggested in reading?
+  (Introduction, p. 14.)
+
+  33. HE TURNED HIM TO HIS LITTLE BAND--O FEW, ETC. How
+  can the break in the thought be indicated?
+  (Introduction, pp. 8, 9, and 25.)
+
+  33-46. O FEW I WEEN ... NOT TURN AGAIN. What two
+  feelings predominate?
+
+  Compare the first part of the Captain's speech with the
+  second part from the standpoint of energy. What is the
+  difference in Force and Pitch? (Introduction, pp. 23 and
+  26.)
+
+  65. NO STAY,--NO PAUSE, ETC. What part does spontaneous
+  Imitation play here, and in the following stanza?
+  (Introduction, pp. 4 and 5.)
+
+  69. NOW, BY THE HOLY CROSS! ETC. Where should the
+  longest Pause be made in this line?
+
+  78. THE CURRENT'S STRONG, ETC. What are the Pitch,
+  Force, and Stress? (Introduction, pp. 22, 26, and 29.)
+
+  93. THE GERMAN HEART, ETC. Emphasis. (Introduction, p.
+  31.)
+
+  96. AND NEVER HAD THEY FELT, ETC. Note Grouping and
+  Pause.
+
+  99. SCARCE SWIFTER, ETC. What is the Stress? Why?
+  (Introduction, p. 28.)
+
+  101. IN VAIN. Note the transition at this line.
+  (Introduction, pp. 8, 9, and 25.)
+
+  113. WHY SHOULD THEY BRING, ETC. How does the voice
+  indicate the insincerity of thought in these lines?
+  (Introduction, pp. 21, 22, and 30.)
+
+  What Inflection is used on the various questions in this
+  and the preceding stanzas? (Introduction, pp. 18 and
+  19.)
+
+  127-133. Note the Grouping and the Shading.
+  (Introduction, p. 33.)
+
+       *       *       *       *       *
+
+
+CRANFORD SOCIETY
+
+From "Cranford"
+
+
+In the first place, Cranford is in possession of the Amazons; all the
+holders of houses above a certain rent are women. If a married couple
+come to settle in the town, somehow the gentleman disappears; he is
+either fairly frightened to death by being the only man in the
+Cranford evening parties, or he is accounted for by being with his
+regiment, his ship, or closely engaged in business all the week in the
+great neighbouring commercial town of Drumble, distant only twenty
+miles on a railway. In short, whatever does become of the gentlemen,
+they are not at Cranford. What could they do if they were there? The
+surgeon has his round of thirty miles, and sleeps at Cranford; but
+every man cannot be a surgeon. For keeping the trim gardens full of
+choice flowers without a weed to speck them; for frightening away
+little boys who look wistfully at the said flowers through the
+railings; for rushing out at the geese that occasionally venture into
+the gardens if the gates are left open; for deciding all questions of
+literature and politics without troubling themselves with unnecessary
+reasons or arguments; for obtaining clear and correct knowledge of
+everybody's affairs in the parish; for keeping their neat maidservants
+in admirable order; for kindness (somewhat dictatorial) to the poor,
+and real tender good offices to each other whenever they are in
+distress--the ladies of Cranford are quite sufficient. "A man," as one
+of them observed to me once, "is _so_ in the way in the house!"
+Although the ladies of Cranford know all each other's proceedings,
+they are exceedingly indifferent to each other's opinions. Indeed, as
+each has her own individuality, not to say eccentricity, pretty
+strongly developed, nothing is so easy as verbal retaliation; but,
+somehow, good-will reigns among them to a considerable degree.
+
+Then there were rules and regulations for visiting and calls; and they
+were announced to any young people who might be staying in the town,
+with all the solemnity with which the old Manx laws were read once a
+year on the Tinwald Mount.
+
+"Our friends have sent to inquire how you are after your journey
+to-night, my dear" (fifteen miles in a gentleman's carriage). "They
+will give you some rest to-morrow; but the next day, I have no doubt,
+they will call; so be at liberty after twelve--from twelve to three
+are our calling hours."
+
+Then, after they had called--
+
+"It is the third day, I dare say your mamma has told you, my dear,
+never to let more than three days elapse between receiving a call and
+returning it; and also, that you are never to stay longer than a
+quarter of an hour."
+
+"But am I to look at my watch? How am I to find out when a quarter of
+an hour has passed?"
+
+"You must keep thinking about the time, my dear, and not allow
+yourself to forget it in conversation."
+
+As everybody had this rule in their minds, whether they received or
+paid a call, of course no absorbing subject was ever spoken about. We
+kept ourselves to short sentences of small talk, and were punctual to
+our time.
+
+I imagine that a few of the gentlefolks of Cranford were poor, and had
+some difficulty in making both ends meet; but they were like the
+Spartans, and concealed their smart under a smiling face. We none of
+us spoke of money, because that subject savoured of commerce and
+trade; and though some might be poor, we were all aristocratic. The
+Cranfordians had that kindly _esprit de corps_ which made them
+overlook all deficiencies in success when some among them tried to
+conceal their poverty. When Mrs. Forrester, for instance, gave a party
+in her baby-house of a dwelling, and the little maiden disturbed the
+ladies on the sofa by a request that she might get the tea-tray out
+from underneath, every one took this novel proceeding as the most
+natural thing in the world, and talked on about household forms and
+ceremonies as if we all believed that our hostess had a regular
+servants' hall, second table, with house-keeper and steward, instead
+of the one little charity-school maiden, whose short ruddy arms could
+never have been strong enough to carry the tray upstairs, if she had
+not been assisted in private by her mistress, who now sat in state,
+pretending not to know what cakes were sent up, though she knew, and
+we knew, and she knew that we knew, and we knew that she knew that we
+knew, she had been busy all morning making tea-bread and
+sponge-cakes.
+
+There were one or two consequences arising from this general but
+unacknowledged poverty, and this very much acknowledged gentility,
+which were not amiss, and which might be introduced into many circles
+of society to their great improvement. For instance, the inhabitants
+of Cranford kept early hours, and clattered home in their pattens,
+under the guidance of a lantern-bearer, about nine o'clock at night;
+and the whole town was abed and asleep by half-past ten. Moreover, it
+was considered "vulgar" (a tremendous word in Crawford) to give
+anything expensive, in the way of eatable or drinkable, at the evening
+entertainments. Wafer bread-and-butter and sponge-biscuits were all
+that the Honourable Mrs. Jamieson gave; and she was sister-in-law to
+the late Earl of Glenmire, although she did practise such "elegant
+economy."
+
+"Elegant economy!" How naturally one falls back into the phraseology
+of Cranford! There, economy was always "elegant," and money-spending
+always "vulgar and ostentatious;" a sort of sour-grapeism which made
+us very peaceful and satisfied. I never shall forget the dismay felt
+when a certain Captain Brown came to live at Cranford, and openly
+spoke about his being poor--not in a whisper to an intimate friend,
+the doors and windows being previously closed, but in the public
+street, in a loud military voice, alleging his poverty as a reason for
+not taking a particular house. The ladies of Cranford were already
+rather moaning over the invasion of their territories by a man and a
+gentleman. He was a half-pay captain, and had obtained some situation
+on a neighbouring railway, which had been vehemently petitioned
+against by the little town; and if, in addition to his masculine
+gender, and his connection with the obnoxious railway, he was so
+brazen as to talk of being poor--why, then, indeed, he must be sent to
+Coventry. Death was as true and as common as poverty; yet people never
+spoke about that loud out in the streets. It was a word not to be
+mentioned to ears polite. We had tacitly agreed to ignore that any
+with whom we associated on terms of visiting equality could ever be
+prevented by poverty from doing anything that they wished. If we
+walked to or from a party, it was because the night was _so_ fine, or
+the air _so_ refreshing, not because sedan-chairs were expensive. If
+we wore prints instead of summer silks, it was because we preferred a
+washing material; and so on, till we blinded ourselves to the vulgar
+fact that we were, all of us, people of very moderate means. Of
+course, then, we did not know what to make of a man who could speak of
+poverty as if it was not a disgrace. Yet, somehow, Captain Brown made
+himself respected in Cranford, and was called upon, in spite of all
+resolutions to the contrary.
+
+      --_Mrs. Gaskell_
+
+
+  Give examples of momentary completeness in the second
+  and sixth sentences of Par. 1. (Introduction, p. 16.)
+
+  What Inflection is placed on the Interrogative sentence
+  in Par. 1? (Introduction, p. 19.)
+
+  Select words throughout the lesson which are emphatic
+  through contrast and tell what Inflection is placed on
+  them. (Introduction, pp. 20 and 21.)
+
+  How are the parenthetical clauses kept in the
+  background? (Introduction, p. 24.)
+
+  WHEN MRS FORRESTER ... SPONGE-CAKES. Account for the
+  Inflection on the various phrases and clauses of this
+  sentence.
+
+  THOUGH SHE KNEW, AND WE KNEW, AND SHE KNEW THAT WE KNEW.
+  Explain the Emphasis. (Introduction, pp. 30-32.)
+
+       *       *       *       *       *
+
+
+SIR GALAHAD
+
+
+  My good blade carves the casques of men,
+    My tough lance thrusteth sure,
+  My strength is as the strength of ten,
+    Because my heart is pure.
+  The shattering trumpet shrilleth high,                               5
+    The hard brands shiver on the steel,
+  The splinter'd spear-shafts crack and fly,
+    The horse and rider reel:
+  They reel, they roll in clanging lists,
+    And when the tide of combat stands,                               10
+  Perfume and flowers fall in showers,
+    That lightly rain from ladies' hands.
+
+  How sweet are looks that ladies bend
+    On whom their favours fall!
+  For them I battle till the end,                                     15
+    To save from shame and thrall:
+  But all my heart is drawn above,
+    My knees are bow'd in crypt and shrine:
+  I never felt the kiss of love,
+    Nor maiden's hand in mine.                                        20
+  More bounteous aspects on me beam,
+    Me mightier transports move and thrill;
+  So keep I fair thro' faith and prayer
+    A virgin heart in work and will.
+
+  When down the stormy crescent goes,                                 25
+    A light before me swims,
+  Between dark stems the forest glows,
+    I hear a noise of hymns:
+  Then by some secret shrine I ride;
+    I hear a voice but none are there;                                30
+  The stalls are void, the doors are wide,
+    The tapers burning fair.
+  Fair gleams the snowy altar-cloth,
+    The silver vessels sparkle clean,
+  The shrill bell rings, the censer swings,                           35
+    And solemn chaunts resound between.
+
+  Sometimes on lonely mountain-meres
+    I find a magic bark;
+  I leap on board: no helmsman steers:
+    I float till all is dark.                                         40
+  A gentle sound, an awful light!
+    Three angels bear the Holy Grail;
+  With folded feet, in stoles of white,
+    On sleeping wings they sail.
+  Ah, blessed vision! blood of God!                                   45
+    My spirit beats her mortal bars,
+  As down dark tides the glory slides,
+    And star-like mingles with the stars.
+
+  When on my goodly charger borne
+    Thro' dreaming towns I go,                                        50
+  The cock crows ere the Christmas morn,
+    The streets are dumb with snow.
+  The tempest crackles on the leads,
+    And, ringing, springs from brand and mail;
+  But o'er the dark a glory spreads,                                  55
+    And gilds the driving hail.
+  I leave the plain, I climb the height;
+    No branchy thicket shelter yields;
+  But blessed forms in whistling storms
+    Fly o'er waste fens and windy fields.                             60
+
+  A maiden knight--to me is given
+    Such hope, I know not fear;
+  I yearn to breathe the airs of heaven
+    That often meet me here.
+  I muse on joy that will not cease.                                  65
+    Pure spaces clothed in living beams,
+  Pure lilies of eternal peace,
+    Whose odours haunt my dreams;
+  And, stricken by an angel's hand,
+    This mortal armour that I wear,                                   70
+  This weight and size, this heart and eyes,
+    Are touch'd, are turn'd to finest air.
+
+  The clouds are broken in the sky,
+    And thro' the mountain-walls
+  A rolling organ-harmony                                             75
+    Swells up, and shakes and falls.
+  Then move the trees, the copses nod,
+    Wings flutter, voices hover clear:
+  "O just and faithful knight of God!
+    Ride on! the prize is near."                                      80
+  So pass I hostel, hall, and grange;
+    By bridge and ford, by park and pale,
+  All-arm'd I ride, whate'er betide,
+    Until I find the Holy Grail.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Point out the contrast of scene in stanza
+  i. How has the poet obtained contrast of sound? Note the
+  difficulties of Articulation.
+
+  Enumerate the manifestations by means of which Sir
+  Galahad apprehends the continual proximity of the Holy
+  Grail.
+
+  Select the lines in which the mystical element is most
+  strongly marked. What feeling is aroused in reading
+  these lines?
+
+  In what Quality of voice does this feeling find
+  expression? (Introduction, p. 34.)
+
+  What is the prevailing Quality of voice?
+
+  A ROLLING ORGAN-HARMONY, ETC. What idea predominates?
+  How does it affect the Quality of voice?
+
+       *       *       *       *       *
+
+
+SONG FOR SAINT CECILIA'S DAY
+
+November 22, 1687
+
+
+  From harmony, from heavenly harmony
+      This universal frame began;
+    When Nature underneath a heap
+        Of jarring atoms lay,
+        And could not heave her head,                                  5
+  The tuneful voice was heard from high,
+      Arise ye more than dead.
+  Then cold, and hot, and moist, and dry,
+  In order to their stations leap,
+        And Music's power obey.                                       10
+  From harmony, from heavenly harmony,
+      This universal frame began;
+      From harmony to harmony
+  Through all the compass of the notes it ran,
+  The diapason closing full in Man.                                   15
+
+  What passion cannot Music raise and quell?
+      When Jubal struck the chorded shell,
+    His listening brethren stood around,
+      And, wondering, on their faces fell
+    To worship that celestial sound;                                  20
+  Less than a God they thought there could not dwell
+      Within the hollow of that shell,
+    That spoke so sweetly and so well.
+  What passion cannot Music raise and quell?
+
+  The trumpet's loud clangour                                         25
+    Excites us to arms
+  With shrill notes of anger
+    And mortal alarms.
+  The double double double beat
+    Of the thundering drum                                            30
+    Cries, Hark! the foes come;
+  Charge, charge, 'tis too late to retreat!
+
+    The soft complaining flute
+    In dying notes discovers
+    The woes of hopeless lovers,                                      35
+  Whose dirge is whisper'd by the warbling lute.
+    Sharp violins proclaim
+  Their jealous pangs and desperation,
+  Fury, frantic indignation,
+  Depth of pains, and height of passion                               40
+    For the fair, disdainful dame.
+
+    But oh! what art can teach,
+    What human voice can reach
+      The sacred organ's praise?
+    Notes inspiring holy love,                                        45
+  Notes that wing their heavenly ways
+    To mend the choirs above.
+
+  Orpheus could lead the savage race,
+  And trees unrooted left their place,
+    Sequacious of the lyre:                                           50
+  But bright Cecilia rais'd the wonder higher:
+  When to her organ vocal breath was given
+  An angel heard, and straight appear'd
+    Mistaking Earth for Heaven.
+
+
+GRAND CHORUS
+
+  As from the power of sacred lays                                    55
+    The spheres began to move,
+  And sung the great Creator's praise
+    To all the blessed above;
+  So when the last and dreadful hour
+  This crumbling pageant shall devour,                                60
+  The trumpet shall be heard on high,
+  The dead shall live, the living die,
+  And Music shall untune the sky.
+
+      --_John Dryden_
+
+
+  What feeling pervades the first and last stanzas? The
+  second stanza? In what Quality of voice does each of
+  these feelings find expression? (Introduction, pp.
+  33-35.)
+
+  Illustrate by means of the third, fourth, and fifth
+  stanzas the extent to which Imitation enters into
+  reading. (Introduction, pp. 4 and 5.)
+
+  Account for the gradually increasing Emphasis in ll.
+  11-15, 48-54, and 60-63. (Introduction, p. 31.)
+
+  3-6. What is the Shading and Inflection? (Introduction,
+  pp. 16 and 33.) Compare with these ll. 55-61.
+
+  16. What is the Inflection on this question?
+  (Introduction, p. 19.) Compare with this ll. 42-44.
+
+  21. THEY THOUGHT. How does the reader give to these
+  words the force of a parenthetical clause?
+  (Introduction, p. 33.)
+
+  22-23. Note the Grouping.
+
+  31. How does the voice make the transition to direct
+  discourse? (Introduction, p. 24.)
+
+  42-54. What is the mental attitude? What is the
+  corresponding Stress? (Introduction, p. 29.)
+
+  44. ORGAN'S. Account for the marked Emphasis on this
+  word. Compare BRIGHT CECILIA, l. 51.
+
+       *       *       *       *       *
+
+
+THE DAY WAS LINGERING
+
+
+  The day was lingering in the pale northwest,
+    And night was hanging o'er my head,--
+    Night where a myriad stars were spread;
+  While down in the east, where the light was least,
+    Seem'd the home of the quiet dead.                                 5
+  And, as I gazed on the field sublime,
+    To watch the bright, pulsating stars,
+    Adown the deep where the angels sleep
+  Came drawn the golden chime
+    Of those great spheres that sound the years                       10
+  For the horologe of time.
+    Millenniums numberless they told,
+    Millenniums a million-fold
+  From the ancient hour of prime.
+
+      --_Charles Heavysege_
+
+
+  PREPARATORY.--Compare other passages from literature
+  which suggest the "music of the spheres," for example:
+  Dryden's _Song for Saint Cecilia's Day, The Moonlight
+  Scene_ from _The Merchant of Venice_, Milton's _The
+  Hymn_.
+
+  What is the atmosphere of ll. 1-4? Of ll. 5-14? In what
+  two different Qualities of voice do the corresponding
+  feelings find expression?
+
+  Read ll. 6-11, with a view to Perspective.
+
+  Note the Grouping in ll. 9-11.
+
+       *       *       *       *       *
+
+
+ON FIRST LOOKING INTO CHAPMAN'S HOMER
+
+
+  Much have I travelled in the realms of gold,
+    And many goodly states and kingdoms seen;
+    Round many western islands have I been,
+  Which bards in fealty to Apollo hold.
+  Oft of one wide expanse had I been told                              5
+    That deep-browed Homer ruled as his demesne;
+    Yet never did I breathe its pure serene
+  Till I heard Chapman speak out loud and bold:
+  Then felt I like some watcher of the skies
+    When a new planet swims into his ken;                             10
+  Or like stout Cortez when with eagle eyes
+    He stared at the Pacific--and all his men
+  Looked at each other with a wild surmise--
+    Silent, upon a peak in Darien.
+
+      --_John Keats_
+
+
+  PREPARATORY.--How is the fundamental idea of this sonnet
+  illustrated in _The Key to Human Happiness?_ (p. 266.)
+
+  What feeling pervades the last six lines? In which line
+  is this feeling most marked? In what Quality of voice
+  does it find expression? (Introduction, pp. 33-35.)
+
+  Select the words which are emphatic through contrast,
+  expressed or implied. (Introduction, p. 32.)
+
+       *       *       *       *       *
+
+
+GREAT THINGS WERE NE'ER BEGOTTEN IN AN HOUR
+
+
+  Great things were ne'er begotten in an hour;
+    Ephemerons in birth, are such in life;
+    And he who dareth, in the noble strife
+  Of intellects, to cope for real power,--
+  Such as God giveth as His rarest dower                               5
+    Of mastery, to the few with greatness rife,--
+  Must, ere the morning mists have ceased to lower
+    Till the long shadows of the night arrive,
+  Stand in the arena. Laurels that are won,
+  Plucked from green boughs, soon wither; those that last             10
+  Are gather'd patiently, when sultry noon
+  And summer's fiery glare in vain are past.
+      Life is the hour of labour; on Earth's breast
+      Serene and undisturb'd shall be thy rest.
+
+      --_Sir Daniel Wilson (By permission)_
+
+
+  PREPARATORY.--What is the essential thought in this
+  sonnet? Quote corresponding passages. Give illustrations
+  from history and fiction.
+
+  What words are emphatic because of (_a_) contrast
+  expressed, (_b_) contrast implied? (Introduction, pp. 30
+  and 32.)
+
+  Read ll. 3-9, with a view to Perspective. (Introduction,
+  p. 33.)
+
+       *       *       *       *       *
+
+
+A WOOD LYRIC
+
+
+  Into the stilly woods I go,
+  Where the shades are deep and the wind-flowers blow,
+  And the hours are dreamy and lone and long,
+  And the power of silence is greater than song.
+  Into the stilly woods I go,                                          5
+  Where the leaves are cool and the wind-flowers blow.
+
+  When I go into the stilly woods,
+  And know all the flowers in their sweet, shy hoods,
+  The tender leaves in their shimmer and sheen
+  Of darkling shadow, diaphanous green,                               10
+  In those haunted halls where my footstep falls,
+  Like one who enters cathedral walls,
+  A spirit of beauty floods over me,
+  As over a swimmer the waves of the sea,
+  That strengthens and glories, refreshens and fills,                 15
+  Till all mine inner heart wakens and thrills
+  With a new and a glad and a sweet delight,
+  And a sense of the infinite out of sight,
+  Of the great unknown that we may not know,
+  But only feel with an inward glow                                   20
+  When into the great, glad woods we go.
+
+  O life-worn brothers, come with me
+  Into the wood's hushed sanctity,
+  Where the great, cool branches are heavy with June,
+  And the voices of summer are strung in tune;                        25
+  Come with me, O heart out-worn,
+  Or spirit whom life's brute-struggles have torn,
+  Come, tired and broken and wounded feet,
+  Where the walls are greening, the floors are sweet,
+  The roofs are breathing and heaven's airs meet.                     30
+  Come, wash earth's grievings from out of the face,
+  The tear and the sneer and the warfare's trace,
+  Come, where the bells of the forest are ringing,
+  Come, where the oriole's nest is swinging,
+  Where the brooks are foaming in amber pools,                        35
+  The mornings are still and the noonday cools.
+  Cast off earth's sorrows and know what I know,
+  When into the glad, deep woods I go.
+
+      --_William Wilfred Campbell (By permission)_
+
+
+  PREPARATORY.--"An Afternoon alone in the Woods." Tell
+  what one may see, and think, and feel. Illustrate by
+  quotations from the poets.
+
+  Give numerous examples of momentary completeness
+  throughout the poem. (Introduction, p. 16.)
+
+  How does the reader show that ll. 7-12 are merely
+  anticipative? (Introduction, p. 17.)
+
+  What change is made in the Force in l. 13?
+  (Introduction, p. 33.)
+
+  How is l. 15 connected with l. 13?
+
+  Observe the transition from description to appeal in l.
+  22. What is the change in vocal expression?
+
+       *       *       *       *       *
+
+
+TO NIGHT
+
+
+  Swiftly walk over the western wave,
+          Spirit of Night!
+  Out of the misty eastern cave,
+  Where, all the long and lone daylight,
+  Thou wovest dreams of joy and fear,                                  5
+  Which make thee terrible and dear,--
+          Swift be thy flight!
+
+  Wrap thy form in a mantle gray,
+          Star-inwrought!
+  Blind with thine hair the eyes of Day,                              10
+  Kiss her until she be wearied out,
+  Then wander o'er city, and sea, and land,
+  Touching all with thine opiate wand--
+          Come, long-sought!
+
+  When I arose and saw the dawn,                                      15
+          I sighed for thee;
+  When light rode high, and the dew was gone,
+  And noon lay heavy on flower and tree,
+  And the weary Day turned to his rest,
+  Lingering like an unloved guest,                                    20
+          I sighed for thee.
+
+  Thy brother Death came, and cried,
+          Wouldst thou me?
+  Thy sweet child Sleep, the filmy-eyed,
+  Murmured like a noontide bee                                        25
+  Shall I nestle near thy side?
+  Wouldst thou me?--And I replied,
+         No, not thee!
+
+  Death will come when thou art dead,
+         Soon, too soon--                                             30
+  Sleep will come when thou art fled;
+  Of neither would I ask the boon
+  I ask of thee, belovèd Night--
+  Swift be thine approaching flight,
+        Come soon, soon!                                              35
+
+      --_Percy Bysshe Shelley_
+
+       *       *       *       *       *
+
+
+THE OPENING SCENE AT THE TRIAL OF WARREN HASTINGS
+
+From "Essay on Warren Hastings"
+
+
+On the 13th of February, 1788, the sittings of the Court commenced.
+There have been spectacles more dazzling to the eye, more gorgeous
+with jewelry and cloth of gold, more attractive to grown-up children,
+than that which was then exhibited at Westminster; but, perhaps, there
+never was a spectacle so well calculated to strike a highly
+cultivated, a reflecting, an imaginative mind. All the various kinds
+of interest which belong to the near and to the distant, to the
+present and to the past, were collected on one spot and in one hour.
+All the talents and all the accomplishments which are developed by
+liberty and civilization were now displayed with every advantage that
+could be derived both from co-operation and from contrast. Every step
+in the proceedings carried the mind either backward, through many
+troubled centuries, to the days when the foundations of our
+constitution were laid; or far away, over boundless seas and deserts,
+to dusky nations living under strange stars, worshipping strange gods,
+and writing strange characters from right to left. The High Court of
+Parliament was to sit, according to forms handed down from the days of
+the Plantagenets, on an Englishman accused of exercising tyranny over
+the lord of the holy city of Benares and over the ladies of the
+princely house of Oude.
+
+The place was worthy of such a trial. It was the great hall of William
+Rufus, the hall which had resounded with acclamations at the
+inauguration of thirty kings, the hall which had witnessed the just
+sentence of Bacon and the just absolution of Somers, the hall where
+the eloquence of Strafford had for a moment awed and melted a
+victorious party inflamed with just resentment, the hall where Charles
+had confronted the High Court of Justice with the placid courage which
+has half redeemed his fame.
+
+Neither military nor civil pomp was wanting. The avenues were lined
+with grenadiers. The streets were kept clear by cavalry. The peers,
+robed in gold and ermine, were marshalled by the heralds under Garter
+King-at-Arms. The judges in their vestments of state attended to give
+advice on points of law. Near a hundred and seventy lords, three
+fourths of the Upper House as the Upper House then was, walked in
+solemn order from their usual place of assembling to the tribunal. The
+junior Baron present led the way, George Eliott, Lord Heathfield,
+recently ennobled for his memorable defence of Gibraltar against the
+fleets and armies of France and Spain. The long procession was closed
+by the Duke of Norfolk, Earl Marshal of the realm, by the great
+dignitaries, and by the brothers and sons of the King. Last of all
+came the Prince of Wales, conspicuous by his fine person and noble
+bearing.
+
+The gray old walls were hung with scarlet. The long galleries were
+crowded by an audience such as has rarely excited the fears or the
+emulation of an orator. There were gathered together, from all parts
+of a great, free, enlightened and prosperous empire, grace and female
+loveliness, wit and learning, the representatives of every science and
+of every art. There were seated round the Queen, the fair-haired young
+daughters of the house of Brunswick. There the Ambassadors of great
+Kings and Commonwealths gazed with admiration on a spectacle which no
+other country in the world could present. There Siddons, in the prime
+of her majestic beauty, looked with emotion on a scene surpassing all
+the imitations of the stage. There the historian of the Roman Empire
+thought of the days when Cicero pleaded the cause of Sicily against
+Verres, and when, before a senate which still retained some show of
+freedom, Tacitus thundered against the oppressor of Africa.
+
+There were seen, side by side, the greatest painter and the greatest
+scholar of the age. The spectacle had allured Reynolds from that easel
+which has preserved to us the thoughtful foreheads of so many writers
+and statesmen, and the sweet smiles of so many noble matrons. It had
+induced Parr to suspend his labours in that dark and profound mine
+from which he had extracted a vast treasure of erudition--a treasure
+too often buried in the earth, too often paraded with injudicious and
+inelegant ostentation; but still precious, massive, and splendid.
+There appeared the voluptuous charms of her to whom the heir of the
+throne had in secret plighted his faith. There too was she, the
+beautiful mother of a beautiful race, the Saint Cecilia, whose
+delicate features, lighted up by love and music, art has rescued from
+the common decay. There were the members of that brilliant society
+which quoted, criticised, and exchanged repartees under the rich
+peacock hangings of Mrs. Montague. And there the ladies, whose lips,
+more persuasive than those of Fox himself, had carried the Westminster
+election against palace and treasury, shone round Georgiana, Duchess
+of Devonshire.
+
+The Serjeants made proclamation. Hastings advanced to the bar and bent
+his knee. The culprit was indeed not unworthy of that great presence.
+He had ruled an extensive and populous country, had made laws and
+treaties, had sent forth armies, had set up and pulled down princes.
+And in his high place he had so borne himself that all had feared him,
+that most had loved him, and that hatred itself could deny him no
+title to glory except virtue. He looked like a great man and not like
+a bad man. A person small and emaciated, yet deriving dignity from a
+carriage which, while it indicated deference to the court, indicated
+also habitual self-possession and self-respect; a high and
+intellectual forehead; a brow pensive, but not gloomy; a mouth of
+inflexible decision; a face pale and worn, but serene, on which was
+written, as legibly as under the picture in the council-chamber at
+Calcutta, _Mens aequa in arduis_; such was the aspect with which the
+great Proconsul presented himself to his judges.
+
+His counsel accompanied him, men all of whom were afterwards raised by
+their talents and learning to the highest posts in their
+profession--the bold and strong-minded Law, afterwards Chief-Justice
+of the King's Bench; the more humane and eloquent Dallas, afterwards,
+Chief-Justice of the Common Pleas; and Plomer, who, near twenty years
+later, successfully conducted in the same high court the defence of
+Lord Melville, and subsequently became Vice-chancellor and Master of
+the Rolls.
+
+But neither the culprit nor his advocates attracted so much notice as
+the accusers. In the midst of the blaze of red drapery, a space had
+been fitted up with green benches and tables for the Commons. The
+managers, with Burke at their head, appeared in full dress. The
+collectors of gossip did not fail to remark that even Fox, generally
+so regardless of his appearance, had paid to the illustrious tribunal
+the compliment of wearing a bag and sword. Pitt had refused to be one
+of the conductors of the impeachment; and his commanding, copious, and
+sonorous eloquence was wanting to that great muster of various
+talents. Age and blindness had unfitted Lord North for the duties of a
+public prosecutor; and his friends were left without the help of his
+excellent sense, his tact, and his urbanity.
+
+But in spite of the absence of these two distinguished members of the
+Lower House, the box in which the managers stood contained an array of
+speakers such as perhaps had not appeared together since the great age
+of Athenian eloquence. There were Fox and Sheridan, the English
+Demosthenes and the English Hyperides. There was Burke, ignorant,
+indeed, or negligent of the art of adapting his reasonings and his
+style to the capacity and taste of his hearers, but in amplitude of
+comprehension and richness of imagination superior to every orator,
+ancient or modern.
+
+There, with eyes reverentially fixed on Burke, appeared the finest
+gentleman of the age--his form developed by every manly exercise, his
+face beaming with intelligence and spirit--the ingenious, the
+chivalrous, the high-souled Windham. Nor, though surrounded by such
+men, did the youngest manager pass unnoticed. At an age when most of
+those who distinguish themselves in life are still contending for
+prizes and fellowships at college, he had won for himself a
+conspicuous place in Parliament. No advantage of fortune or connection
+was wanting that could set off to the height his splendid talents and
+his unblemished honour. At twenty-three he had been thought worthy to
+be ranked with the veteran statesmen who appeared as the delegates of
+the British Commons at the bar of the British nobility. All who stood
+at the bar, save him alone, are gone--culprit, advocates, accusers. To
+the generation which is now in the vigour of life, he is the sole
+representative of a great age which has passed away. But those who,
+within the last ten years, have listened with delight till the morning
+sun shone on the tapestries of the House of Lords, to the lofty and
+animated eloquence of Charles, Earl Grey, are able to form some
+estimate of the powers of a race of men among whom he was not the
+foremost.
+
+The charges, and the answers of Hastings, were first read. The
+ceremony occupied two whole days, and was rendered less tedious than
+it would otherwise have been by the silver voice and just emphasis of
+Cowper, the clerk of the court, near relation of the amiable poet. On
+the third day Burke rose. Four sittings were occupied by his opening
+speech, which was intended to be a general introduction to all the
+charges. With an exuberance of thought and splendour of diction which
+more than satisfied the highly raised expectations of the audience, he
+described the character and institutions of the natives of India;
+recounted the circumstances in which the Asiatic empire of Britain had
+originated; and set forth the constitution of the Company and of the
+English Presidencies. Having thus attempted to communicate to his
+hearers an idea of Eastern society, as vivid as that which existed in
+his own mind, he proceeded to arraign the administration of Hastings,
+as systematically conducted in defiance of morality and public law.
+
+The energy and pathos of the great orator extorted expressions of
+unwonted admiration from the stern and hostile Chancellor, and, for a
+moment, seemed to pierce even the resolute heart of the defendant. The
+ladies in the galleries, unaccustomed to such displays of eloquence,
+excited by the solemnity of the occasion, and perhaps not unwilling to
+display their taste and sensibility, were in a state of uncontrollable
+emotion. Handkerchiefs were pulled out, smelling-bottles were handed
+round; hysterical sobs and screams were heard; and Mrs. Sheridan was
+carried out in a fit. At length the orator concluded. Raising his
+voice till the old arches of Irish oak resounded: "Therefore," said
+he, "hath it with all confidence been ordered by the Commons of Great
+Britain, that I impeach Warren Hastings of high crimes and
+misdemeanours. I impeach him in the name of the Commons' House of
+Parliament, whose trust he has betrayed. I impeach him in the name of
+the English nation, whose ancient honour he has sullied. I impeach him
+in the name of the people of India, whose rights he has trodden under
+foot and whose country he has turned into a desert. Lastly in the name
+of human nature itself, in the name of both sexes, in the name of
+every age, in the name of every rank, I impeach the common enemy and
+oppressor of all."
+
+      --_Macaulay_
+
+
+  This lesson is an exercise on Inflection, especially as
+  it occurs on antithetical words or phrases and on series
+  of words or phrases parallel in construction.
+  (Introduction, pp. 19 and 20.)
+
+       *       *       *       *       *
+
+
+PERORATION OF OPENING SPEECH AGAINST WARREN HASTINGS
+
+
+1. In the name of the Commons of England, I charge all this villainy
+upon Warren Hastings, in this last moment of my application to you.
+
+2. My Lords, what is it that we want here to a great act of national
+justice. Do we want a cause, my Lords? You have the cause of oppressed
+princes, of undone women of the first rank, of desolated provinces,
+and of wasted kingdoms.
+
+3. Do you want a criminal, my Lords? When was there so much iniquity
+ever laid to the charge of any one? No, my Lords, you must not look to
+punish any other such delinquent from India. Warren Hastings has not
+left substance enough in India to nourish such another delinquent.
+
+4. My Lords, is it a prosecutor you want? You have before you the
+Commons of Great Britain as prosecutors; and I believe, my Lords, that
+the sun, in his beneficent progress round the world, does not behold a
+more glorious sight than that of men, separated from a remote people
+by the material bounds and barriers of nature, united by the bond of a
+social and moral community--all the Commons of England resenting, as
+their own, the indignities and cruelties that are offered to all the
+people of India.
+
+5. Do we want a tribunal? My Lords, no example of antiquity, nothing
+in the modern world, nothing in the range of human imagination, can
+supply us with a tribunal like this. My Lords, here we see virtually,
+in the mind's eye, that sacred majesty of the Crown, under whose
+authority you sit and whose power you exercise. We have here all the
+branches of the royal family, in a situation between majesty and
+subjection, between the sovereign and the subject--offering a pledge
+in that situation, for the support of the rights of the Crown and the
+liberties of the people, both which extremities they touch.
+
+6. My Lords, we have a great hereditary peerage here; those who have
+their own honour, the honour of their ancestors, and of their
+posterity, to guard, and who will justify, as they always have
+justified, that precision in the Constitution by which justice is made
+an hereditary office. My Lords, we have here a new nobility, who have
+risen and exalted themselves by various merits, by great civil and
+military services, which have extended the fame of this country from
+the rising to the setting sun. My Lords, you have here, also, the
+lights of our religion; you have the bishops of England. My Lords, you
+have that true image of the primitive church in its ancient form, in
+its ancient ordinances, purified from the superstitions and vices
+which a long succession of ages will bring upon the best institutions.
+
+7. My Lords, these are the securities which we have in all the
+constituent parts of the body of this House. We know them, we reckon,
+we rest upon them, and commit safely the interests of India and of
+humanity into your hands. Therefore, it is with confidence that,
+ordered by the Commons, I impeach Warren Hastings, Esquire, of high
+crimes and misdemeanours. I impeach him in the name of the Commons of
+Great Britain in Parliament assembled, whose parliamentary trust he
+has betrayed. I impeach him in the name of all the Commons of Great
+Britain, whose national character he has dishonoured. I impeach him in
+the name of the people of India, whose laws, rights, and liberties he
+has subverted, whose property he has destroyed, whose country he has
+laid waste and desolate. I impeach him in the name and by virtue of
+those eternal laws of justice which he has violated. I impeach him in
+the name of human nature itself, which he has cruelly outraged,
+injured and oppressed, in both sexes, in every age, rank, situation,
+and condition of life.
+
+   --_Edmund Burke_
+
+
+  What effect would the solemnity of the occasion and the
+  gravity of the accusation have on the Quality of the
+  speaker's voice? (Introduction, p. 34.)
+
+  Par. 2. CAUSE. What words in Pars. 3, 4, and 5 are
+  emphatic through contrast with this word? Point out
+  similar contrasts in Par. 6.
+
+  Account for the Inflection on the various questions.
+
+  How are the Climaxes in Pars. 2, 5, and 7 interpreted
+  vocally? (Introduction, p. 31.)
+
+       *       *       *       *       *
+
+
+THE SONG MY PADDLE SINGS
+
+
+  West wind, blow from your prairie nest,
+  Blow from the mountains, blow from the west.
+  The sail is idle, the sailor too;
+  O! wind of the west, we wait for you.
+  Blow, blow!                                                          5
+  I have wooed you so,
+  But never a favour you bestow.
+  You rock your cradle the hills between,
+  But scorn to notice my white lateen.
+
+  I stow the sail, unship the mast:                                   10
+  I wooed you long, but my wooing's past;
+  My paddle will lull you into rest.
+  O! drowsy wind of the drowsy west,
+  Sleep, sleep,
+  By your mountain steep,                                             15
+  Or down where the prairie grasses sweep!
+  Now fold in slumber your laggard wings,
+  For soft is the song my paddle sings.
+
+  August is laughing across the sky,
+  Laughing while paddle, canoe, and I,                                20
+  Drift, drift,
+  Where the hills uplift
+  On either side of the current swift.
+
+  The river rolls in its rocky bed;
+  My paddle is plying its way ahead                                   25
+  Dip, dip,
+  While the waters flip
+  In foam as over their breast we slip.
+
+  And oh, the river runs swifter now;
+  The eddies circle about my bow.                                     30
+  Swirl, swirl!
+  How the ripples curl
+  In many a dangerous pool awhirl!
+
+  And forward far the rapids roar,
+  Fretting their margin for evermore.                                 35
+  Dash, dash,
+  With a mighty crash,
+  They seethe, and boil, and bound, and splash.
+
+  Be strong, O paddle! be brave, canoe!
+  The reckless waves you must plunge into.                            40
+  Reel, reel,
+  On your trembling keel,
+  But never a fear my craft will feel.
+
+  We've raced the rapid, we're far ahead!
+  The river slips through its silent bed.                             45
+  Sway, sway,
+  As the bubbles spray
+  And fall in tinkling tunes away.
+
+  And up on the hills against the sky,
+  A fir-tree rocking its lullaby,                                     50
+  Swings, swings,
+  Its emerald wings,
+  Swelling the song that my paddle sings.
+
+      --_E. Pauline Johnson (Tekahionwake)_
+            (_By arrangement with the Author_)
+
+
+  By examples from the above poem show to what extent
+  Imitation enters into vocal expression. (Introduction,
+  pp. 4-6.)
+
+       *       *       *       *       *
+
+
+THE DEFENCE OF THE BRIDGE
+
+From "Horatius"
+
+
+  ... The Consul's brow was sad,
+    And the Consul's speech was low,
+  And darkly looked he at the wall
+    And darkly at the foe.
+  "Their van will be upon us                                           5
+    Before the bridge goes down;
+  And if they once may win the bridge,
+    What hope to save the town?"
+
+  Then out spake brave Horatius,
+    The Captain of the Gate:                                          10
+  "To every man upon this earth
+    Death cometh soon or late.
+  And how can man die better
+    Than facing fearful odds,
+  For the ashes of his fathers,                                       15
+    And the temples of his gods?
+
+  "Hew down the bridge, Sir Consul,
+    With all the speed ye may;
+  I, with two more to help me,
+    Will hold the foe in play.                                        20
+  In yon straight path a thousand
+    May well be stopped by three.
+  Now who will stand on either hand,
+  And keep the bridge with me?"
+
+  Then out spake Spurius Lartius,--                                   25
+    A Ramnian proud was he,--
+  "Lo, I will stand at thy right hand,
+    And keep the bridge with thee."
+  And out spake strong Herminius,--
+    Of Titian blood was he,--                                         30
+  "I will abide on thy left side,
+    And keep the bridge with thee."
+
+  "Horatius," quoth the Consul,
+    "As thou sayest, so let it be."
+  And straight against that great array                               35
+    Forth went the dauntless Three.
+  For Romans in Rome's quarrel
+    Spared neither land nor gold,
+  Nor son nor wife, nor limb nor life,
+    In the brave days of old.                                         40
+
+  Then none was for a party;
+    Then all were for the state;
+  Then the great man helped the poor,
+    And the poor man loved the great:
+  Then lands were fairly portioned;                                   45
+    Then spoils were fairly sold:
+  The Romans were like brothers
+    In the brave days of old.
+
+  Now, Roman is to Roman
+    More hateful than a foe,                                          50
+  And the Tribunes beard the high,
+    And the Fathers grind the low.
+  As we wax hot in faction,
+    In battle we wax cold:
+  Wherefore men fight not as they fought                              55
+    In the brave days of old.
+
+  Now while the Three were tightening
+    Their harness on their backs,
+  The Consul was the foremost man
+    To take in hand an axe:                                           60
+  And Fathers mixed with Commons
+    Seized hatchet, bar, and crow,
+  And smote upon the planks above,
+    And loosed the props below.
+
+  Meanwhile the Tuscan army,                                          65
+    Right glorious to behold,
+  Came flashing back the noonday light,
+  Rank behind rank, like surges bright
+    Of a broad sea of gold.
+  Four hundred trumpets sounded                                       70
+    A peal of warlike glee,
+  As that great host with measured tread,
+  And spears advanced, and ensigns spread,
+  Rolled slowly towards the bridge's head,
+    Where stood the dauntless Three.                                  75
+
+  The Three stood calm and silent,
+    And looked upon the foes,
+  And a great shout of laughter
+    From all the vanguard rose:
+  And forth three chiefs came spurring                                80
+    Before that deep array;
+  To earth they sprang, their swords they drew,
+  And lifted high their shields, and flew
+    To win the narrow way;
+
+  Aunus from green Tifernum,                                          85
+    Lord of the Hill of Vines;
+  And Seius, whose eight hundred slaves
+    Sicken in Ilva's mines;
+  And Picus, long to Clusium
+    Vassal in peace and war,                                          90
+  Who led to fight his Umbrian powers
+  From that gray crag where, girt with towers,
+  The fortress of Nequinum lowers
+    O'er the pale waves of Nar.
+
+  Stout Lartius hurled down Aunus                                     95
+    Into the stream beneath;
+  Herminius struck at Seius,
+    And clove him to the teeth;
+  At Picus brave Horatius
+    Darted one fiery thrust;                                         100
+  And the proud Umbrian's gilded arms
+    Clashed in the bloody dust.
+
+  Then Ocnus of Falerii
+    Rushed on the Roman Three;
+  And Lausulus of Urgo,                                              105
+    The rover of the sea;
+  And Aruns of Volsinium,
+    Who slew the great wild boar,
+  The great wild boar that had his den
+  Amidst the reeds of Cosa's fen,                                    110
+  And wasted fields, and slaughtered men,
+    Along Albinia's shore.
+
+  Herminius smote down Aruns;
+    Lartius laid Ocnus low;
+  Right to the heart of Lausulus                                     115
+    Horatius sent a blow.
+  "Lie there," he cried, "fell pirate!
+    No more, aghast and pale,
+  From Ostia's walls the crowd shall mark
+  The track of thy destroying bark.                                  120
+  No more Campania's hinds shall fly
+  To woods and caverns when they spy
+    Thy thrice accursèd sail."
+
+  But now no sound of laughter
+    Was heard among the foes.                                        125
+  A wild and wrathful clamour
+    From all the vanguard rose.
+  Six spears' lengths from the entrance
+    Halted that deep array,
+  And for a space no man came forth                                  130
+    To win the narrow way.
+
+  But hark! the cry is Astur:
+    And lo! the ranks divide,
+  And the great Lord of Luna
+    Comes with his stately stride.                                   135
+  Upon his ample shoulders
+    Clangs loud the fourfold shield,
+  And in his hand he shakes the brand
+    Which none but he can wield.
+
+  He smiled on those bold Romans                                     140
+    A smile serene and high;
+  He eyed the flinching Tuscans,
+    And scorn was in his eye.
+  Quoth he: "The she-wolf's litter
+    Stand savagely at bay;                                           145
+  But will ye dare to follow
+    If Astur clears the way?"
+
+  Then, whirling up his broadsword
+    With both hands to the height,
+  He rushed against Horatius,                                        150
+    And smote with all his might.
+  With shield and blade Horatius
+    Right deftly turned the blow.
+  The blow, though turned, came yet too nigh;
+  It missed his helm, but gashed his thigh:                          155
+  The Tuscans raised a joyful cry
+    To see the red blood flow.
+
+  He reeled, and on Herminius
+    He leaned one breathing-space;
+  Then, like a wild cat mad with wounds,                             160
+    Sprang right at Astur's face.
+  Through teeth, and skull, and helmet,
+    So fierce a thrust he sped,
+  The good sword stood a hand-breadth out
+    Behind the Tuscan's head.                                        165
+
+  And the great Lord of Luna
+    Fell at that deadly stroke,
+  As falls on Mount Alvernus
+    A thunder-smitten oak.
+  Far o'er the crashing forest                                       170
+    The giant arms lie spread;
+  And the pale augurs, muttering low,
+    Gaze on the blasted head.
+
+  On Astur's throat Horatius
+    Right firmly pressed his heel,                                   175
+  And thrice and four times tugged amain,
+    Ere he wrenched out the steel.
+  "And see," he cried, "the welcome,
+    Fair guests, that waits you here!
+  What noble Lucumo comes next,                                      180
+    To taste our Roman cheer?"
+
+  But at his haughty challenge
+    A sullen murmur ran,
+  Mingled of wrath, and shame, and dread,
+    Along that glittering van.                                       185
+  There lacked not men of prowess,
+    Nor men of lordly race;
+  For all Etruria's noblest
+    Were round the fatal place.
+  But all Etruria's noblest                                          190
+    Felt their hearts sink to see
+  On the earth the bloody corpses,
+    In the path the dauntless Three.
+
+  Yet one man for one moment
+    Strode out before the crowd;                                     195
+  Well known was he to all the Three,
+    And they gave him greeting loud.
+  "Now welcome, welcome, Sextus!
+    Now welcome to thy home!
+  Why dost thou stay, and turn away?                                 200
+    Here lies the road to Rome."
+
+  Thrice looked he at the city;
+    Thrice looked he at the dead;
+  And thrice came on in fury,
+    And thrice turned back in dread;                                 205
+  And, white with fear and hatred,
+    Scowled at the narrow way
+  Where, wallowing in a pool of blood,
+    The bravest Tuscans lay.
+
+  But meanwhile axe and lever                                        210
+    Have manfully been plied;
+  And now the bridge hangs tottering
+    Above the boiling tide.
+  "Come back, come back, Horatius!"
+    Loud cried the Fathers all.                                      215
+  "Back Lartius! back Herminius!
+    Back, ere the ruin fall!"
+
+  Back darted Spurius Lartius;
+    Herminius darted back:
+  And, as they passed beneath their feet                             220
+    They felt the timbers crack.
+  But when they turned their faces.
+    And on the farther shore
+  Saw brave Horatius stand alone,
+    They would have crossed once more.                               225
+
+  But with a crash like thunder
+    Fell every loosened beam,
+  And, like a dam, the mighty wreck
+    Lay right athwart the stream:
+  And a long shout of triumph                                        230
+    Rose from the walls of Rome,
+  As to the highest turret-tops
+    Was splashed the yellow foam.
+
+  Alone stood brave Horatius,
+    But constant still in mind;                                      235
+  Thrice thirty thousand foes before,
+    And the broad flood behind.
+  "Down with him!" cried false Sextus,
+    With a smile on his pale face,
+  "Now yield thee," cried Lars Porsena,                              240
+    "Now yield thee to our grace."
+
+  Round turned he, as not deigning
+    Those craven ranks to see;
+  Naught spake he to Lars Porsena,
+    To Sextus naught spake he:                                       245
+  But he saw on Palatinus
+    The white porch of his home;
+  And he spake to the noble river
+    That rolls by the towers of Rome:
+
+  "Oh, Tiber! Father Tiber!                                          250
+    To whom the Romans pray,
+  A Roman's life, a Roman's arms,
+    Take thou in charge this day!"
+  So he spake, and speaking sheathed
+    The good sword by his side,                                      255
+  And with his harness on his back,
+    Plunged headlong in the tide.
+
+  No sound of joy or sorrow
+    Was heard from either bank;
+  But friends and foes in dumb surprise,                             260
+  With parted lips and straining eyes,
+    Stood gazing where he sank;
+  And when above the surges
+    They saw his crest appear,
+  All Rome sent forth a rapturous cry,                               265
+  And even the ranks of Tuscany
+    Could scarce forbear to cheer.
+
+  But fiercely ran the current,
+    Swollen high by months of rain:
+  And fast his blood was flowing,                                    270
+    And he was sore in pain,
+  And heavy with his armour,
+    And spent with changing blows:
+  And oft they thought him sinking,
+    But still again he rose.                                         275
+
+  Never, I ween, did swimmer,
+    In such an evil case
+  Struggle through such a raging flood
+    Safe to the landing-place:
+  But his limbs were borne up bravely                                280
+    By the brave heart within,
+  And our good Father Tiber
+    Bore bravely up his chin.
+
+  "Curse on him!" quoth false Sextus:
+    "Will not the villain drown?                                     285
+  But for this stay, ere close of day
+    We should have sacked the town!"
+  "Heaven help him!" quoth Lars Porsena,
+    "And bring him safe to shore;
+  For such a gallant feat of arms                                    290
+    Was never seen before."
+
+  And now he feels the bottom;
+    Now on dry earth he stands;
+  Now round him throng the Fathers
+    To press his gory hands;                                         295
+  And now, with shouts and clapping,
+    And noise of weeping loud,
+  He enters through the River-Gate,
+    Borne by the joyous crowd.
+
+      --_Macaulay_
+
+
+  PREPARATORY.--What is the historic back-ground of the
+  ballad from which this selection is taken? Narrate
+  briefly the events as told by Macaulay in _Horatius_.
+  Where is the scene of the dramatic events here
+  portrayed? Who are the chief actors? Who are the
+  speakers?
+
+  Show whether the words and phrases repeated in the
+  following lines are accompanied by increased Emphasis or
+  whether the Emphasis is transferred: ll. 1-4, 41-46,
+  108-109, 118-121, 188-190, 198-199, 202-205, 214-217,
+  240-241, 244-245, 252, 292-295. (Introduction, pp.
+  30-32.) Give examples of Emphasis through contrast,
+  throughout the selection.
+
+  What Inflection is placed on the questions in ll. 8,
+  13-16, 23-24? Give reasons.
+
+  Compare the mental attitude of Horatius in ll. 11-16,
+  and ll. 17-24. What is the difference in Stress?
+
+  ll. 38-39. What Inflection and Emphasis on the series of
+  words? (Introduction, pp. 20 and 31.)
+
+  In what way does Imitation enter into the reading of ll.
+  72-75, 82-84, 95-100, 160-163, 218-221, 292-299? How are
+  the Time and Stress affected? How does Imitation affect
+  the Pitch in ll. 230-233, 156-157, 172-173, 238-241,
+  265-267, 284-291?
+
+  ll. 144-147. In what Quality of voice should Astur's
+  speech be read?
+
+  l. 153. What is the most important word?
+
+  ll. 178-181, 196-201. How does the derision affect the
+  Stress and the Inflection? (Introduction, pp. 21, 22,
+  and 30.)
+
+  ll. 186-187. Explain the Inflection on this negative
+  statement.
+
+  ll. 238-241, 284-291. Compare the feelings of Sextus
+  with those of Lars Porsena. How is the difference shown
+  in the Quality of voice? (Introduction, pp. 33-35.)
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF KING EDWARD VII
+
+Delivered in the British House of Commons, May 12th, 1910
+
+
+The late King, who has been suddenly taken away from us, had, at the
+time of his death, not yet completed the tenth year of his reign.
+Those years were crowded with moving and stirring events, both abroad,
+in the Empire, and here at home. In our relations with foreign
+countries they have been years of growing friendships, of new
+understandings, of stronger and surer safeguards for the peace of
+mankind. Within the Empire during the same time the sense of
+interdependence, the consciousness of common interests and common
+risks, the ever-tightening bonds of corporate unity have been
+developed and vivified as they had never been before. Here at home, as
+though it were by way of contrast, controversial issues of the gravest
+kind--economic, social, and constitutional--have ripened into a rapid
+maturity.
+
+Sir, in all these multiform manifestations of our national and
+imperial life, history will assign a part of singular dignity and
+authority to the great Ruler whom we have lost. In external affairs
+his powerful personal influence was steadily and zealously directed to
+the avoidance not only of war, but of the causes and pretexts of war,
+and he well earned the title by which he will always be remembered,
+"the Peacemaker of the World."
+
+Within the boundaries of his own Empire, by his intimate knowledge of
+its component parts, by his broad and elastic sympathy not only with
+ambitions, and aspirations, but with the sufferings and the hardships
+of his people, by his response to any and every appeal whether to the
+sense of justice or the spirit of compassion, he won a degree of
+loyalty, affection, and confidence which few Sovereigns have ever
+enjoyed. At home, we all recognize that, above the din and dust of our
+hard-fought controversies, detached from party and attached only to
+the common interests, we had in him an arbiter ripe in experience,
+judicial in temper, at once a reverent worshipper of our traditions
+and a watchful guardian of our constitutional liberties.
+
+One is tempted, indeed constrained, on such an occasion as this to ask
+what were the qualities which enabled a man called comparatively late
+in life to new duties of unexampled complexity--what were the
+qualities which in practice proved him so admirably fitted to the
+task, and have given him an enduring and illustrious record among the
+rulers and governors of the nations? I should be disposed to assign
+the first place to what sounds a commonplace--but in its persistent
+and unfailing exercise is one of the rarest of virtues--his strong,
+abiding, dominating sense of public duty.
+
+King Edward, be it remembered, was a man of many and varied interests.
+He was a sportsman in the best sense, an ardent and discriminating
+patron of the Arts, and as well equipped as any man of his time for
+the give-and-take of social intercourse; wholly free from the
+prejudices and narrowing rules of caste; at home in all companies; an
+enfranchised citizen of the world. To such a man, endowed as he was by
+nature, placed where he was by fortune and by circumstances, there
+was open, if he had chosen to enter it, an unlimited field for
+self-indulgence. But, Sir, as every one will acknowledge who was
+brought into daily contact with him in the sphere of affairs, his duty
+to the State always came first. In this great business community there
+was no better man of business, no man by whom the humdrum
+obligations--punctuality, method, preciseness, and economy of time and
+speech--were more keenly recognized or more severely practised. I
+speak with the privilege of close experience when I say that wherever
+he was, whatever may have been his apparent preoccupations, in the
+transactions of the business of the State there were never any
+arrears, there was never any trace of confusion, there was never any
+moment of avoidable delay.
+
+Next to these, Sir--I am still in the domain of practice and
+administration--I should put his singular, perhaps an unrivalled, tact
+in the management of men, and a judgment of intuitive shrewdness as to
+the best outlet from perplexed and often baffling situations. He had,
+in its highest and best development, the genius of common sense. These
+rare gifts of practical efficiency were, during the whole of his
+Kingship, yoked to the service of a great ideal. He was animated every
+day of his Sovereignty by the thought that he was at once the head and
+the chief servant of that vast complex organism which we call the
+British Empire. He recognized in the fullest degree both the powers
+and the limitations of a Constitutional Monarch. Here, at home, he
+was, though no politician, as every one knows, a keen Social Reformer.
+He loved his people at home and over the seas. Their interests were
+his interests; their fame was his fame. He had no self apart from
+them.
+
+I will not touch for more than a moment on more delicate and sacred
+ground--on his personal charm, the warmth and wealth of his humanity;
+his unfailing considerateness for all who in any capacity were
+permitted to work for him. I will only say, in this connection that no
+man in our time has been more justly beloved by his family and his
+friends, and no Ruler in our or in any time has been more sincerely
+true, more unswervingly loyal, more uniformly kind to his advisers and
+his servants. By the unsearchable counsels of the Disposer of Events
+he has been called suddenly, and without warning, to his account. We
+are still dazed under the blow which has befallen us. It is too soon,
+as yet, even to attempt to realize its full meaning, but this, at
+least, we may say at once and with full assurance, that he has left to
+his people a memory and an example which they will never forget, a
+memory of great opportunities greatly employed, and an example which
+the humblest of his subjects may treasure and strive to follow, of
+simplicity, courage, self-denial, tenacious devotion up to the last
+moment of conscious life to work, to duty, and to service.
+
+    --_The Right Honourable Herbert Henry Asquith_
+
+
+  WITHIN THE BOUNDARIES ... ENJOYED. Make an analysis of
+  this sentence with a view to Perspective. (Introduction,
+  p. 33.)
+
+  DETACHED ... INTERESTS. Note the contrasts and indicate
+  the Inflection on each.
+
+  TEMPTED, ... CONSTRAINED. What difference in Emphasis?
+  (Introduction, p. 31.) Compare SINGULAR, PERHAPS
+  UNRIVALLED; IN OUR OR IN ANY TIME.
+
+       *       *       *       *       *
+
+
+THE HEROES OF MAGERSFONTEIN
+
+Dec. 11, 1899
+
+
+1. During the night it was considered expedient that the Highland
+Brigade, 4,000 strong, under General Wauchope, should get close enough
+to the lines of the foe to make it possible to charge the heights. At
+midnight the gallant but ill-fated men moved cautiously through the
+darkness toward the kopje where the Boers were most strongly
+intrenched. They were led by a guide who was supposed to know every
+inch of the country, out into the darkness of an African night.
+
+2. So onward until three of the clock on the Monday. Then out of the
+darkness a rifle rang sharp and clear, a herald of disaster--a soldier
+had tripped in the dark over the hidden wires laid down by the enemy.
+In a second, in the twinkling of an eye, the searchlights of the Boers
+fell broad and clear as the noonday sun on the ranks of the doomed
+Highlanders, though it left the enemy concealed in the shadows of the
+frowning mass of hills behind them. For one brief moment the Scots
+seemed paralysed by the suddenness of their discovery, for they knew
+that they were huddled together like sheep within fifty yards of the
+trenches of the foes.
+
+3. Then clear above the confusion rolled the voice of the General:
+"Steady, men, steady!"--and like an echo to the veterans out came the
+crash of nearly a thousand rifles not fifty paces from them. The
+Highlanders reeled before the shock like trees before the tempest;
+their best, their bravest, fell in that wild hail of lead. General
+Wauchope was down, riddled with bullets; yet gasping, dying, bleeding
+from every vein, the Highland chief raised himself on his hands and
+knees and cheered his men forward. Men and officers fell in heaps
+together.
+
+4. The Black Watch charged, and the Gordons and the Seaforths, with a
+yell that stirred the British camp below, rushed onward to death or
+disaster. The accursed wires caught them around the legs until they
+floundered like trapped wolves, and all the time the rifles of the foe
+sang the song of death in their ears. They fell back broken and
+beaten, leaving nearly 1,300 dead and wounded, just where the broad
+breast of the grassy veldt melts into the embrace of the rugged
+African hills; and an hour later, the dawning came of the dreariest
+day that Scotland has known for a generation past.
+
+5. Of her officers, the flower of her chivalry, the pride of her
+breeding, but few remained to tell the tale--a sad tale truly, but one
+untinted with dishonour nor smirched with disgrace, for up these
+heights under similar circumstances, even a brigade of devils could
+scarce have hoped to pass. All that mortal man could do the Scots did;
+they tried, they failed, they fell, and there is nothing left us now
+but to revere their memory and give them a place of honour in the
+pages of history.
+
+6. Three hundred yards to the rear of the little township of Modder
+River, just as the sun was sinking in a blaze of African splendour, on
+the evening of Tuesday, the 12th of December, a long shallow grave lay
+exposed in the breast of the veldt. To the westward, the broad river
+fringed with trees runs murmuringly; to the eastward, the heights
+still held by the enemy, scowled menacingly; north and south the veldt
+undulated peacefully; a few paces to the northward of that grave,
+fifty dead Highlanders lay dressed as they had fallen on the field of
+battle: they had followed their chief to the field, and they were to
+follow him to the grave.
+
+7. How grim and stern these men looked as they lay face upward to the
+sky, with great hands clutched in the last agony, and brows still knit
+with the stern lust of the strife in which they had fallen. The
+plaids, dear to every Highland clan, were represented there, and out
+of the distance came the sound of pipes. It was the General coming to
+join his men. There, right under the eyes of the enemy, moved with
+slow and solemn tread all that remained of the Highland Brigade. In
+front of them walked the chaplain, with bared head, dressed in his
+robes of office; then came the pipers with their pipes, sixteen in
+all, and behind them, with arms reversed, moved the Highlanders,
+dressed in all the regalia of their regiments, and in the midst the
+dead General, borne by four of his comrades. Out swelled the pipes to
+the strains of "The Flowers of the Forest," now ringing proud and high
+until the soldier's head went back in haughty defiance--and eyes
+flashed through tears like sunlight on steel, now sinking to moaning
+wail like a woman mourning for her first-born, until the proud heads
+drooped forward till they rested on heaving chests, and tears rolled
+down the wan and scarred faces, and the choking sobs broke through the
+solemn rhythm of the march of death.
+
+8. Right up to the grave they marched, then broke away in companies,
+until the General lay in the shallow grave with a Scottish square of
+armed men around him. Only the dead man's son and a small remnant of
+his officers stood with the chaplain and the pipers, while the solemn
+service of the church was spoken.
+
+9. Then once again the pipes pealed out, and "Lochaber No More" cut
+through the stillness like a cry of pain until one could almost hear
+the widow in her Highland home mourning for the soldier she would
+welcome back no more.
+
+10. Then, as if touched with the magic of one thought, the soldiers
+turned their tear-damped eyes from the still form in the shallow grave
+toward the height where Cronje, the Lion of Africa, and his soldiers
+stood. Then every cheek flushed crimson, and strong jaws set like
+steel, and the veins on the hands that clasped the rifle handles
+swelled almost to bursting with the fervour of the grip, and that look
+from those silent, armed men spoke more eloquently than ever spoke the
+tongues of orators. For on each frowning face the spirit of vengeance
+sat, and each sparkling eye asked silently for blood.
+
+11. At the head of the grave, at the point nearest the enemy, the
+General was laid to sleep, his officers grouped around him, while in
+line behind him, his soldiers were laid in a double row wrapped in
+their blankets. No shots were fired over the dead men resting so
+peacefully, only the salute was given, and then the men marched
+campwards as the darkness of an African night rolled over the
+far-stretching breadth of the veldt.
+
+   --_From "The London Daily News" (By permission)_
+
+
+  Par. 1. Note the Grouping, Pause, and Shading in the
+  last sentence. Compare the Grouping in the preceding
+  sentence, in the last sentence of Par. 4, in the first
+  sentence of Par. 7, and in the second sentence of Par.
+  10.
+
+  Explain the Inflection and Emphasis on the phrases
+  parallel in construction, in the fifth and sixth
+  sentences of Par. 7, and the second sentence of Par. 10.
+
+       *       *       *       *       *
+
+
+THE FUNERAL OF JULIUS CÆSAR
+
+From "Julius Cæsar," Act III. Scene ii.
+
+The Forum. _Enter Brutus, Cassius, and a throng of Citizens._
+
+_All._ We will be satisfied; let us be satisfied.
+
+_Bru._ Then follow me, and give me audience, friends.--
+Cassius, go you into the other street,
+And part the numbers.--
+Those that will hear me speak, let them stay here;
+Those that will follow Cassius, go with him;
+And public reasons shall be rendered
+Of Cæsar's death.
+
+_1 Cit._ I will hear Brutus speak.
+
+_2 Cit._ I will hear Cassius; and compare their reasons,
+When severally we hear them rendered.                                 10
+
+[_Exit Cassius, with some of the Citizens. Brutus goes
+into the rostrum._]
+
+_3 Cit._ The noble Brutus is ascended: silence!
+
+_Bru._ Be patient till the last.
+Romans, countrymen, and lovers! hear me for my cause;
+and be silent, that you may hear: believe me for mine
+honour; and have respect to mine honour, that you may
+believe: censure me in your wisdom; and awake your
+senses, that you may the better judge. If there be any
+in this assembly, any dear friend of Cæsar's, to him I
+say, that Brutus' love to Cæsar was no less than his. If
+then that friend demand why Brutus rose against Cæsar,                20
+this is my answer.--Not that I loved Cæsar less, but that
+I loved Rome more. Had you rather Cæsar were living,
+and die all slaves, than that Cæsar were dead, to live
+all free men? As Cæsar loved me, I weep for him; as
+he was fortunate, I rejoice at it; as he was valiant, I
+honour him: but, as he was ambitious, I slew him.
+There is tears for his love; joy for his fortune; honour
+for his valour; and death for his ambition. Who is here
+so base that would be a bondman? If any, speak; for
+him have I offended. Who is here so rude that would                   30
+not be a Roman? If any, speak; for him have I offended.
+Who is here so vile that will not love his country? If
+any, speak; for him have I offended. I pause for a
+reply.
+
+_All._ None, Brutus, none.
+
+_Bru._ Then none have I offended. I have done no more
+to Cæsar than you shall do to Brutus. The question of
+his death is enrolled in the Capitol; his glory not extenuated,
+wherein he was worthy; nor his offences enforced,
+for which he suffered death.                                          40
+
+[_Enter Antony and others, with Cæsar's body._]
+
+Here comes his body, mourned by Mark Antony: who,
+though he had no hand in his death, shall receive the
+benefit of his dying, a place in the commonwealth; as
+which of you shall not? With this I depart,--that, as
+I slew my best lover for the good of Rome, I have the
+same dagger for myself, when it shall please my country
+to need my death.
+
+_All._ Live, Brutus, live! live!
+
+_1 Cit._ Bring him with triumph home unto his house.
+
+_2 Cit._ Give him a statue with his ancestors.                        50
+
+_3 Cit._ Let him be Cæsar.
+
+_4 Cit._ Cæsar's better parts
+Shall now be crown'd in Brutus.
+
+_1 Cit._ We'll bring him to his house with shouts and
+clamours.
+
+_Bru._ My countrymen,--
+
+_2 Cit._           Peace! silence! Brutus speaks.
+
+_1 Cit._ Peace, ho!
+
+_Bru._ Good countrymen, let me depart alone,
+And, for my sake, stay here with Antony:
+Do grace to Cæsar's corpse, and grace his speech                      60
+Tending to Cæsar 's glories; which Mark Antony,
+By our permission, is allow'd to make.
+I do entreat you, not a man depart,
+Save I alone, till Antony have spoke. [_Exit_]
+
+_1 Cit._ Stay, ho! and let us hear Mark Antony.
+
+_3 Cit._ Let him go up into the public chair;
+We'll hear him.--Noble Antony, go up.
+
+_Ant._ For Brutus' sake, I am beholding to you.
+
+[_He goes up into the rostrum._]
+
+_4 Cit._ What does he say of Brutus?
+
+_3 Cit._             He says, for Brutus' sake,                       70
+He finds himself beholding to us all.
+
+_4 Cit._ 'T were best to speak no harm of Brutus here.
+
+_1 Cit._ This Cæsar was a tyrant.
+
+_3 Cit._                Nay, that's certain:
+We are blest that Rome is rid of him.
+
+_2 Cit._ Peace! let us hear what Antony can say.
+
+_Ant._ You gentle Romans,--
+
+_All._                Peace, ho! let us hear him.
+
+_Ant._ Friends, Romans, countrymen, lend me your ears;
+I come to bury Cæsar, not to praise him.                              80
+The evil that men do lives after them;
+The good is oft interred with their bones;
+So let it be with Cæsar. The noble Brutus
+Hath told you, Cæsar was ambitious:
+If it were so, it was a grievous fault,
+And grievously hath Cæsar answer'd it.
+Here, under leave of Brutus and the rest,--
+For Brutus is an honourable man;
+So are they all, all honourable men.--
+Come I to speak in Cæsar's funeral.                                   90
+He was my friend, faithful and just to me:
+But Brutus says he was ambitious;
+And Brutus is an honourable man.
+He hath brought many captives home to Rome,
+Whose ransoms did the general coffers fill:
+Did this in Cæsar seem ambitious?
+When that the poor have cried, Cæsar hath wept:
+Ambition should be made of sterner stuff:
+Yet Brutus says he was ambitious;
+And Brutus is an honourable man.                                     100
+You all did see that on the Lupercal
+I thrice presented him a kingly crown,
+Which he did thrice refuse: was this ambition?
+Yet Brutus says he was ambitious;
+And, sure, he is an honourable man.
+I speak not to disprove what Brutus spoke,
+But here I am to speak what I do know.
+You all did love him once, not without cause:
+What cause withholds you then to mourn for him?
+O judgment, thou art fled to brutish beasts,                         110
+And men have lost their reason!--Bear with me;
+My heart is in the coffin there with Cæsar,
+And I must pause till it come back to me.
+
+_1 Cit._ Methinks there is much reason in his sayings.
+
+_2 Cit._ If thou consider rightly of the matter,
+Cæsar has had great wrong.
+
+_3 Cit._ Has he, masters?
+I fear there will a worse come in his place.
+
+_4 Cit._ Mark'd ye his words? He would not take the
+crown;
+Therefore 't is certain he was not ambitious.                        120
+
+_1 Cit._ If it be found so, some will dear abide it.
+
+_2 Cit._ Poor soul! his eyes are red as fire with weeping.
+
+_3 Cit._ There's not a nobler man in Rome than Antony.
+
+_4 Cit._ Now mark him, he begins again to speak.
+
+_Ant._ But yesterday the word of Cæsar might
+Have stood against the world: now lies he there,
+And none so poor to do him reverence.
+O masters! if I were dispos'd to stir
+Your hearts and minds to mutiny and rage,
+I should do Brutus wrong, and Cassius wrong,                         130
+Who, you all know, are honourable men;
+I will not do them wrong; I rather choose
+To wrong the dead, to wrong myself, and you,
+Than I will wrong such honourable men.
+But here's a parchment, with the seal of Cæsar;
+I found it in his closet, 'tis his will:
+Let but the commons hear this testament,--
+Which, pardon me, I do not mean to read,--
+And they would go and kiss dead Cæsar's wounds,
+And dip their napkins in his sacred blood.                           140
+Yea, beg a hair of him for memory,
+And, dying, mention it within their wills,
+Bequeathing it as a rich legacy
+Unto their issue.
+
+_4 Cit._ We'll hear the will: read it, Mark Antony.
+
+_All._ The will, the will! we will hear Cæsar's will.
+
+_Ant._ Have patience, gentle friends, I must not read it;
+It is not meet you know how Cæsar lov'd you.
+You are not wood, you are not stones, but men;
+And, being men, hearing the will of Cæsar,                           150
+It will inflame you, it will make you mad:
+'Tis good you know not that you are his heirs;
+For, if you should, O, what would come of it!
+
+_4 Cit._ Read the will; we'll hear it, Antony;
+You shall read us the will,--Cæsar's will.
+
+_Ant._ Will you be patient? will you stay awhile?
+I have o'ershot myself to tell you of it.
+I fear I wrong the honourable men
+Whose daggers have stabb'd Cæsar-, I do fear it.
+
+_4 Cit._ They were traitors: honourable men!                         160
+
+_All._ The will! the testament!
+
+_2 Cit._ They were villains, murderers: the will! read
+the will!
+
+_Ant._ You will compel me, then, to read the will?
+Then make a ring about the corpse of Cæsar,
+And let me show you him that made the will.
+Shall I descend? and will you give me leave?
+
+_All._ Come down.
+
+_2 Cit._ Descend.
+
+_3 Cit._ You shall have leave.
+
+[_He comes down from the rostrum._]
+
+_4 Cit._ A ring; stand round.                                        170
+
+_1 Cit._ Stand from the hearse, stand from the body.
+
+_2 Cit._ Room for Antony!--most noble Antony.
+
+_Ant._ Nay, press not so upon me; stand far off.
+
+_All._ Stand back! room! bear back!
+
+_Ant._ If you have tears, prepare to shed them now.
+You all do know this mantle; I remember
+The first time ever Cæsar put it on;
+'T was on a summer's evening, in his tent,
+That day he overcame the Nervii:--
+Look! in this place ran Cassius' dagger through:                     180
+See, what a rent the envious Casca made:
+Through this, the well-beloved Brutus stabb'd;
+And, as he pluck'd his cursed steel away,
+Mark how the blood of Cæsar follow'd it,
+As rushing out of doors, to be resolv'd
+If Brutus so unkindly knock'd, or no;
+For Brutus, as you know, was Cæsar's angel:
+Judge, O you gods, how dearly Cæsar lov'd him!
+This was the most unkindest cut of all;
+For when the noble Cæsar saw him stab,                               190
+Ingratitude, more strong than traitors' arms,
+Quite vanquish'd him: then burst his mighty heart;
+And, in his mantle muffling up his face,
+Even at the base of Pompey's statue,
+Which all the while ran blood, great Cæsar fell.
+O, what a fall was there, my countrymen!
+Then I, and you, and all of us fell down,
+Whilst bloody treason flourish'd over us.
+O, now you weep; and I perceive, you feel
+The dint of pity: these are gracious drops.                          200
+Kind souls, what, weep you, when you but behold
+Our Cæsar's vesture wounded? Look you here.
+Here is himself, marr'd, as you see, with traitors.
+
+_1 Cit._ O piteous spectacle!
+
+_2 Cit._ O noble Cæsar!
+
+_3 Cit._ O woeful day!
+
+_4 Cit._ O traitors, villains!
+
+_1 Cit._ O most bloody sight!
+
+_2 Cit._ We will be revenged.
+
+_All._ Revenge! About,--seek,--burn,--fire,--kill,--slay!            210
+Let not a traitor live!
+
+_Ant._ Stay, countrymen.
+
+_1 Cit._ Peace there! Hear the noble Antony.
+
+_2 Cit._ We'll hear him, we'll follow him, we'll die with
+him.
+
+_Ant._ Good friends, sweet friends, let me not stir you up
+To such a sudden flood of mutiny.
+They that have done this deed are honourable;
+What private griefs they have, alas! I know not,
+That made them do it; they are wise and honourable,
+And will, no doubt, with reasons answer you.                         220
+I come not, friends, to steal away your hearts:
+I am no orator, as Brutus is;
+But as you know me all, a plain blunt man,
+That love my friend; and that they know full well
+That gave me public leave to speak of him.
+For I have neither wit, nor words, nor worth,
+Action, nor utterance, nor the power of speech,
+To stir men's blood: I only speak right on;
+I tell you that which you yourselves do know;
+Show you sweet Cæsar's wounds, poor, poor dumb mouths,               230
+And bid them speak for me: but were I Brutus,
+And Brutus Antony, there were an Antony
+Would ruffle up your spirits, and put a tongue
+In every wound of Cæsar, that should move
+The stones of Rome to rise and mutiny.
+
+_All._ We'll mutiny!
+
+_1 Cit._ We'll burn the house of Brutus!
+
+_3 Cit._ Away, then! come, seek the conspirators.
+
+_Ant._ Yet hear me, countrymen; yet hear me speak.
+
+_All._ Peace, ho! Hear Antony, most noble Antony.                    240
+
+_Ant._ Why, friends, you go to do you know not what:
+Wherein hath Cæsar thus deserv'd your loves?
+Alas, you know not: I must tell you then:
+You have forgot the will I told you of.
+
+_All._ Most true;--the will!--let's stay, and hear the
+will.
+
+_Ant._ Here is the will, and under Cæsar's seal.
+To every Roman citizen he gives,
+To every several man, seventy-five drachmas.
+
+_2 Cit._ Most noble Cæsar!--we'll revenge his death.
+
+_3 Cit._ O royal Caesar!                                             250
+
+_Ant._ Hear me with patience.
+
+_All._ Peace, ho!
+
+_Ant._ Moreover, he hath left you all his walks,
+His private arbours, and new-planted orchards,
+On this side Tiber; he hath left them you,
+And to your heirs for ever,--common pleasures,
+To walk abroad, and recreate yourselves.
+Here was a Cæsar! when comes such another?
+
+_1 Cit._ Never, never!--Come, away, away!
+We'll burn his body in the holy place,                               260
+And with the brands fire the traitors' houses.
+Take up the body.
+
+_2 Cit._ Go, fetch fire.
+
+_3 Cit._ Pluck down benches.
+
+_4 Cit._ Pluck down forms, windows, anything.
+
+[_Exeunt all, with the body._]
+
+_Ant._ Now let it work! Mischief, thou art afoot,
+Take thou what course thou wilt!
+
+    --_Shakespeare_
+
+
+  PREPARATORY.--For dramatic rendering see notes on
+  _Highland Hospitality_ pp. 153 and 154.
+
+  The long speeches of Brutus and Antony may be practised
+  by themselves as exercises in Emphasis and Inflection.
+
+  88-89. How is the parenthetical clause subordinated?
+  Give other examples from the extracts.
+
+  153-154. Select the emphatic words.
+
+  160. What Stress is placed on TRAITORS and HONOURABLE
+  respectively? Account for the difference.
+
+  210. ABOUT, ... SLAY! What is the Stress? Compare ll.
+  236-237, and ll. 259-265.
+
+       *       *       *       *       *
+
+
+THE REVENGE
+
+A Ballad of the Fleet, 1591
+
+
+  At Flores in the Azores Sir Richard Grenville lay,
+  And a pinnace, like a flutter'd bird, came flying from far away:
+  "Spanish ships of war at sea! we have sighted fifty-three!"
+  Then sware Lord Thomas Howard: "'Fore God I am no coward;
+  But I cannot meet them here, for my ships are out of gear,           5
+  And the half my men are sick. I must fly, but follow quick.
+  We are six ships of the line; can we fight with fifty-three?"
+
+  Then spake Sir Richard Grenville: "I know you are no coward;
+  You fly them for a moment to fight with them again.
+  But I've ninety men and more that are lying sick ashore.            10
+
+  I should count myself the coward if I left them, my Lord Howard,
+  To these Inquisition dogs and the devildoms of Spain."
+
+  So Lord Howard past away with five ships of war that day,
+  Till he melted like a cloud in the silent summer heaven;
+  But Sir Richard bore in hand all his sick men from the land         15
+  Very carefully and slow,
+  Men of Bideford in Devon,
+  And we laid them on the ballast down below;
+  For we brought them all aboard,
+  And they blest him in their pain, that they were not left
+    to Spain,                                                         20
+  To the thumbscrew and the stake, for the glory of the Lord.
+
+  He had only a hundred seamen to work the ship and to fight,
+  And he sailed away from Flores till the Spaniard came in sight,
+  With his huge sea-castles heaving upon the weather bow.
+  "Shall we fight or shall we fly?                                    25
+  Good Sir Richard, tell us now,
+  For to fight is but to die!
+  There'll be little of us left by the time this sun be set."
+  And Sir Richard said again: "We be all good English men.
+  Let us bang these dogs of Seville, the children of the devil,       30
+  For I never turn'd my back upon Don or devil yet."
+
+  Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so
+  The little Revenge ran on sheer into the heart of the foe,
+  With her hundred fighters on deck, and her ninety sick below;
+  For half of their fleet to the right and half to the left
+    were seen,                                                        35
+  And the little Revenge ran on thro' the long sea-lane between.
+
+  Thousands of their soldiers look'd down from their decks
+    and laugh'd,
+  Thousands of their seamen made mock at the mad little craft
+  Running on and on, till delay'd
+  By their mountain-like San Philip that, of fifteen hundred tons,    40
+  And up-shadowing high above us with her yawning tiers of guns,
+  Took the breath from our sails, and we stay'd.
+
+  And while now the great San Philip hung above us like a cloud
+  Whence the thunderbolt will fall
+  Long and loud,                                                      45
+  Four galleons drew away
+  From the Spanish fleet that day,
+  And two upon the larboard and two upon the starboard lay,
+  And the battle-thunder broke from them all.
+
+  But anon the great San Philip she bethought herself and went        50
+  Having that within her womb that had left her ill-content;
+  And the rest they came aboard us, and they fought us hand to hand,
+  For a dozen times they came with their pikes and musqueteers,
+  And a dozen times we shook 'em off as a dog that shakes his ears
+  When he leaps from the water to the land.                           55
+
+  And the sun went down, and the stars came out far over
+    the summer sea,
+  But never a moment ceased the fight of the one and the fifty-three.
+  Ship after ship, the whole night long, their high-built
+    galleons came,
+  Ship after ship, the whole night long, with their battle-thunder
+    and flame;
+  Ship after ship, the whole night long, drew back with her dead
+    and her shame:                                                    60
+  For some were sunk and many were shatter'd, and so could fight
+    us no more--
+  God of battles, was ever a battle like this in the world before?
+
+  For he said "Fight on! fight on!"
+  Tho' his vessel was all but a wreck;
+  And it chanced that, when half of the short summer night
+    was gone,                                                         65
+  With a grisly wound to be drest he had left the deck,
+
+  But a bullet struck him that was dressing it suddenly dead,
+  And himself he was wounded again in the side and the head,
+  And he said, "Fight on! fight on!"
+
+  And the night went down, and the sun smiled out far over
+    the summer sea,                                                   70
+  And the Spanish fleet with broken sides lay round us all in a ring;
+  But they dar'd not touch us again, for they fear'd that we still
+    could sting,
+  So they watch'd what the end would be.
+  And we had not fought them in vain,
+  But in perilous plight were we,                                     75
+  Seeing forty of our poor hundred were slain,
+  And half of the rest of us maim'd for life
+  In the crash of the cannonades and the desperate strife;
+  And the sick men down in the hold were most of them stark and cold,
+  And the pikes were all broken or bent, and the powder was all
+    of it spent;                                                      80
+  And the masts and the rigging were lying over the side;
+  But Sir Richard cried in his English pride,
+  "We have fought such a fight for a day and a night
+  As may never be fought again!
+  We have won great glory, my men!                                    85
+  And a day less or more
+  At sea or ashore,
+  We die--does it matter when?
+  Sink me the ship, Master Gunner--sink her, split her in twain!
+  Fall into the hands of God, not into the hands of Spain!"           90
+
+  And the gunner said "Ay, ay," but the seamen made reply:
+  "We have children, we have wives,
+  And the Lord hath spared our lives.
+  We will make the Spaniard promise, if we yield, to let us go;
+  We shall live to fight again and to strike another blow."           95
+  And the lion there lay dying, and they yielded to the foe.
+
+  And the stately Spanish men to their flagship bore him then
+  Where they laid him by the mast, old Sir Richard caught at last,
+  And they praised him to his face with their courtly foreign grace;
+  But he rose upon their decks, and he cried:                        100
+  "I have fought for Queen and Faith like a valiant man and true;
+  I have only done my duty as a man is bound to do:
+  With a joyful spirit I Sir Richard Grenville die!"
+  And he fell upon their decks, and he died.
+
+  And they stared at the dead that had been so valiant and true,     105
+  And had holden the power and glory of Spain so cheap
+  That he dared her with one little ship and his English few;
+  Was he devil or man? He was devil for aught they knew,
+  But they sank his body with honour down into the deep,
+
+  And they mann'd the Revenge with a swarthier alien crew,           110
+  And away she sail'd with her loss and long'd for her own;
+  When a wind from the lands they had ruin'd awoke from sleep,
+  And the water began to heave and the weather to moan,
+  And or ever that evening ended a great gale blew,
+  And a wave like the wave that is raised by an earthquake grew,     115
+  Till it smote on their hulls and their sails and their masts
+    and their flags,
+  And the whole sea plunged and fell on the shot-shatter'd navy
+    of Spain,
+  And the little Revenge herself went down by the island crags
+  To be lost evermore in the main.
+
+      --_Alfred Tennyson_
+
+
+  PREPARATORY.--Give a series of titles suggestive of the
+  events narrated in this ballad; describe the picture
+  that each title calls up, and tell on what part of the
+  poem it is based.
+
+  What different ideals of bravery are brought out in this
+  ballad, and by whom is each presented? Compare them with
+  those set forth in _The Private of the Buffs_ (Fourth
+  Reader), and _Horatius_.
+
+  1, 3, and 13. (Appendix A, 1 and 6.)
+
+  'FORE GOD ... sick. What Inflection prevails?
+  (Introduction, pp. 17 and 18.)
+
+  What Inflection is placed on the questions in ll. 7, 25,
+  62, 88, and 108? (Introduction, pp. 18 and 19.)
+
+  FOR THE GLORY OF THE LORD. How is the irony brought out
+  by the voice? (Introduction, pp. 21, 22, and 30.)
+
+  25-28. (Introduction, p. 18.)
+
+  Compare the speech of the men (ll. 25-28) with that of
+  Sir Richard (ll. 29-31) from the standpoint of mental
+  attitude. How is this difference indicated by Stress?
+
+  32. Which are the emphatic words? Give your reasons.
+  Select words that are emphatic because of contrast from
+  ll. 34, 35, and 91. What Inflection is placed on the
+  emphatic words in each case?
+
+  How does repetition affect the Emphasis in ll. 37-38,
+  53-54, 58-60, 63, and 89? (Introduction, pp. 31-33.)
+
+  40. With what word is THAT connected in sense? How does
+  the voice make the connection? (Introduction, p. 33.)
+
+  43-47. Analyse these lines from the standpoint of
+  Perspective.
+
+  66-67. Where do the Pauses occur? How does the Grouping
+  affect them?
+
+  68. Why is HIMSELF emphatic?
+
+  75-81. Give examples of "momentary completeness".
+
+  93. Which is the most emphatic word in this line? Give
+  your reason.
+
+  101-103. To what extent should Imitation enter into the
+  reading of this speech? (Introduction, pp. 4 and 5.)
+
+  112-117. How can the effect of this Climax be brought
+  out by the voice? (Introduction, p. 31.)
+
+  118. Note the transition in thought and feeling. By what
+  change in Time, Pitch, and Force is it accompanied?
+
+       *       *       *       *       *
+
+
+HERVÉ RIEL
+
+
+  On the sea and at the Hogue, sixteen hundred ninety-two,
+    Did the English fight the French,--woe to France!
+  And the thirty-first of May, helter-skelter through the blue,
+  Like a crowd of frightened porpoises a shoal of sharks pursue,
+    Came crowding ship on ship to St. Malo on the Rance,               5
+  With the English fleet in view.
+
+  'Twas the squadron that escaped, with the victor in full chase;
+    First and foremost of the drove, in his great ship, Damfreville:
+      Close on him fled, great and small,
+      Twenty-two good ships in all;                                   10
+  And they signalled to the place,
+  "Help the winners of a race!
+    Get us guidance, give us harbour, take us quick--or, quicker still,
+    Here's the English can and will!"
+
+  Then the pilots of the place put out brisk and leapt on board;      15
+    "Why, what hope or chance have ships like these to pass?"
+       laughed they:
+  "Rocks to starboard, rocks to port, all the passage scarred
+    and scored,
+  Shall the _Formidable_ here, with her twelve and eighty guns,
+    Think to make the river-mouth by the single narrow way,
+  Trust to enter where 'tis ticklish for a craft of twenty tons,      20
+      And with flow at full beside?
+      Now 'tis slackest ebb of tide.
+    Reach the mooring? Rather say,
+  While rock stands or water runs,
+    Not a ship will leave the bay!"                                   25
+
+  Then was called a council straight.
+  Brief and bitter the debate:
+  "Here's the English at our heels; would you have them take in tow
+  All that's left us of the fleet, linked together stern and bow,
+  For a prize to Plymouth Sound?                                      30
+  Better run the ships aground!"
+    (Ended Damfreville his speech.)
+  Not a minute more to wait!
+    "Let the captains all and each
+    Shove ashore, then blow up, burn the vessels on the beach!        35
+  France must undergo her fate.
+
+  Give the word!" But no such word
+  Was ever spoke or heard;
+    For up stood, for out stepped, for in struck amid all these,--
+  A Captain? a Lieutenant? a Mate--first, second, third?              40
+    No such man of mark, and meet
+    With his betters to compete!
+    But a simple Breton sailor pressed by Tourville for the fleet,
+  A poor coasting-pilot he, Hervé Riel the Croisickese.
+
+  And, "What mockery or malice have we here?" cries Hervé Riel:       45
+    "Are you mad, you Malouins?  Are you cowards, fools, or rogues?
+  Talk to me of rocks and shoals, me who took the soundings, tell
+  On my fingers every bank, every shallow, every swell
+    'Twist the offing here and Grève, where the river disembogues?
+  Are you bought by English gold? Is it love the lying's for?         50
+    Morn and eve, night and day,
+    Have I piloted your bay,
+  Entered free and anchored fast, at the foot of Solidor.
+    Burn the fleet and ruin France? That were worse than fifty Hogues!
+      Sirs, they know I speak the truth! Sirs, believe me there's
+        a way!                                                        55
+  Only let me lead the line,
+    Have the biggest ship to steer,
+    Get this _Formidable_ clear,
+  Make the others follow mine,
+  And I lead them, most and least, by a passage I know well,          60
+    Right to Solidor past Grève,
+      And there lay them safe and sound;
+    And if one ship misbehave--
+        Keel so much as grate the ground--
+  Why, I've nothing but my life,--here's my head!" cries
+    Hervé Riel.                                                       65
+
+  Not a minute more to wait.
+  "Steer us in, then, small and great!
+    Take the helm, lead the line, save the squadron!" cried its chief.
+  Captains, give the sailor place!
+    He is Admiral, in brief.                                          70
+  Still the north wind, by God's grace!
+  See the noble fellow's face
+  As the big ship, with a bound,
+  Clears the entry like a hound.
+  Keeps the passage, as its inch of way were the wide sea's
+      profound!                                                       75
+    See, safe through shoal and rock,
+    How they follow in a flock,
+  Not a ship that misbehaves, not a keel that grates the ground,
+    Not a spar that comes to grief!
+  The peril, see, is past,                                            80
+  All are harboured to the last,
+  And just as Hervé Riel hollas "Anchor!"--sure as fate,
+  Up the English come--too late.
+
+  So, the storm subsides to calm:
+    They see the green trees wave                                     85
+    On the heights o'erlooking Grève.
+  Hearts that bled are stanched with balm.
+  "Just our rapture to enhance,
+    Let the English rake the bay,
+  Gnash their teeth and glare askance                                 90
+    As they cannonade away!
+  'Neath rampired Solidor pleasant riding on the Rance!"
+  How hope succeeds despair on each captain's countenance!
+  Out burst all with one accord,
+    "This is Paradise for Hell!                                       95
+    Let France, let France's King,
+    Thank the man that did the thing!"
+  What a shout, and all one word,
+    "Hervé Riel!"
+  As he stepped in front once more,                                  100
+    Not a symptom of surprise
+    In the frank, blue Breton eyes,
+  Just the same man as before.
+
+  Then said Damfreville, "My friend,
+  I must speak out at the end,                                       105
+    Though I find the speaking hard.
+  Praise is deeper than the lips:
+  You have saved the King his ships,
+    You must name your own reward.
+  'Faith, our sun was near eclipse!                                  110
+  Demand whate'er you will,
+  France remains your debtor still.
+  Ask to heart's content and have! or my name's not Damfreville."
+
+  Then a beam of fun outbroke
+  On the bearded mouth that spoke,                                   115
+  As the honest heart laughed through
+  Those frank eyes of Breton blue:
+  "Since I needs must say my say,
+    Since on board the duty's done,
+    And from Malo Roads to Croisic Point, what is it but a run?--    120
+  Since 'tis ask and have, I may--
+    Since the others go ashore--
+  Come! A good whole holiday!
+    Leave to go and see my wife, whom I call the Belle Aurore!"
+    That he asked and that he got,--nothing more.                    125
+
+  Name and deed alike are lost:
+  Not a pillar nor a post
+    In his Croisic keeps alive the feat as it befell;
+  Not a head in white and black
+  On a single fishing-smack,                                         130
+  In memory of the man but for whom had gone to wrack
+    All that France saved from the fight whence England bore the bell.
+  Go to Paris: rank on rank
+    Search the heroes flung pell-mell
+  On the Louvre, face and flank!                                     135
+    You shall look long enough ere you come to Hervé Riel.
+  So, for better and for worse,
+  Hervé Riel, accept my verse!
+  In my verse, Hervé Riel, do thou once more
+  Save the squadron, honour France, love thy wife the Belle
+    Aurore!                                                          140
+
+    --_Robert Browning_
+         (_By permission of the owner of the copyright
+             and Smith, Elder & Co._)
+
+
+  PREPARATORY.--Narrate briefly the events of the poem and
+  describe (_a_) the council, (_b_) the scene after the
+  ships are safely anchored.
+
+  How does this poem illustrate the truth that the highest
+  motive in life is duty? From this standpoint compare
+  Hervé Riel with Sir Richard Grenville in Tennyson's _The
+  Revenge_.
+
+  Give other examples to show that true nobility does not
+  depend on such externals as rank and position.
+
+  2. WOE TO FRANCE. How does the voice indicate that this
+  phrase is parenthetical?
+
+  4. What is the subject of PURSUE? Its object? How does
+  the reader make the meaning clear?
+
+  3-5. What is the Shading?
+
+  8 and 14. Supply the ellipsis in each case. How is the
+  reading affected by an ellipsis? (Introduction, p. 10.)
+
+  12-14. What is the Stress? (Introduction, pp. 27 and
+  28.)
+
+  16-25. What energy characterizes these lines? With what
+  Stress should they be read?
+
+  TWELVE AND EIGHTY GUNS, TWENTY TONS. What is the
+  difference in the Quality of voice? Compare MAN OF MARK,
+  SIMPLE BRETON SAILOR, ll. 40 and 42.
+
+  26. Where is the Pause? Why?
+
+  Note the transitions in ll. 27, 31, 32, and 33. How is
+  each one indicated?
+
+  38. STOOD, STEPPED, STRUCK. Observe the increased
+  Emphasis. Compare ll. 46 and 69.
+
+  41-43. Note the contrast. What is the Inflection on each
+  part? (Introduction, p. 20.)
+
+  45-66. What state of mind does Hervé Riel's speech
+  indicate throughout? What feelings predominate when he
+  addresses (_a_) the Malouins, (_b_) the officers? What
+  Time, Pitch, Force, and Stress are the natural
+  expression?
+
+  46. COWARDS, FOOLS, ROGUES. What is the Inflection on
+  each word? (Introduction, p. 20.)
+
+  65. KEEL SO MUCH, ETC. Note the Pause and Grouping.
+
+  72, 73-76, 77-84. What is the predominant feeling in
+  each passage?
+
+  104-113. Compare the self-control of Damfreville's
+  speech with the impulsive shout of the preceding stanza.
+  What is the resulting difference in vocal expression?
+
+  114-116. Note the Pause and Grouping.
+
+  118-122. What is the Inflection? (Introduction, p. 17.)
+
+  129-132. Observe the Grouping.
+
+       *       *       *       *       *
+
+
+THE HANDWRITING ON THE WALL
+
+Daniel V
+
+
+Belshazzar the king made a great feast to a thousand of his lords, and
+drank wine before the thousand. Belshazzar, whiles he tasted the wine,
+commanded to bring the golden and silver vessels which his father
+Nebuchadnezzar had taken out of the temple which was in Jerusalem;
+that the king, and his princes, his wives, and his concubines, might
+drink therein. Then they brought the golden vessels that were taken
+out of the temple of the house of God which was in Jerusalem; and the
+king, and his princes, his wives, and his concubines, drank in them.
+They drank wine, and praised the gods of gold, and of silver, of
+brass, of iron, of wood, and of stone.
+
+In the same hour came forth fingers of a man's hand, and wrote over
+against the candlestick upon the plaister of the wall of the king's
+palace: and the king saw the part of the hand that wrote. Then the
+king's countenance was changed, and his thoughts troubled him, so that
+the joints of his loins were loosed, and his knees smote one against
+another. The king cried aloud to bring in the astrologers, the
+Chaldeans, and the soothsayers. And the king spake, and said to the
+wise men of Babylon, Whosoever shall read this writing, and shew me
+the interpretation thereof, shall be clothed with scarlet, and have a
+chain of gold about his neck, and shall be the third ruler in the
+kingdom. Then came in all the king's wise men: but they could not read
+the writing, nor make known to the king the interpretation thereof.
+Then was the king Belshazzar greatly troubled, and his countenance was
+changed in him, and his lords were astonied.
+
+Now the queen by reason of the words of the king and his lords came
+into the banquet house: and the queen spake and said, O king, live for
+ever: let not thy thoughts trouble thee, nor let thy countenance be
+changed: There is a man in thy kingdom, in whom is the spirit of the
+holy gods; and in the days of thy father light and understanding and
+wisdom, like the wisdom of the gods, was found in him; whom the king
+Nebuchadnezzar thy father, the king, I say, thy father, made master of
+the magicians, astrologers, Chaldeans, and soothsayers; Forasmuch as
+an excellent spirit and knowledge and understanding, interpreting of
+dreams, and shewing of hard sentences, and dissolving of doubts, were
+found in the same Daniel, whom the king named Belteshazzar: now let
+Daniel be called, and he will shew the interpretation.
+
+Then was Daniel brought in before the king. And the king spake and
+said unto Daniel, Art thou that Daniel, which art of the children of
+the captivity of Judah, whom the king my father brought out of Jewry?
+I have even heard of thee, that the spirit of the gods is in thee, and
+that light and understanding and excellent wisdom is found in thee.
+And now the wise men, the astrologers, have been brought in before me,
+that they should read this writing, and make known unto me the
+interpretation thereof: but they could not shew the interpretation of
+the thing: And I have heard of thee, that thou canst make
+interpretations, and dissolve doubts: now if thou canst read the
+writing, and make known to me the interpretation thereof, thou shalt
+be clothed with scarlet, and have a chain of gold about thy neck, and
+shalt be the third ruler in the kingdom.
+
+Then Daniel answered and said before the king, Let thy gifts be to
+thyself, and give thy reward to another; yet I will read the writing
+unto the king, and make known to him the interpretation. O thou king,
+the most high God gave Nebuchadnezzar thy father a kingdom, and
+majesty, and glory, and honour: And for the majesty that he gave him,
+all people, nations, and languages, trembled and feared before him:
+whom he would he slew; and whom he would he kept alive; and whom he
+would he set up; and whom he would he put down. But when his heart was
+lifted up, and his mind hardened in pride, he was deposed from his
+kingly throne, and they took his glory from him: And he was driven
+from the sons of men; and his heart was made like the beasts, and his
+dwelling was with the wild asses: they fed him with grass like oxen,
+and his body was wet with the dew of heaven; till he knew that the
+most high God ruled in the kingdom of men, and that he appointeth over
+it whomsoever he will. And thou, his son, O Belshazzar, hast not
+humbled thine heart, though thou knewest all this; But has lifted up
+thyself against the Lord of heaven; and they have brought the vessels
+of his house before thee, and thou, and thy lords, thy wives, and thy
+concubines, have drunk wine in them; and thou hast praised the gods of
+silver, of gold, of brass, iron, wood, and stone, which see not, nor
+hear, nor know: and the God in whose hand thy breath is, and whose are
+all thy ways, hast thou not glorified: Then was the part of the hand
+sent from him; and this writing was written.
+
+And this is the writing that was written, MENE, MENE, TEKEL, UPHARSIN.
+This is the interpretation of the thing: MENE; God hath numbered thy
+kingdom, and finished it. TEKEL; Thou art weighed in the balances, and
+art found wanting. PERES; Thy kingdom is divided, and given to the
+Medes and Persians. Then commanded Belshazzar, and they clothed Daniel
+with scarlet, and put a chain of gold about his neck, and made a
+proclamation concerning him, that he should be the third ruler in the
+kingdom.
+
+In that night was Belshazzar the king of the Chaldeans slain. And
+Darius the Median took the kingdom, being about threescore and two
+years old.
+
+
+  Give a dramatic form to this extract, indicating by
+  suitable titles the various scenes suggested and the
+  parts that would properly belong to the scenery, the
+  action, and the dialogue respectively. The different
+  parts may be read by different readers before one reader
+  attempts all the parts.
+
+       *       *       *       *       *
+
+
+PAUL'S DEFENCE BEFORE KING AGRIPPA
+
+Acts xxvi
+
+
+1. Then Agrippa said unto Paul, Thou art permitted to speak for
+thyself. Then Paul stretched forth the hand, and answered for himself:
+I think myself happy, King Agrippa, because I shall answer for myself
+this day before thee touching all the things whereof I am accused of
+the Jews: especially because I know thee to be expert in all customs
+and questions which are among the Jews: wherefore I beseech thee to
+hear me patiently.
+
+2. My manner of life from my youth, which was at the first among mine
+own nation at Jerusalem, know all the Jews; which knew me from the
+beginning, if they would testify, that after the most straitest sect
+of our religion I lived a Pharisee. And now I stand and am judged for
+the hope of the promise made of God unto our fathers: unto which
+promise our twelve tribes, instantly serving God day and night, hope
+to come. For which hope's sake, King Agrippa, I am accused of the
+Jews.
+
+3. Why should it be thought a thing incredible with you, that God
+should raise the dead? I verily thought with myself, that I ought to
+do many things contrary to the name of Jesus of Nazareth. Which thing
+I also did in Jerusalem: and many of the saints did I shut up in
+prison, having received authority from the chief priests; and when
+they were put to death, I gave my voice against them. And I punished
+them oft in every synagogue, and compelled them to blaspheme; and
+being exceedingly mad against them, I persecuted them even unto
+strange cities.
+
+4. Whereupon as I went to Damascus with authority and commission from
+the chief priests, at midday, O king, I saw in the way a light from
+heaven, above the brightness of the sun, shining round about me and
+them which journeyed with me. And when we were all fallen to the
+earth, I heard a voice speaking unto me, and saying in the Hebrew
+tongue, Saul, Saul, why persecutest thou me? It is hard for thee to
+kick against the pricks. And I said, Who art thou, Lord? And he said,
+I am Jesus whom thou persecutest. But rise, and stand upon thy feet:
+for I have appeared unto thee for this purpose, to make thee a
+minister and a witness both of these things which thou hast seen, and
+of those things in the which I will appear unto thee; delivering thee
+from the people, and from the Gentiles, unto whom now I send thee, to
+open their eyes, and to turn them from darkness to light, and from the
+power of Satan unto God, that they may receive forgiveness of sins,
+and inheritance among them which are sanctified by faith that is in
+me.
+
+5. Whereupon, O King Agrippa, I was not disobedient unto the heavenly
+vision: but shewed first unto them of Damascus, and at Jerusalem, and
+throughout all the coasts of Judæa, and then to the Gentiles, that
+they should repent and turn to God, and do works meet for repentance.
+For these causes the Jews caught me in the temple, and went about to
+kill me. Having therefore obtained help of God, I continue unto this
+day, witnessing both to small and great, saying none other things than
+those which the prophets and Moses did say should come: that Christ
+should suffer, and that he should be the first that should rise from
+the dead, and should shew light unto the people, and to the Gentiles.
+
+6. And as he thus spake for himself, Festus said with a loud voice,
+Paul, thou art beside thyself; much learning doth make thee mad. But
+he said, I am not mad, most noble Festus; but speak forth the words of
+truth and soberness. For the king knoweth of these things, before whom
+also I speak freely: for I am persuaded that none of these things are
+hidden from him; for this thing was not done in a corner. King
+Agrippa, believest thou the prophets? I know that thou believest.
+Then Agrippa said unto Paul, Almost thou persuadest me to be a
+Christian. And Paul said, I would to God, that not only thou, but also
+all that hear me this day, were both almost, and altogether such as I
+am, except these bonds.
+
+7. And when he had thus spoken, the king rose up, and the governor,
+and Bernice, and they that sat with them: And when they were gone
+aside, they talked between themselves, saying, This man doeth nothing
+worthy of death or of bonds. Then said Agrippa unto Festus, This man
+might have been set at liberty, if he had not appealed unto Cæsar.
+
+
+  PREPARATORY.--Under what circumstances did Paul deliver
+  this defence? Picture the scene.
+
+  What attitude of mind characterizes the chief speaker?
+  How does this affect the reading?
+
+  How are the direct speeches in Pars. 1, 4, 6, and 7 made
+  to stand out from the narrative? (Introduction, p. 24.)
+
+  How do the mental and emotional states of the various
+  speakers differ? Indicate this difference by the Quality
+  of the voice. (Introduction, p. 34.)
+
+  Point out the Climax in Par. 3. How does the voice
+  express it?
+
+  IF THEY WOULD TESTIFY. What change in the voice
+  subordinates this clause? (Introduction, p. 33.) Give
+  another example from Par. 2.
+
+       *       *       *       *       *
+
+
+THE STRANDED SHIP
+
+
+  Far up the lonely strand the storm had lifted her.
+  And now along her keel the merry tides make stir
+  No more. The running waves that sparkled at her prow
+  Seethe to the chains and sing no more with laughter now.
+  No more the clean sea-furrow follows her. No more
+  To the hum of her gallant tackle the hale Nor'-westers roar.
+  No more her bulwarks journey. For the only boon they crave
+  Is the guerdon of all good ships and true, the boon of
+    a deep-sea grave.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  No more she mounts the circles from Fundy to the Horn,
+  From Cuba to the Cape runs down the tropic morn,
+  Explores the Vast Uncharted where great bergs ride in ranks,
+  Nor shouts a broad "Ahoy" to the dories on the Banks.
+  No more she races freights to Zanzibar and back,
+  Nor creeps where the fog lies blind along the liner's track,
+  No more she dares the cyclone's disastrous core of calm
+  To greet across the dropping wave the amber isles of palm.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Amid her trafficking peers, the wind-wise, journeyed ships,
+  At the black wharves no more, nor at the weedy slips,
+  She comes to port with cargo from many a storied clime.
+  No more to the rough-throat chantey her windlass creaks in time.
+  No more she loads for London with spices from Ceylon,--
+  With white spruce deals and wheat and apples from St. John.
+  No more from Pernambuco with cotton-bales,--no more
+  With hides from Buenos Ayres she clears for Baltimore.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  Wan with the slow vicissitudes of wind and rain and sun
+  How grieves her deck for the sailors whose hearty brawls are done!
+  Only the wandering gull brings word of the open wave,
+  With shrill scream at her taffrail deriding her alien grave.
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+  And when the winds are low, and when the tides are still,
+  And the round moon rises inland over the naked hill,
+  And o'er her parching seams the dry cloud-shadows pass,
+  And dry along the land-rim lie the shadows of thin grass,
+  Then aches her soul with longing to launch and sink away
+  Where the fine silts lift and settle, and sea-things drift
+    and stray,
+  To make the port of Last Desire, and slumber with her peers
+  In the tide-wash rocking softly through the unnumbered years.
+
+    _Take me out, sink me deep in the green profound,
+    To sway with the long weed, swing with the drowned,
+    Where the change of the soft tide makes no sound,
+    Far below the keels of the outward bound._
+
+      --_Charles G. D. Roberts (By arrangement)_
+
+
+  PREPARATORY.--What is the fundamental idea of the first
+  three stanzas? Of the fourth stanza? Of the last stanza?
+  Of the refrain? Apply these ideas to human life? What
+  feelings do they arouse? Show that these feelings grow
+  stronger as the poem advances.
+
+  What Time, Pitch, and Stress are the natural expression
+  of the atmosphere pervading the poem? Where are they
+  most marked?
+
+  What effect has the atmosphere of the last stanza on the
+  Quality of the voice?
+
+  HER, STIR. (Appendix A, 10.)
+
+  STRAND, FAR, CALM, BRAWLS. Distinguish the sound of _a_
+  in these words, and select other words from the poem
+  with the same sound. (Appendix A, 1.)
+
+  What is the Inflection on the negative statements in the
+  first three stanzas? On the entreaty in the refrain?
+  (Introduction, p. 18.)
+
+  What effect do the falling Inflection, and the marked
+  Pause after MORE, l. 3, stanza 1 produce?
+
+  AND WHEN THE WINDS ... GRASS. What is the Inflection?
+  What is the Shading when compared with the next line?
+
+       *       *       *       *       *
+
+
+SIR PATRICK SPENS
+
+
+  The king sits, in Dunfermline toun,
+  Drinking the blude-red wine;
+  "O whare will I get a skeely skipper,
+  To sail this new ship o' mine?"
+
+  O up and spake an eldern knight,
+  Sat at the king's right knee,--
+  "Sir Patrick Spens is the best sailor,
+  That ever sailed the sea."
+
+  The king has written a braid letter,
+  And sealed it wi' his hand,
+  And sent it to Sir Patrick Spens,
+  Was walking on the strand.
+
+  "To Noroway, to Noroway,
+  To Noroway o'er the faem;
+  The king's daughter of Noroway,
+  'Tis thou maun bring her hame."
+
+  The first word that Sir Patrick read,
+  Sae loud, loud laughèd he;
+  The neist word that Sir Patrick read,
+  The tear blindit his e'e.
+
+  "O wha is this has done this deed,
+  And tauld the king o'me,
+  To send us out, this time o' the year,
+  To sail upon the sea?
+
+  Be't wind, be't weet, be't hail, be't sleet,
+  Our ship must sail the faem;
+  The king's daughter of Noroway,
+  'Tis we must fetch her hame."
+
+  They hoysed their sails on Monenday morn,
+  Wi' a' the speed they may;
+  They hae landed in Noroway,
+  Upon a Wodensday.
+
+  They hadna been a week, a week,
+  In Noroway, but twae,
+  When that the lords o' Noroway
+  Began aloud to say,--
+
+  "Ye Scottishmen spend a' our king's goud,
+  And a' our queenis fee."
+  "Ye lee, ye lee, ye lears loud!
+  Fu' loud I hear ye lee!
+
+  For I brought as mickle white monie,
+  As gane my men and me,
+  And I brought a half-fou o' gude red goud,
+  Out o'er the sea wi' me.
+
+  Mak' ready, mak' ready, my merry men a'!
+  Our gude ship sails the morn."
+  "Now, ever alake, my master dear,
+  I fear a deadly storm!
+
+  I saw the new moon, late yestreen,
+  Wi' the auld moon in her arm!
+  And, if we gang to sea, master,
+  I fear we'll come to harm."
+
+  They hadna sailed a league, a league,
+  A league, but barely three,
+  When the lift grew dark, and the wind blew loud,
+  And gurly grew the sea.
+
+  The ankers brak, and the topmasts lap,
+  It was sic a deadly storm;
+  And the waves cam' o'er the broken ship,
+  Till a' her sides were torn.
+
+  "O whare will I get a gude sailor,
+  To tak' my helm in hand,
+  Till I gae up to the tall topmast,
+  To see if I spy land?"
+
+  "O here am I, a sailor gude,
+  To tak' the helm in hand,
+  Till you gae up to the tall topmast;
+  But I fear ye'll ne'er spy land."
+
+  He hadna gane a step, a step,
+  A step, but barely ane,
+  When a bolt flew out o' our goodly ship,
+  And the salt sea it cam' in.
+
+  "Gae fetch a web o' the silken claith,
+  Anither o' the twine,
+  And wap them into our ship's side,
+  And letna the sea come in."
+
+  They fetched a web o' the silken claith,
+  Anither o' the twine,
+  And they wapped them roun' that gude ship's side,
+  But still the sea cam' in.
+
+  O laith, laith were our gude Scots lords,
+  To weet their cork-heeled shoon!
+  But lang or a' the play was played,
+  They wat their hats aboon.
+
+  And mony was the feather-bed,
+  That floated o'er the faem;
+  And mony was the gude lord's son,
+  That never mair cam' hame.
+
+  The ladyes wrang their fingers white,
+  The maidens tore their hair,
+  A' for the sake of their true loves;
+  For them they'll see na mair.
+
+  O lang, lang may the ladyes sit,
+  Wi' their fans into their hand,
+  Before they see Sir Patrick Spens
+  Come sailing to the strand!
+
+  And lang, lang may the maidens sit,
+  Wi' their goud kaims in their hair,
+  A' waiting for their ain dear loves!
+  For them they'll see na mair.
+
+  Half ower, half ower to Aberdour,
+  'Tis fifty fathoms deep,
+  And there lies gude Sir Patrick Spens,
+  Wi' the Scots lords at his feet.
+
+     --_Old Ballad_
+
+
+  Into how many different scenes does this drama fall?
+  Where is each one laid? How can each one be made to
+  stand out by itself? (Introduction, p. 10.)
+
+       *       *       *       *       *
+
+
+KING JOHN AND THE ABBOT OF CANTERBURY
+
+
+  An ancient story Ile tell you anon.
+  Of a notable prince, that was called king John;
+  And he ruled England with maine and with might,
+  For he did great wrong, and maintein'd little right.
+
+  And Ile tell you a story, a story so merrye,
+  Concerning the Abbot of Canterbùrye;
+  How for his house-keeping, and high renowne,
+  They rode poste for him to fair London towne.
+
+  An hundred men, the king did heare say,
+  The abbot kept in his house every day;
+  And fifty golde chaynes, without any doubt,
+  In velvet coates waited the abbot about.
+
+  "How now, father abbot, I heare it of thee,
+  Thou keepest a farre better house than mee,
+  And for thy house-keeping and high renowne,
+  I feare thou work'st treason against my crown."
+
+  "My liege," quo' the abbot, "I would it were knowne,
+  I never spend nothing, but what is my owne;
+  And I trust, your grace will doe me no deere,
+  For spending of my owne true-gotten geere."
+
+  "Yes, yes, father abbot, thy fault it is highe,
+  And now for the same thou needest must dye;
+  For except thou canst answer me questions three,
+  Thy head shall be smitten from thy bodie.
+
+  And first," quo' the king, "when I'm in this stead,
+  With my crowne of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Thou must tell me to one penny what I am worthe.
+
+  Secondlye, tell me, without any doubt,
+  How soone I may ride the whole world about.
+  And at the third question thou must not shrink,
+  But tell me here truly what do I think."
+
+  "O, these are hard questions for my shallow witt,
+  Nor I cannot answer your grace as yet:
+  But if you will give me but three weekes space,
+  Ile do my endeavour to answer your grace."
+
+  "Now three weeks space to thee will I give,
+  And that is the longest time thou hast to live;
+  For if thou dost not answer my questions three,
+  Thy lands and thy livings are forfeit to mee."
+
+  Away rode the abbot all sad at that word,
+  And he rode to Cambridge, and Oxenford;
+  But never a doctor there was so wise,
+  That could with his learning an answer devise.
+
+  Then home rode the abbot of comfort so cold,
+  And he mett his shepheard a going to fold:
+  "How now, my lord abbot, you are welcome home;
+  What newes do you bring us from good king John?"
+
+  "Sad newes, sad newes, shepheard, I must give;
+  That I have but three days more to live:
+  For if I do not answer him questions three,
+  My head will be smitten from my bodie.
+
+  The first is to tell him, there in that stead,
+  With his crowne of golde so fair on his head,
+  Among all his liege-men so noble of birth,
+  To within one penny of what he is worth.
+
+  The seconde, to tell him, without any doubt,
+  How soon he may ride this whole world about:
+  And at the third question I must not shrinke,
+  But tell him there truly what he does thinke."
+
+  "Now cheare up, sire abbot, did you never hear yet,
+  That a fool he may learn a wise man witt?
+  Lend me horse, and serving-men, and your apparel,
+  And I'll ride to London to answere your quarrel.
+
+  Nay frowne not, if it hath bin told unto mee,
+  I am like your lordship, as ever may bee:
+  And if you will but lend me your gowne,
+  There is none shall knowe us at fair London towne."
+
+  "Now horses, and serving-men thou shalt have,
+  With sumptuous array most gallant and brave;
+  With crozier, and miter, and rochet, and cope,
+  Fit to appeare 'fore our fader the pope."
+
+  "Now welcome, sire abbot," the king he did say,
+  "Tis well thou'rt come back to keepe thy day;
+  For and if thou canst answer my questions three,
+  Thy life and thy living both saved shall bee.
+
+  And first, when thou seest me here in this stead,
+  With my crown of golde so faire on my head,
+  Among all my liege-men so noble of birthe,
+  Tell me to one penny what I am worth."
+
+  "For thirty pence our Saviour was sold
+  Amonge the false Jewes, as I have bin told;
+  And twenty-nine is the worth of thee,
+  For I thinke, thou art one penny worser than hee."
+
+  The king he laughed, and swore by St. Bittel,
+  "I did not thinke I had been worth so littel!
+  --Now secondly tell me, without any doubt,
+  How soone I may ride this whole world about."
+
+  "You must rise with the sun, and ride with the same,
+  Until the next morning he riseth againe;
+  And then your grace need not make any doubt,
+  But in twenty-four hours you'll ride it about."
+
+  The king he laughed, and swore by St. Jone,
+  "I did not think, it could be gone so soone!
+  --Now from the third question thou must not shrinke,
+  But tell me here truly what I do thinke."
+
+  "Yea, that shall I do, and make your grace merry:
+  You thinke I'm the Abbot of Canterbùry;
+  But I'm his poor shepheard, as plain you may see,
+  That am come to beg pardon for him and for mee."
+
+  The king he laughed, and swore "by the masse,
+  He make thee lord abbot this day in his place!"
+  "Now naye, my liege, be not in such speede,
+  For alacke I can neither write ne reade."
+
+  "Four nobles a weeke, then, I will give thee,
+  For this merry jest thou hast showne unto mee;
+  And tell the old abbot when thou comest home,
+  Thou hast brought him a pardon from good king John."
+
+      --_Old Ballad_
+
+
+  PREPARATORY.--Divide this poem into three dramatic
+  scenes. Who are the actors in each scene?
+
+  What is the king's attitude toward the abbot in the
+  first scene? Toward the supposed abbot in the third
+  scene? Where does this attitude suddenly change? Show at
+  what points this changed attitude gradually increases in
+  strength and where it reaches its climax. Indicate these
+  changes by means of the voice.
+
+  What is the abbot's attitude toward the king in the
+  first scene? How does it differ from his attitude toward
+  the shepherd? What is the difference in vocal
+  expression?
+
+  Where does the shepherd's attitude toward the king
+  change? How does the voice indicate this change?
+
+       *       *       *       *       *
+
+
+THE KEY TO HUMAN HAPPINESS
+
+From "The Mill on the Floss"
+
+
+1. At last Maggie's eyes glanced down on the books that lay on the
+window-shelf, and she half forsook her reverie to turn over listlessly
+the leaves of the "Portrait Gallery"; but she soon pushed this aside
+to examine the little row of books tied together with, string.
+"Beauties of the Spectator", "Rasselas", "Economy of Human Life",
+"Gregory's Letters",--she knew the sort of matter that was inside all
+these; the "Christian Year"--that seemed to be a hymn-book, and she
+laid it down again; but "Thomas à Kempis"--the name had come across
+her in her reading, and she felt the satisfaction, which every one
+knows, of getting some ideas to attach to a name that strays solitary
+in the memory. She took up the little, old, clumsy book with some
+curiosity; it had the corners turned down in many places, and some
+hand, now for ever quiet, had made at certain passages strong
+pen-and-ink marks, long since browned by time. Maggie turned from leaf
+to leaf, and read where the quiet hand pointed ... "Know that the love
+of thyself doth hurt thee more than anything in the world.... If thou
+seekest this or that, and would'st be here or there to enjoy thy own
+will and pleasure, thou shalt never be quiet nor free from care; for
+in everything somewhat will be wanting, and in every place there will
+be some that will cross thee.... Both above and below, which way
+soever thou dost turn thee, everywhere thou shalt find the Cross; and
+everywhere of necessity thou must have patience, if thou wilt have
+inward peace, and enjoy an everlasting crown.... It is but little thou
+sufferest in comparison of them that have suffered so much, were so
+strongly tempted, so grievously afflicted, so many ways tried and
+exercised. Thou oughtest therefore to call to mind the more heavy
+sufferings of others, that thou mayest the easier bear thy little
+adversities. And if they seem not little unto thee, beware lest thy
+impatience be the cause thereof.... Blessed are those ears that
+receive the whispers of the divine voice, and listen not to the
+whisperings of the world. Blessed are those ears which hearken not
+unto the voice which soundeth outwardly, but unto the Truth which
+teacheth inwardly...."
+
+2. A strange thrill of awe passed through Maggie while she read, as if
+she had been awakened in the night by a strain of solemn music,
+telling of beings whose souls had been astir while hers was in stupor.
+She went on from one brown mark to another, where the quiet hand
+seemed to point, hardly conscious that she was reading--seeming rather
+to listen while a low voice said:--
+
+3. "Why dost thou here gaze about, since this is not the place of thy
+rest? In heaven ought to be thy dwelling, and all earthly things are
+to be looked on as they forward thy journey thither. All things pass
+away, and thou together with them. Beware thou cleave not unto them,
+lest thou be entangled and perish.... If a man should give all his
+substance yet it is as nothing. And, if he should do great penances,
+yet they are but little. And if he should attain to all knowledge, he
+is yet far off. And if he should be of great virtue, and very fervent
+devotion, yet is there much wanting--to wit, one thing, which is most
+necessary for him. What is that? That having left all, he leave
+himself, and go wholly out of himself, and retain nothing of
+self-love.... I have often said unto thee, and now again I say the
+same: Forsake thyself, resign thyself, and thou shalt enjoy much
+inward peace.... Then shall all vain imaginations, evil perturbations,
+and superfluous cares fly away; then shall immoderate fear leave thee,
+and inordinate love shall die."
+
+4. Maggie drew a long breath and pushed her heavy hair back as if to
+see a sudden vision more clearly. Here, then, was a secret of life
+that would enable her to renounce all other secrets; here was a
+sublime height to be reached without the help of outward things; here
+was insight, and strength and conquest, to be won by means entirely
+within her own soul, where a supreme Teacher was waiting to be heard.
+It flashed through her, like the suddenly apprehended solution of a
+problem, that all the miseries of her young life had come from fixing
+her heart on her own pleasure, as if that were the central necessity
+of the universe; and for the first time she saw the possibility of
+shifting the position from which she looked at the gratification of
+her own desires, of taking her stand out of herself, and looking at
+her own life as an insignificant part of a divinely-guided whole. She
+read on and on in the old book, devouring eagerly the dialogues with
+the invisible Teacher, the pattern of sorrow, the source of all
+strength, returning to it after she had been called away, and reading
+till the sun went down behind the willows. With all the hurry of an
+imagination that could never rest in the present, she sat in the
+deepening twilight forming plans of self-humiliation and entire
+devotedness; and, in the ardour of first discovery, renunciation
+seemed to her the entrance into that satisfaction which she had so
+long been craving in vain. She had not perceived--how could she until
+she had lived longer?--the inmost truth of the old monk's outpourings,
+that renunciation remains sorrow, though a sorrow borne willingly.
+Maggie was still panting for happiness, and was in ecstasy because she
+had found the key to it. She knew nothing of doctrines and systems--of
+mysticism or quietism; but this voice out of the far-off Middle Ages
+was the direct communication of a human soul's belief and experience,
+and came to Maggie as an unquestioned message.
+
+5. I suppose that is the reason why the small, old-fashioned book, for
+which you need pay only sixpence at a book-stall, works miracles to
+this day, turning bitter waters into sweetness; while expensive
+sermons and treatises, newly issued, leave all things as they were
+before. It was written down by a hand that waited for the heart's
+prompting; it is the chronicle of a solitary hidden anguish, struggle,
+trust, and triumph--not written on velvet cushions to teach endurance
+to those who are treading with bleeding feet on the stones. And so it
+remains to all time a lasting record of human needs and human
+consolations--the voice of a brother who, ages ago, felt and suffered
+and renounced in the cloister, perhaps, with serge gown and tonsured
+head, with much chanting and long fasts, and with a fashion of speech
+different from ours, but under the same silent far-off heavens, and
+with the same passionate desires, the same strivings, the same
+failures, the same weariness.
+
+     --_George Eliot_
+
+
+  Par. 1. IF THOU SEEKEST ... PLEASURE. What principle of
+  Inflection does this clause illustrate? Give similar
+  examples from Par. 3.
+
+  BOTH ABOVE AND BELOW ... EVERYWHERE. Which phrase in
+  this series has the strongest Emphasis?
+
+  THOU SUFFEREST. Which word is emphatic? (Introduction,
+  p. 30.) What phrases are contrasted with it?
+
+  Account for the Inflection used in the last two
+  sentences. (Introduction, p. 20.)
+
+  Par. 4. Indicate the Grouping in sentences 3 and 5.
+
+  HOW COULD SHE, ETC. What is the Inflection and Shading?
+  (Introduction, pp. 24 and 25.)
+
+  Par. 5. What is the Inflection on NOT WRITTEN ...
+  STONES? (Introduction p. 18.)
+
+       *       *       *       *       *
+
+
+THE VISION OF SIR LAUNFAL
+
+PART FIRST
+
+
+  "My golden spurs now bring to me,
+    And bring to me my richest mail,
+  For to-morrow I go over land and sea
+    In search of the Holy Grail;
+  Shall never a bed for me be spread,                                  5
+  Nor shall a pillow be under my head,
+  Till I begin my vow to keep;
+  Here on the rushes will I sleep,
+  And perchance there may come a vision true
+  Ere day create the world anew."                                     10
+    Slowly Sir Launfal's eyes grew dim,
+    Slumber fell like a cloud on him,
+  And into his soul the vision flew.
+
+  The crows flapped over by twos and threes,
+  In the pool drowsed the cattle up to their knees,                   15
+    The little birds sang as if it were
+    The one day of summer in all the year,
+  And the very leaves seemed to sing on the trees.
+  The castle alone in the landscape lay
+  Like an outpost of winter, dull and gray:                           20
+
+  'Twas the proudest hall in the North Countree,
+  And never its gates might opened be,
+  Save to lord or lady of high degree;
+  Summer besieged it on every side,
+  But the churlish stone her assaults defied;                         25
+  She could not scale the chilly wall,
+  Though round it for leagues her pavilions tall
+  Stretched left and right,
+  Over the hills and out of sight;
+    Green and broad was every tent,                                   30
+    And out of each a murmur went
+  Till the breeze fell off at night.
+  The drawbridge dropped with a surly clang,
+  And through the dark arch a charger sprang,
+  Bearing Sir Launfal, the maiden knight,                             35
+  In his gilded mail that flamed so bright
+  It seemed the dark castle had gathered all
+  Those shafts the fierce sun had shot over its wall
+    In his siege of three hundred summers long,
+  And, binding them all in one blazing sheaf,                         40
+    Had cast them forth: so, young and strong,
+  And lightsome as a locust leaf,
+  Sir Launfal flashed forth in his unscarred mail,
+  To seek in all climes for the Holy Grail.
+
+  It was morning on hill and stream and tree                          45
+    And morning in the young knight's heart;
+  Only the castle moodily
+  Rebuffed the gift of the sunshine free,
+    And gloomed by itself apart;
+  The season brimmed all other things up                              50
+  Full as the rain fills the pitcher-plant's cup.
+
+  As Sir Launfal made morn through the darksome gate
+    He was 'ware of a leper, crouched by the same,
+  Who begged with his hand and moaned as he sate;
+    And a loathing over Sir Launfal came;                             55
+  The sunshine went out of his soul with a thrill,
+    The flesh 'neath his armour 'gan shrink and crawl,
+  And midway its leap his heart stood still
+    Like a frozen waterfall;
+  For this man, so foul and bent of stature,                          60
+  Rasped harshly against his dainty nature,
+  And seemed the one blot on the summer morn,--
+  So he tossed him a piece of gold in scorn.
+
+  The leper raised not the gold from the dust:
+  "Better to me the poor man's crust,                                 65
+  Better the blessing of the poor,
+  Though I turn me empty from his door;
+  That is no true alms which the hand can hold;
+  He gives nothing but worthless gold
+    Who gives from a sense of duty;                                   70
+  But he who gives a slender mite,
+  And gives to that which is out of sight,
+    That thread of the all-sustaining Beauty
+  Which runs through all and doth all unite,--
+  The hand cannot clasp the whole of his alms,                        75
+  The heart outstretches its eager palms,
+  For a god goes with it and makes it store
+  To the soul that was starving in darkness before."
+
+
+PART SECOND
+
+  There was never a leaf on bush or tree,
+  The bare boughs rattled shudderingly;                               80
+  The river was numb and could not speak,
+    For the weaver Winter its shroud had spun;
+  A single crow on the tree-top bleak
+    From his shining feathers shed off the cold sun;
+  Again it was morning, but shrunk and cold                           85
+  As if her veins were sapless and old,
+  And she rose up decrepitly
+  For a last dim look at earth and sea.
+
+  Sir Launfal turned from his own hard gate,
+  For another heir in his earldom sate;                               90
+  An old, bent man, worn out and frail,
+  He came back from seeking the Holy Grail;
+  Little he recked of his earldom's loss,
+  No more on his surcoat was blazoned the cross,
+  But deep in his soul the sign he wore,                              95
+  The badge of the suffering and the poor.
+
+  Sir Launfal's raiment thin and spare
+  Was idle mail 'gainst the barbed air,
+  For it was just at the Christmas time;
+  So he mused, as he sat, of a sunnier clime,                        100
+  And sought for a shelter from cold and snow
+  In the light and warmth of long-ago:
+  He sees the snake-like caravan crawl
+  O'er the edge of the desert, black and small.
+  Then nearer and nearer, till, one by one,                          105
+  He can count the camels in the sun,
+  As over the red-hot sands they pass
+  To where, in its slender necklace of grass,
+  The little spring laughed and leapt in the shade,
+  And with its own self like an infant played,                       110
+  And waved its signal of palms.
+  "For Christ's sweet sake I beg an alms;"--
+  The happy camels may reach the spring,
+  But Sir Launfal sees only the grewsome thing,
+  The leper, lank as the rain-blanched bone,                         115
+  That cowers beside him, a thing as lone
+  And white as the ice-isles of Northern seas
+  In the desolate horror of his disease.
+
+  And Sir Launfal said, "I behold in thee
+  An image of Him who died on the tree;                              120
+  Thou also hast had thy crown of thorns,
+  Thou also hast had the world's buffets and scorns,
+  And to thy life were not denied
+  The wounds in the hands and feet and side:
+  Mild Mary's Son, acknowledge me;                                   125
+  Behold, through him, I give to thee!"
+
+  Then the soul of the leper stood up in his eyes
+    And looked at Sir Launfal, and straightway he
+  Remembered in what a haughtier guise
+    He had flung an alms to leprosie,                                130
+  When he girt his young life up in gilded mail
+  And set forth in search of the Holy Grail.
+  The heart within him was ashes and dust;
+  He parted in twain his single crust,
+  He broke the ice on the streamlet's brink,                         135
+  And gave the leper to eat and drink:
+  'Twas a mouldy crust of coarse brown bread,
+    'Twas water out of a wooden bowl,--
+  Yet with fine wheaten bread was the leper fed,
+    And 'twas red wine he drank with his thirsty soul.               140
+
+  As Sir Launfal mused with a downcast face,
+  A light shone round about the place;
+  The leper no longer crouched at his side,
+  But stood before him glorified,
+  Shining and tall and fair and straight                             145
+  As the pillar that stood by the Beautiful Gate,--
+  Himself the Gate whereby men can
+  Enter the temple of God in Man.
+
+  His words were shed softer than leaves from the pine,
+  And they fell on Sir Launfal as snows on the brine,                150
+  Which mingle their softness and quiet in one
+  With the shaggy unrest they float down upon:
+  And the voice that was calmer than silence said:
+  "Lo it is I, be not afraid!
+  In many climes, without avail,                                     155
+  Thou has spent thy life for the Holy Grail;
+  Behold it is here,--this cup which thou
+  Didst fill at the streamlet for me but now;
+  This crust is my body broken for thee,
+  This water His blood that died on the tree;                        160
+  The Holy Supper is kept, indeed,
+  In whatso we share with another's need;
+  Not what we give, but what we share,--
+  For the gift without the giver is bare;
+  Who gives himself with his alms feeds three,--                     165
+  Himself, his hungering neighbour, and me."
+
+  Sir Launfal awoke as from a swound:--
+  "The Grail in my castle here is found!
+  Hang my idle armour up on the wall,
+  Let it be the spider's banquet-hall;                               170
+  He must be fenced with stronger mail
+  Who would seek and find the Holy Grail."
+
+  The castle gate stands open now,
+    And the wanderer is welcome to the hall
+  As the hangbird is to the elm-tree bough;                          175
+    No longer scowl the turrets tall,
+  The Summer's long siege at last is o'er;
+  When the first poor outcast went in at the door,
+  She entered with him in disguise,
+  And mastered the fortress by surprise;                             180
+  There is no spot she loves so well on ground,
+  She lingers and smiles there the whole year round.
+  The meanest serf on Sir Launfal's land
+  Has hall and bower at his command;
+  And there's no poor man in the North Countree                      185
+  But is lord of the earldom as much as he.
+
+      --_James Russell Lowell_
+
+
+  PREPARATORY.--Read Tennyson's _The Holy Grail_.
+
+  Compare the mode in which Tennyson treats the pursuit of
+  the Holy Grail, in _Sir Galahad_, with that adopted by
+  Lowell in this poem.
+
+  Show the connection between the fundamental ideas in
+  this poem, and those in Longfellow's _King Robert of
+  Sicily_ and _The Legend Beautiful_.
+
+  Point out the various contrasts (_a_) of scene, (_b_) of
+  thought, (_c_) of emotion, and show a corresponding
+  contrast in vocal expression.
+
+  Articulation. (Appendix A, 1 and 11.)
+
+  5 and 6. What is the Inflection?
+
+  11. What changes of vocal expression accompany the
+  transition?
+
+  14-20. Note the word-pictures and the effect of the
+  Imaging process on the Time.
+
+  22. What is the Inflection on BE?
+
+  27-29 and 37-39. Observe the Grouping, Pause, and
+  Inflection.
+
+  41. HAD CAST THEM FORTH. With what phrase is this
+  parallel? How does the voice express the parallelism?
+
+  42-44. Which line expresses the main thought? How is it
+  made prominent? (Introduction, p. 33.)
+
+  51. Where is the Pause?
+
+  65-67. Show the relative importance of the emphatic
+  words and phrases. (Introduction, pp. 30 and 31.)
+
+  69-78. Read these lines with a view to (_a_)
+  Perspective, (_b_) Inflection.
+
+  91. OLD, BENT. Account for the pause between these two
+  adjectives. (Introduction, pp. 7 and 8.)
+
+  95. What is the emphatic word? Why?
+
+  107-111. Note the difference in the sound of the letter
+  _a_ in the various words.
+
+  119-126. What feeling predominates? How are the Force,
+  Pitch, and Time affected?
+
+  137-140. How does the voice indicate the contrast
+  between the meagre and the sumptuous? (Introduction, pp.
+  34 and 35.)
+
+  141-142. Note the transition from the subjective to the
+  objective. How is it indicated in reading?
+
+  154-166. What atmosphere pervades this speech? What
+  Quality of voice suggests it? (Introduction, p. 35.)
+
+  167. Note the transition. What movement is suggested?
+  What is the Stress and Quality of voice?
+
+  168-172. What state of mind does this speech suggest?
+  What is the change in Stress and Quality?
+
+       *       *       *       *       *
+
+
+ON THE DEATH OF GLADSTONE
+
+Delivered in the Canadian House of Commons, May 26, 1898
+
+
+England has lost the most illustrious of her sons; but the loss is not
+England's alone, nor is it confined to the great empire which
+acknowledges England's suzerainty, nor even to the proud race which
+can claim kinship with the people of England. The loss is the loss of
+mankind. Mr. Gladstone gave his whole life to his country; but the
+work which he did for his country, was conceived and carried out, on
+principles of such high elevation, for purposes so noble, and aims so
+lofty, that not his country alone, but the whole of mankind, benefited
+by his work. It is no exaggeration to say that he has raised the
+standard of civilization, and the world to-day is undoubtedly better
+for both the precept and the example of his life.
+
+His death is mourned not only by England, the land of his birth, not
+only by Scotland, the land of his ancestors, not only by Ireland for
+whom he did so much, and attempted so much more; but also by the
+people of the two Sicilies, for whose outraged rights he once aroused
+the conscience of Europe, by the people of the Ionian Islands, whose
+independence he secured, and by the people of Bulgaria and the
+Danubian Provinces, in whose cause he enlisted the sympathy of his own
+native country. Indeed, since the days of Napoleon, no man has lived
+whose name has travelled so far and so wide, over the surface of the
+earth; no man has lived whose name alone so deeply moved the hearts of
+so many millions of men. Whereas Napoleon impressed his tremendous
+personality upon peoples far and near, by the strange fascination
+which the genius of war has always exercised over the imagination of
+men in all lands and in all ages, the name of Gladstone had come to be
+in the minds of all civilized nations, the living incarnation of right
+against might--the champion, the dauntless, tireless champion, of the
+oppressed against the oppressor. It is, I believe, equally true to say
+that he was the most marvellous mental organization which the world
+has seen since Napoleon--certainly the most compact, the most active
+and the most universal.
+
+This last half century in which we live, has produced many able and
+strong men who, in different walks of life, have attracted the
+attention of the world at large; and of the men who have illustrated
+this age, it seems to me that in the eyes of posterity four will
+outlive and outshine all others--Cavour, Lincoln, Bismarck, and
+Gladstone. If we look simply at the magnitude of the results obtained,
+compared with the exiguity of the resources at command,--if we
+remember that out of the small Kingdom of Sardinia grew united Italy,
+we must come to the conclusion that Count Cavour was undoubtedly a
+statesman of marvellous skill and prescience. Abraham Lincoln, unknown
+to fame when he was elected to the presidency, exhibited a power for
+the government of men which has scarcely been surpassed in any age. He
+saved the American Union, he enfranchised the black race, and for the
+task he had to perform he was endowed in some respects almost
+miraculously. No man ever displayed a greater insight into the
+motives, the complex motives, which shape the public opinion of a free
+country, and he possessed almost to the degree of an instinct, the
+supreme quality in a statesman of taking the right decision, taking it
+at the right moment and expressing it in language of incomparable
+felicity. Prince Bismarck was the embodiment of resolute common sense,
+unflinching determination, relentless strength, moving onward to his
+end, and crushing everything in his way as unconcerned as fate itself.
+Mr. Gladstone undoubtedly excelled every one of these men. He had in
+his person a combination of varied powers of the human intellect,
+rarely to be found in one single individual. He had the imaginative
+fancy, the poetic conception of things, in which Count Cavour was
+deficient. He had the aptitude for business, the financial ability
+which Lincoln never exhibited. He had the lofty impulses, the generous
+inspirations which Prince Bismarck always discarded, even if he did
+not treat them with scorn. He was at once an orator, a statesman, a
+poet, and a man of business. As an orator he stands certainly in the
+very front rank of orators of his country or any country of his age or
+any age. I remember when Louis Blanc was in England, in the days of
+the Second Empire, he used to write to the press of Paris, and in one
+of his letters to "Le Temps" he stated that Mr. Gladstone would
+undoubtedly have been the foremost orator of England, if it were not
+for the existence of Mr. Bright. It may be admitted, and I think it is
+admitted generally, that on some occasions Mr. Bright reached heights
+of grandeur and pathos which even Mr. Gladstone did not attain. But
+Mr. Gladstone had an ability, a vigour, a fluency which no man in his
+age or any age ever rivalled or even approached. That is not all. To
+his marvellous mental powers he added no less marvellous physical
+gifts. He had the eye of a god, the voice of a silver bell; and the
+very fire of his eye, the very music of his voice swept the hearts of
+men even before they had been dazzled by the torrents of his
+eloquence.
+
+As a statesman, it was the good fortune of Mr. Gladstone that his
+career was not associated with war. The reforms which he effected, the
+triumphs which he achieved, were not won by the supreme arbitrament of
+the sword. The reforms which he effected and the triumphs which he
+achieved were the result of his power of persuasion over his
+fellow-men. The reforms which he achieved in many ways amounted to a
+revolution. They changed, in many particulars, the face of the realm.
+After Sir Robert Peel had adopted the great principle which eventually
+carried England from protection to free trade, it was Mr. Gladstone
+who created the financial system which has been admitted ever since by
+all students of finance, as the secret of Great Britain's commercial
+success. He enforced the extension of the suffrage to the masses of
+the nation, and practically thereby made the government of monarchical
+England as democratic as that of any republic. He disestablished the
+Irish church, he introduced reform into the land tenure and brought
+hope into the breasts of those tillers of the soil in Ireland who had
+for so many generations laboured in despair. And all this he did, not
+by force or violence, but simply by the power of his eloquence and the
+strength of his personality.
+
+Great, however, as were the acts of the man, after all he was of the
+human flesh, and for him, as for everybody else, there were trivial
+and low duties to be performed. It is no exaggeration to say that even
+in those low and trivial duties he was great. He ennobled the common
+realities of life. His was above all things a religious
+mind--essentially religious in the highest sense of the term. And the
+religious sentiment which dominated his public life and his speeches,
+that same sentiment, according to the testimony of those who knew him
+best, also permeated all his actions from the highest to the humblest.
+He was a man of strong and pure affections, of long and lasting
+friendship, and to describe the beauty of his domestic life, no words
+of praise can be adequate. It was simply ideally beautiful, and in the
+later years of his life, as touching as it was beautiful. May I be
+permitted, without any impropriety, to recall that it was my privilege
+to experience and to appreciate that courtesy, made up of dignity and
+grace, which was famous all the world over, but of which no one could
+have an appropriate opinion, unless he had been the recipient of it.
+In a character so complex and diversified, one may ask what was the
+dominant feature, what was the supreme quality, the one characteristic
+which marked the nature of the man. Was it his incomparable genius for
+finance? Was it his splendid oratorical powers? Was it his marvellous
+fecundity of mind? In my estimation it was not any one of these
+qualities. Great as they were, there was one still more marked, and if
+I have to give my own impression, I would say that the one trait which
+was dominant in his nature, which marked the man more distinctly than
+any other, was his intense humanity, his paramount sense of right, his
+abhorrence of injustice, wrong, and oppression wherever to be found or
+in whatever shape they might show themselves. Injustice, wrong,
+oppression acted upon him, as it were, mechanically, and aroused every
+fibre of his being, and from that moment to the repairing of the
+injustice, the undoing of the wrong, and the destruction of the
+oppression, he gave his mind, his heart, his soul, his whole life with
+an energy, with an intensity, with a vigour paralleled in no man
+unless it be the first Napoleon. There are many evidences of this in
+his life. When he was travelling in Southern Italy, as a tourist, for
+pleasure and for the benefit of the health of his family, he became
+aware of the abominable system which was there prevailing under the
+name of Constitutional Government. He left everything aside, even the
+object which had brought him to Italy, and applied himself to
+investigate and to collect evidence, and then denounced the abominable
+system in a trumpet blast of such power that it shook to its very
+foundations the throne of King Ferdinand and sent it tottering to its
+fall. Again, when he was sent as High Commissioner to the Ionian
+Islands, the injustice of keeping this Hellenic population separated
+from the rest of Greece, separated from the kingdom to which they were
+adjacent, and toward which all their aspirations were raised, struck
+his generous soul with such force that he became practically their
+advocate, and secured their independence. Again, when he had
+withdrawn from public life, and when, in the language of Thiers, under
+somewhat similar circumstances, he had returned to "ses chères
+études," the atrocities perpetrated by the Turks on the people of
+Roumania brought him back to public life with a vehemence, an
+impetuosity, and a torrent of fierce indignation that swept everything
+before it. If this be, as I think it is, the one distinctive feature
+of his character, it seems to explain away what are called the
+inconsistencies of his life. Inconsistencies there were none in his
+life. He had been brought up in the most unbending school of Toryism.
+He became the most active reformer of our times. But whilst he became
+the leader of the Liberal party and an active reformer, it is only due
+to him to say that in his complex mind there was a vast space for what
+is known as conservatism. His mind was not only liberal but
+conservative as well, and he clung to the affections of his youth
+until, in questions of practical moment, he found them clashing with
+that sense of right and abhorrence of injustice of which I have
+spoken. But the moment he found his conservative affections clash with
+what he thought right and just, he did not hesitate to abandon his
+former convictions and go the whole length of the reforms demanded.
+Thus he was always devotedly, filially, lovingly attached to the
+Church of England. He loved it, as he often declared. He adhered to it
+as an establishment in England, but the very reasons and arguments
+which, in his mind, justified the establishment of the Church in
+England, compelled him to a different course as far as that church was
+concerned in Ireland. In England the Church was the church of the
+majority, of almost the unanimity of the nation. In Ireland it was
+the church of the minority, and, therefore, he did not hesitate. His
+course was clear: he removed the one church and maintained the other.
+So it was with Home Rule. But coming to the subject of Home Rule,
+though there may be much to say, perhaps this is neither the occasion
+nor the place to say it. The Irish problem is dormant, not solved; but
+the policy proposed by Mr. Gladstone for the solution of this question
+has provoked too much bitterness, too deep division, even on the floor
+of this House, to make it advisable to say anything about it on this
+occasion.
+
+I notice it, however, simply because it is the last and everlasting
+monument of that high sense of justice which, above all things,
+characterized him. When he became convinced that Home Rule was the
+only method whereby the long-open wound could be healed, he did not
+hesitate one moment, even though he were to sacrifice friends, power,
+popularity. And he sacrificed friends, power, popularity, in order to
+give that supreme measure of justice to a long-suffering people.
+Whatever may be the views which men entertain upon the policy of Home
+Rule, whether they favour that policy or whether they oppose it,
+whether they believe in it or whether they do not believe in it, every
+man, whether friend or foe of that measure, must say that it was not
+only a bold, but it was a noble thought, that of attempting to cure
+discontent in Ireland by trusting to Irish honour and Irish
+generosity.
+
+Now, Sir, he is no more. England is to-day in tears, but fortunate is
+the nation which has produced such a man. His years are over; but his
+work is not closed; his work is still going on. The example which he
+gave to the world shall live for ever, and the seed which he has sown
+with such a copious hand shall still germinate and bear fruit under
+the full light of heaven.
+
+      --_Sir Wilfrid Laurier (By permission)_
+
+
+  In reading this speech, apply the principles of Pause,
+  Inflection, Grouping, Emphasis, and Perspective
+  illustrated in the preceding lessons.
+
+       *       *       *       *       *
+
+
+THE DOWNFALL OF WOLSEY
+
+From "King Henry VIII" Act III. Scene ii.
+
+
+  Farewell! a long farewell, to all my greatness!
+  This is the state of man: to-day he puts forth
+  The tender leaves of hope; to-morrow blossoms,
+  And bears his blushing honours thick upon him;
+  The third day comes a frost, a killing frost,                        5
+  And,--when he thinks, good easy man, full surely
+  His greatness is a-ripening,--nips his root,
+  And then he falls, as I do. I have ventured,
+  Like little wanton boys that swim on bladders,
+  This many summers in a sea of glory,                                10
+  But far beyond my depth: my high-blown pride
+  At length broke under me; and now has left me,
+  Weary, and old with service, to the mercy
+  Of a rude stream, that must for ever hide me.
+  Vain pomp and glory of this world, I hate ye:                       15
+  I feel my heart new open'd. O, how wretched
+  Is that poor man that hangs on princes' favours!
+  There is, betwixt that smile we would aspire to,
+  That sweet aspect of princes, and their ruin,
+  More pangs and fears than wars or women have;                       20
+  And when he falls, he falls like Lucifer,
+  Never to hope again.--
+
+[_Enter Cromwell, and stands amazed_]
+
+    Why, how now, Cromwell!
+
+  _Crom._ I have no power to speak, sir.
+
+  _Wol._ What! amaz'd
+  At my misfortunes? can thy spirit wonder
+  A great man should decline? Nay, an you weep,                       25
+  I am fall'n indeed.
+
+  _Crom._ How does your grace?
+
+  _Wol._ Why, well;
+  Never so truly happy, my good Cromwell.
+  I know myself now; and I feel within me
+  A peace above all earthly dignities,
+  A still and quiet conscience. The king has cur'd me,                30
+  I humbly thank his grace; and from these shoulders,
+  These ruin'd pillars, out of pity, taken
+  A load would sink a navy,--too much honour:
+  O, 't is a burden, Cromwell, 't is a burden,
+  Too heavy for a man that hopes for heaven!                          35
+
+  _Crom._ I am glad your grace has made that right
+  use of it.
+
+  _Wol._ I hope I have: I am able now, methinks,--
+  Out of a fortitude of soul I feel--
+  To endure more miseries, and greater far,
+  Than my weak-hearted enemies dare offer.                            40
+  What news abroad?
+
+  _Crom._ The heaviest, and the worst
+  Is your displeasure with the king.
+
+  _Wol._ God bless him!
+
+  _Crom._ The next is, that Sir Thomas More is chosen
+  Lord chancellor in your place.
+
+  _Wol._ That's somewhat sudden:
+  But he's a learned man. May he continue                             45
+  Long in his highness' favour, and do justice
+  For truth's sake, and his conscience; that his bones,
+  When he has run his course and sleeps in blessings,
+  May have a tomb of orphans' tears wept on 'em!--
+  What more?                                                          50
+
+  _Crom._ That Cranmer is return'd with welcome,
+  Install'd Lord Archbishop of Canterbury.
+
+  _Wol._ That's news indeed.
+
+  _Crom._                    Last, that the Lady Anne,
+  Whom the king hath in secrecy long married,
+  This day was view'd in open, as his queen,                          55
+  Going to chapel; and the voice is now
+  Only about her coronation.
+
+  _Wol._ There was the weight that pull'd me down.
+      O Cromwell,
+  The king has gone beyond me: all my glories
+  In that one woman I have lost for ever.                             60
+  No sun shall ever usher forth mine honours,
+  Or gild again the noble troops that waited
+  Upon my smiles. Go, get thee from me, Cromwell;
+  I am a poor fall'n man, unworthy now
+  To be thy lord and master. Seek the king;                           65
+  That sun, I pray, may never set! I have told him
+  What and how true thou art: he will advance thee;
+  Some little memory of me will stir him--
+  I know his noble nature--not to let
+  Thy hopeful service perish too. Good Cromwell,                      70
+  Neglect him not; make use now, and provide
+  For thine own future safety.
+
+  _Crom._                  O my lord,
+  Must I, then, leave you? must I needs forego
+  So good, so noble, and so true a master?
+  Bear witness, all that have not hearts of iron,                     75
+  With what a sorrow Cromwell leaves his lord.
+  The king shall have my service; but my prayers,
+  For ever and for ever, shall be yours.
+
+  _Wol._ Cromwell, I did not think to shed a tear
+  In all my miseries; but thou hast forced me,                        80
+  Out of thy honest truth, to play the woman.
+  Let's dry our eyes; and thus far hear me, Cromwell:
+  And--when I am forgotten, as I shall be,
+  And sleep in dull cold marble, where no mention
+  Of me more must be heard of--say, I taught thee,                    85
+  Say, Wolsey, that once trod the ways of glory,
+  And sounded all the depths and shoals of honour,
+  Found thee a way, out of his wrack, to rise in;
+  A sure and safe one, though thy master miss'd it.
+  Mark but my fall, and that that ruin'd me.                          90
+  Cromwell, I charge thee, fling away ambition:
+  By that sin fell the angels; how can man, then,
+  The image of his Maker, hope to win by 't?
+  Love thyself last; cherish those hearts that hate thee;
+  Corruption wins not more than honesty.                              95
+  Still in thy right hand carry gentle peace,
+  To silence envious tongues. Be just, and fear not:
+  Let all the ends thou aim'st at be thy country's,
+  Thy God's, and truth's: then if thou fall'st, O Cromwell,
+  Thou fall'st a blessed martyr. Serve the king;                     100
+  And--pr'ythee lead me in:
+  There take an inventory of all I have,
+  To the last penny; 't is the king's: my robe,
+  And my integrity to Heaven, is all
+  I dare now call my own. O Cromwell, Cromwell!                      105
+  Had I but served my God with half the zeal
+  I served my king, He would not in mine age
+  Have left me naked to mine enemies.
+
+  _Crom._ Good sir, have patience.
+
+  _Wol._                  So I have. Farewell                        110
+  The hopes of court! my hopes in heaven do dwell.
+
+        --_Shakespeare_
+
+
+  Compare the last words of Wolsey with those of Socrates
+  as found in Jowett's translation of _The Apology_, (p.
+  145.)
+
+  BE JUST ... MARTYR. Show that the life and death of
+  Socrates illustrates this ideal.
+
+  Compare the Pitch in which Wolsey utters his monologue
+  with that in which he addresses Cromwell. (Introduction,
+  p. 23.)
+
+  How is the parenthetical clause in ll. 6 and 7 kept in
+  the back-ground? (Introduction, p. 24.) Select similar
+  examples from Wolsey's speeches.
+
+  AND FROM THESE SHOULDERS ... NAVY. Supply the ellipses.
+
+  BY THAT SIN ... WIN BY 'T? Select the emphatic words and
+  account for the Emphasis in each case. (Introduction, p.
+  30.)
+
+       *       *       *       *       *
+
+
+THE ITALIAN IN ENGLAND
+
+
+  That second time they hunted me
+  From hill to plain, from shore to sea,
+  And Austria, hounding far and wide
+  Her blood-hounds thro' the country-side,
+  Breathed hot and instant on my trace.--                              5
+  I made, six days, a hiding-place
+  Of that dry green old aqueduct
+  Where I and Charles, when boys, have plucked
+  The fireflies from the roof above,
+  Bright creeping thro' the moss they love:                           10
+  --How long it seems since Charles was lost!
+  Six days the soldiers crossed and crossed
+  The country in my very sight;
+  And when that peril ceased at night,
+  The sky broke out in red dismay                                     15
+  With signal-fires. Well, there I lay
+  Close covered o'er in my recess,
+  Up to the neck in ferns and cress,
+  Thinking on Metternich our friend,
+  And Charles's miserable end,                                        20
+  And much beside, two days; the third,
+  Hunger o'ercame me when I heard
+  The peasants from the village go
+  To work among the maize: you know,
+  With us in Lombardy, they bring                                     25
+  Provisions packed on mules, a string
+  With little bells that cheer their task,
+  And casks, and boughs on every cask
+  To keep the sun's heat from the wine;
+  These I let pass in jingling line,                                  30
+  And, close on them, dear noisy crew,
+  The peasants from the village, too;
+  For at the very rear would troop
+  Their wives and sisters in a group
+  To help, I knew. When these had passed,                             35
+  I threw my glove to strike the last,
+  Taking the chance: she did not start,
+  Much less cry out, but stooped apart,
+  One instant rapidly glanced round,
+  And saw me beckon from the ground;                                  40
+  A wild bush grows and hides my crypt,
+  She picked my glove up while she stripped
+  A branch off, then rejoined the rest
+  With that; my glove lay in her breast:
+  Then I drew breath; they disappeared:                               45
+  It was for Italy I feared.
+
+  An hour, and she returned alone
+  Exactly where my glove was thrown.
+  Meanwhile came many thoughts; on me
+  Rested the hopes of Italy;                                          50
+  I had devised a certain tale
+  Which, when 't was told her, could not fail
+  Persuade a peasant of its truth;
+  I meant to call a freak of youth
+  This hiding, and give hopes of pay,                                 55
+  And no temptation to betray.
+  But when I saw that woman's face,
+  It's calm simplicity of grace,
+  Our Italy's own attitude
+  In which she walked thus far, and stood,                            60
+  Planting each naked foot so firm,
+  To crush the snake and spare the worm--
+  At first sight of her eyes, I said,
+  "I am that man upon whose head
+  They fix the price, because I hate                                  65
+  The Austrians over us; the State
+  Will give you gold--oh, gold so much!--
+  If you betray me to their clutch,
+  And be your death, for aught I know,
+  If once they find you saved their foe.                              70
+  Now, you must bring me food and drink,
+  And also paper, pen and ink,
+  And carry safe what I shall write
+  To Padua, which you'll reach at night
+  Before the duomo shuts; go in,                                      75
+  And wait till Tenebrae begin;
+  Walk to the third confessional,
+  Between the pillar and the wall,
+  And kneeling whisper, _Whence comes peace?_
+  Say it a second time, then cease;                                   80
+  And if the voice inside returns,
+  _From Christ and Freedom; what concerns
+  The cause of Peace?_--for answer, slip
+  My letter where you placed your lip;
+  Then come back happy we have done                                   85
+  Our mother service--I, the son,
+  As you the daughter of our land!"
+
+    Three mornings more, she took her stand
+  In the same place, with the same eyes:
+  I was no surer of sunrise                                           90
+  Than of her coming: we conferred
+  Of her own prospects, and I heard
+  She had a lover--stout and tall,
+  She said--then let her eyelids fall,
+  "He could do much"--as if some doubt                                95
+  Entered her heart,--then, passing out,
+  "She could not speak for others, who
+  Had other thoughts; herself she knew":
+  And so she brought me drink and food.
+  After four days, the scouts pursued                                100
+  Another path; at last arrived
+  The help my Paduan friends contrived
+  To furnish me: she brought the news.
+  For the first time I could not choose
+  But kiss her hand, and lay my own                                  105
+  Upon her head--"This faith was shown
+  To Italy, our mother; she
+  Uses my hand and blesses thee."
+  She followed down to the sea-shore;
+  I left and never saw her more.                                     110
+
+    How very long since I have thought
+  Concerning--much less wished for--aught
+  Beside the good of Italy,
+  For which I live and mean to die!
+  I never was in love; and since                                     115
+  Charles proved false, what shall now convince
+  My inmost heart I have a friend?
+  However, if I pleased to spend
+  Real wishes on myself--say, three--
+  I know at least what one should be.                                120
+  I would grasp Metternich until
+  I felt his red wet throat distil
+  In blood thro' these two hands. And next,
+  --Nor much for that am I perplexed--
+  Charles, perjured traitor, for his part,                           125
+  Should die slow of a broken heart
+  Under his new employers. Last,
+  --Ah, there, what should I wish? For fast
+  Do I grow old and out of strength.
+  If I resolved to seek at length                                    130
+  My father's house again, how scared
+  They all would look, and unprepared!
+  My brothers live in Austria's pay
+  --Disowned me long ago, men say;
+  And all my early mates who used                                    135
+  To praise me so--perhaps induced
+  More than one early step of mine--
+  Are turning wise: while some opine
+  "Freedom grows license", some suspect
+  "Haste breeds delay", and recollect                                140
+  They always said, such premature
+  Beginnings never could endure!
+  So, with a sullen "All's for best",
+  The land seems settling to its rest.
+  I think then, I should wish to stand                               145
+  This evening in that dear, lost land,
+  Over the sea the thousand miles,
+  And know if yet that woman smiles
+  With the calm smile; some little farm
+  She lives in there, no doubt: what harm                            150
+  If I sat on the door-side bench,
+  And, while her spindle made a trench
+  Fantastically in the dust,
+  Inquired of all her fortunes--just
+  Her children's ages and their names,                               155
+  And what may be the husband's aims
+  For each of them. I'd talk this out,
+  And sit there, for an hour about,
+  Then kiss her hand once more, and lay
+  Mine on her head, and go my way.                                   160
+
+  So much for idle wishing--how
+  It steals the time! To business now.
+
+      --_Robert Browning (By permission)_
+
+
+  PREPARATORY.--What is the historical back-ground of this
+  poem? Suggest the possible details of the exiled
+  patriot's life in England, his surroundings and frame of
+  mind at the moment of speaking.
+
+  Reconstruct for yourself the three scenes of which the
+  peasant woman is the centre.
+
+  What qualities did the Italian at once recognize in the
+  peasant woman which led him to intrust his safety to
+  her?
+
+  79. WHENCE COMES PEACE? In what Quality of voice is this
+  read? Give your reason. (Introduction, p. 34.)
+
+  95. HE COULD DO MUCH. How is the doubt in this speech
+  and in the one following indicated by the Inflection?
+  (Introduction, p. 18.)
+
+  111-112. With what is THOUGHT CONCERNING connected? How?
+
+  120-123. I KNOW AT LEAST ... HANDS. What Quality of
+  voice expresses the feeling here? What succeeding lines
+  have the same Quality? (Introduction, p. 35.) With what
+  is NEXT connected? How?
+
+  139-142. FREEDOM GROWS LICENSE ... ENDURE. How is the
+  irony of these lines indicated? (Introduction, pp. 21
+  and 30.)
+
+  How does the mood of the last two lines differ from the
+  preceding? What is the difference in vocal expression?
+
+       *       *       *       *       *
+
+
+ADVANTAGES OF IMPERIAL FEDERATION
+
+From an address delivered in Toronto, January 30th, 1891, under the
+auspices of the Imperial Federation League
+
+
+I now go on to mention another and greater advantage of Imperial
+Federation than the one which we have just been considering; an
+advantage too that is so connected with that of improved trade that
+the two must be considered together. In fact, in my opinion, the first
+is not likely to be obtained without the second. We cannot expect
+Britain to concede preferential trade to us, on the ground that we are
+part of the Empire, unless we are willing to share the
+responsibilities of the Empire. I say then, secondly, that only by
+some form of Imperial Federation can the independence of Canada be
+preserved, with due regard to self-respect.
+
+If this is true, if Imperial Federation can do this, and if it can be
+done in no other way, then the necessity for Imperial Federation is
+proved; for national independence is an advantage so great that no
+price can be named that is too great to give in payment. It is the
+same with a country as with a man. Independent he must be, or he
+ceases to be a man. Burns advises his young friend to "gather gear" in
+every honourable way, and what for?
+
+  Not for to hoard it in a dyke,
+    Not for a train attendant;
+  But for the glorious privilege
+    Of being independent.
+
+And that which is the supreme dignity of manhood is even more
+essential in the case of a nation.
+
+What do we mean when we speak of the independence of the country? We
+mean something beyond price, something that is the indispensable
+condition of true manhood in any country, something without which a
+country is poor in the present and a butt for the world's scorn in the
+future. There are men, or things that look like men, who say that as
+long as we put money in our purse, nothing else counts. How that class
+of men must have laughed some centuries ago at a fool called William
+Wallace! How clearly they could point out that it was much better to
+be part of the richer country to the south. When they heard of the
+fate of the patriot, did they not serenely say: "We told you so?" Did
+they not in their hearts envy the false Menteath the price he got for
+betraying the man who acted as true sentiment bade? But, give it time,
+and the judgment of the world is just. Even the blind can now see
+whether the patriot or the so-called "practical man" did most for
+Scotland's advantage. Now
+
+  At Wallace' name, what Scottish blood
+  But boils up in a springtime flood!
+  Oft have our fearless fathers strode
+        By Wallace' side,
+  Still pressing onward, red-wat shod,
+        Or glorious died.
+
+What has his memory been worth to Scotland! Would you estimate it in
+millions? Superior persons will tell me that Wallace is an
+anachronism. In form, yes; in spirit, never. It may be said that in
+the end Scotland did unite with England. Yes, but first, what a curse
+the union would have been if unaccompanied, as in the case of Ireland,
+with national self-respect! And, secondly, Canada is ready for union
+with the States any day on the same terms as those which Scotland got:
+(1) That the States accept our Queen or King as their head. (2) That
+we keep our own civil and criminal law and parliamentary constitution,
+as Scotland did. (3) That the whole Empire be included in the
+arrangement, as the whole of Scotland was in the union. Surely the men
+who are never tired of citing the case of Scotland and England as
+parallel to ours must admit that this is fair.
+
+But, here comes a question that must be faced. Is it worth while
+preserving the independence, the unity, and dignity of Canada? There
+are men who, for one reason or another, doubt whether it is. They have
+lost faith in the country, or rather they never had any faith to lose.
+It is this absence of faith that is at the bottom of all their
+arguments and all their unrest. Now, I do not wonder that there should
+be men who do not share our faith. Men who were brought up in England,
+and who have seen and tasted the best of it; who are proud of that
+"dear, dear land", as Shakespeare called it, proud of its history, its
+roll of saints, statesmen, heroes; of its cathedrals, colleges,
+castles; of its present might as well as its ancient renown; and who
+have then come to live in Canada,--well, they naturally look with
+amused contempt at our raw, rough ways, our homespun legislators and
+log colleges, combined with lofty ambitions expressed sometimes--it
+must be admitted--in bunkum. I do not wonder, either, that men who
+have been citizens of the United States, who exult in its vast
+population, its vast wealth, and its boundless energy, should think it
+madness on our part that we are not knocking untiringly at their door
+for admission, and that the only explanation of our attitude that they
+can give is that we are "swelled heads", or "the rank and file of
+jingoism." But, after all, they must know that this question is not to
+be settled by them. It must be settled by genuine Canadians. We, like
+Cartier, are Canadians _avant tout_. Most of us have been born in the
+land, have buried our fathers and mothers, and some of us our
+children, too, in the natal soil, and above the sacred dust we have
+pledged ourselves to be true to their memories and to the country they
+loved, and to those principles of honour that are eternal! God
+helping, we will do so, whether strangers help or hinder! We do not
+think so meanly of our country that we are willing to sell it for a
+mess of pottage. I know Canada well, from ocean to ocean; from the
+rich sea pastures on the Atlantic all the way across to Vancouver and
+Victoria. Every province and every territory of it, I know well. I
+know the people, too, a people thoroughly democratic and honest to the
+core. I would now plainly warn those who think that there is no such
+thing as Canadian sentiment that they are completely mistaken. They
+had better not reckon without their host. The silent vote is that
+which tells, and though it will not talk, it will vote solid all the
+time for those who represent national sentiment when the national life
+is threatened. I am not a party man. In my day, I have voted about
+evenly on both sides, for when I do vote, it is after consideration of
+the actual issues involved at the time. Both sides therefore rightly
+consider me unreliable, but, perhaps, both will listen when I point
+out that the independent vote is increasing, and that it is the only
+vote worth cultivating. The true Grit or Tory will vote with his
+party, right or wrong. No time, therefore, need be given to him. Let
+the wise candidate win the men who believe that the country is higher
+than party, and there is, I think, only one thing that these men will
+not forgive--lack of faith in the country. They have no doubt that it
+is worth while to preserve the unity, dignity, and independence of
+Canada.
+
+We are quite sure of this. Are we as sure that it is our duty to pay
+the price? The United States are paying three or four times our whole
+revenue in pensions to those who fought to keep the country united.
+They do not grudge this enormous price. They have besides a
+respectable army, and a fleet that will soon be formidable. What means
+do we find it necessary to use? In any trouble we simply call on the
+Mother Country. The present system is cheap. No! it is dear and nasty,
+and cannot last.
+
+What should we do? First, let us remember what Britain has dared for
+us within the last two or three years. Britain would fight the rest of
+the world rather than the United States,--not because the Republic
+could hurt her seriously, not because her trade with it is five times
+as much as with us, but because she is proud of her own eldest child
+and knows that a war between mother and daughter would be a blow
+struck at the world's heart. Yet, for us she spoke the decisive word
+from which there was no drawing back. For us, once and again, because
+we were in the right, she dared a risk which she hated with her whole
+soul.
+
+Let us show that we appreciate her attitude. Let us, at any rate, do
+what Australia has done--enter into a treaty, according to which we
+shall pay so much a year for a certain number of ships, to be on our
+own coasts in peace, and in war at the disposal of the Empire. That
+would be tantamount to saying: "You have shared our risks, we will
+share yours; we will pay part of the insurance that is necessary to
+guarantee peace; we are educating officers for the army, and we are
+willing to give a much needed addition to the fleet". That would be a
+first step toward the attainment of full citizenship. What would be
+the next? We could ask that our voice should be heard in some
+constitutional way before any war was decided on. And we would have
+the right standing ground from which to urge a wise system of
+preferential trade in the common interest. These three things are, in
+my opinion, connected, and I have ventured to indicate the order in
+which they should be taken.
+
+Would it pay? The experience of the world proves that nothing pays in
+the long run but duty-doing. How can a country grow great men if it is
+content to be in leading-strings, and to give plausible excuses to
+show that that state of things is quite satisfactory?
+
+Only by some form of Imperial Federation can the unity of the Empire
+be preserved.
+
+The previous advantages to which I referred concerned Canada directly.
+This one may appear, to some persons, far away from us, but it is not.
+In another speech I may enlarge on this advantage, but suffice it to
+say now, that we cannot isolate ourselves from humanity. Canada ought
+to be dearer to us than any other part of the Empire, but none the
+less we must admit that the Empire is more important to the world than
+any of its parts, and every true man is a citizen of the world.
+
+I will not speak to-night of what the Empire has done for us in the
+past, of the rich inheritance into which we have entered, and of the
+shame that falls on children who value lightly the honour of their
+family and race. Consider only the present position of affairs. The
+European nations are busy watching each other. Britain is detaching
+herself from them, understanding that she is an oceanic, colonizing,
+and world power, much more than a European state. The United States
+and Britain are the two Powers, one in essence, cradled in freedom,
+that have a great future before them. According to the last census,
+the first has a population of some fifty-four millions of whites. The
+census of next April will show that the other has nearly forty
+millions in the home islands and ten millions in the self-governing
+Colonies. The two Powers have thus about the same population of white
+men, and the two are likely to grow at the same rate.
+
+In Britain the rate of increase will be less, but in the Colonies it
+will be greater than in the States during the next half century. The
+States will keep united. They have stamped out disunion. We have to
+prove that we intend to keep the Empire united; but that can be done
+only by giving the ten millions a gradually increasing share in common
+privileges and responsibilities. Surely such a work is not beyond the
+resources of statesmanship. For a long time decentralization was
+needed. Now, all the signs of the times indicate the necessity to
+centralize. The days of small powers are over, and modern inventions
+make communication easy between east and west, as well as between
+north and south.
+
+If this is not done, what will certainly happen? Separation, first of
+one part then of another; weakness of each part and weakness all
+round. Think of the impetus that this would give to every force that
+makes for chaos among the three hundred millions over whom God in His
+providence has placed us. The work that the British Empire has in hand
+is far grander than the comparatively parochial duties with which the
+States are content to deal. Its problems are wider and more inspiring;
+yet, at the same time, the white race that alone, so far, has proved
+itself fit for self-government, lives by itself, instead of being
+commingled with a coloured race to which only nominal freedom is
+allowed. Any one who has lived either in South Africa or in the
+Southern States will understand what a free hand and what an
+unspeakable leverage this gives us. We need no Force Bill to ensure a
+free ballot in Britain, Canada, Australia, or New Zealand. Already our
+sons are taking their part in introducing civilization into Africa,
+under the aegis of the flag, and in preserving the _Pax Britannica_
+among the teeming millions of India and southeastern Asia, those
+peoples kindred to ourselves, who for centuries before had been the
+prey of successive spoilers. Think of the horizon that this opens up,
+and remember that in building a state we must think not of the present
+but of the future.
+
+In a generation all the best land on this continent will have been
+taken up. But, thanks to the far-reaching wisdom of our fathers, the
+greater part of the world will be open to the trade, to the
+colonizing, and to the enterprise of our children. We shall not be
+confined to a frozen north or to a single continent. We shall take
+part in work that is of world-wide significance, and shall act out our
+belief that God loves not North America only, but the whole world.
+Only on conditions of the British Empire standing, can this be done.
+This is the ideal that we should set before us, and remember that no
+people has ever been a great or permanent factor in the world that was
+without high ideals. I know that this advantage to which I am
+referring is not one that can be calculated in dollars, any more than
+the work of a Wallace or the poems of a Shakespeare, the life of
+Sydney or the death of Gordon; but it is an advantage none the less
+for which many of us are content to struggle and, if need be, to
+suffer. What are we in this world for? Surely for something higher
+than to still the daily craving of appetite. Surely for something
+higher than to accumulate money, though it should be to the extent of
+adding million to million. Surely we are in the world for something
+better! Yes, we are here to think great thoughts, to do great things,
+to promote great ideals. This can be done only through faithfulness to
+the best spirit of our fathers. Society is an organism, and must
+preserve its continuity. It must work, too, through instruments; and
+the most potent, keenest, best-tried instrument on earth for
+preserving peace, order, liberty and righteousness, is the Empire of
+which we are citizens. Shall we throw away that citizenship, or shall
+we maintain and strengthen that Empire?
+
+      --_George Monro Grant (By permission)_
+
+
+  Apply the principles of Emphasis, Inflection, Grouping,
+  and Perspective in reading this address. Give specific
+  illustrations of each.
+
+       *       *       *       *       *
+
+
+COLLECT FOR DOMINION DAY
+
+
+  Father of nations! Help of the feeble hand!
+    Strength of the strong! to whom the nations kneel!
+  Stay and destroyer, at whose just command
+    Earth's kingdoms tremble and her empires reel!
+  Who dost the low uplift, the small make great,                       5
+    And dost abase the ignorantly proud,
+  Of our scant people mould a mighty state,
+    To the strong, stern,--to Thee in meekness bowed!
+  Father of unity, make this people one!
+    Weld, interfuse them in the patriot's flame,--                    10
+  Whose forging on Thine anvil was begun
+    In blood late shed to purge the common shame;
+  That so our hearts, the fever of faction done,
+    Banish old feud in our young nation's name.
+
+      --_Charles G. D. Roberts_ (_By arrangement_)
+
+       *       *       *       *       *
+
+
+ENGLAND
+
+
+  This royal throne of kings, this scepter'd isle,
+  This earth of majesty, this seat of Mars,
+  This other Eden, demi-paradise,
+  This fortress, built by Nature for herself
+  Against infection and the hand of war,
+  This happy breed of men, this little world,
+  This precious stone set in the silver sea.
+
+       *       *       *       *       *
+
+
+
+
+APPENDIX
+
+
+A
+
+EXERCISES IN VOWEL SOUNDS AND IN ARTICULATION
+
+
+1. [=a] as in ate, fate, cave, made, glade, pale.
+
+   â as in air, fair, chair, hair, lair, pair, care, dare, bare,
+     share, bear, fairy, compare, parent, prayer, garish, there, heir.
+
+   [)a] as in at, that, and, damp, glad, bade, castle, baron, barrel.
+
+   ä as in far, arm, hark, charm, march, bard, calm, palm, psalm,
+     balm, half, alms, father, dark, wrath, path, marsh, laugh.
+
+   [.a] as in ask, grasp, fast, last, pass, past, branch, chance, dance,
+     mast, vast, gasp, quaff, craft, staff, chant, grass, mass.
+
+   [a:] as in all, talk, squall, dawn, warp, hawk, laurel, haughty, halt.
+
+   a obscure, in final medial syllables, unaccented, and closed by n,
+     l, nt, nce, nd, s, ss, st, p or ph or ff, m, or d, as in sylvan,
+     vacancy, mortal, loyal, valiant, guidance, husband, breakfast,
+     gallant, ballad, etc.
+
+   [=e] as in me, seem, reap, weed, lean, evil, redeem.
+
+   [)e] as in met, end, spell, debt, text, jest, when, merry, America,
+     ceremony.
+
+   [~e] (coalescent) as in her, fern, earth, mercy, verse, stern, earl,
+     pearl, term, verge, prefer, serge, earn, early.
+
+   [=i] as in time, tide, mile, wine, high, size.
+
+   [)i] as in pin, grim, king, gift, this, grip.
+
+   [=i] (coalescent) as in bird, girl, fir, stir, girdle, circle, virgin,
+     first.
+
+   [=o] as in note, old, spoke, pole, wrote, joke.
+
+   [)o] as in not, shot, top, odd, honest, comic, on, gone, off, often,
+     dog, (not "dawg"), God, soft, long, song, strong, coral, orange,
+     foreign, torrid, coronet, corridor, correlate.
+
+   ô as in corn, lord, stork, orb, form, forlorn, morn, short, adorn.
+
+   o as in word, work, worm, worry.
+
+   [.o] as in love, done, some, cover, brother, another, month, company,
+     Monday, front, covet, wonder, sponge, smother.
+
+   ö as in do, move, who, whose, lose, prove, too, bosom.
+
+   [=u] as in use, pure, duke, tune, tube, blue, duty, flew, new,
+     student, subdue, pursue, absolute, illumine, tumult, suit, during,
+     pursuit, presume, lunacy, Tuesday, numeral.
+
+   [)u] as in us, up, but, drum, dusk, trust.
+
+   [u:] as in rude, brute, fruit, sure, true, construe, recruit.
+
+   [u.] as in full, pull, put, push, cushion, bushel, pulpit, bullet.
+
+   û as in hurt, burr, cur, fur, furl, burst, purr, recur, curfew,
+     furlong, surge, urn.
+
+Note that ä in far and [.a] in ask are called long Italian _a_ and short
+Italian _a_ respectively. The quality of the sound is the same in each,
+but they differ in quantity, the latter being shorter.
+
+The following vowels have the same sound:
+
+   [~e] (coalescent) and [~i] (coalescent);
+
+   ö as in do, [u:] as in rude, and [oo=] as in food;
+
+   o as in word and û as in hurt;
+
+   [.o] as in love and û as in us.
+
+After marking the vowels diacritically read the following passages,
+paying special attention to the vowel sounds:
+
+
+  So Lord Howard passed away with five ships of war that day.
+
+  That desperate grasp thy frame might feel
+  Through bars of brass and triple steel.
+
+  The guide, abating of his pace,
+  Led slowly through the pass's jaws,
+  And asked Fitz-James by what strange cause
+  He sought these wilds, traversed by few
+  Without a pass from Roderick Dhu.
+
+  The hand cannot clasp the whole of his alms,
+  The heart outstretches its eager palms.
+
+  O listen, ladies, ladies gay!
+  No haughty feat of arms I tell;
+  Soft is the note, and sad the lay
+  That mourns the lovely Rosabelle.
+
+  And when the Angel met him on his way,
+  And half in earnest, half in jest, would say,
+  Sternly, though tenderly, that he might feel
+  The velvet scabbard held a sword of steel,
+  "Art thou the King?" the passion of his woe
+  Burst from him in resistless overflow,
+  And, lifting high his forehead, he would fling
+  The haughty answer back, "I am, I am the King!"
+
+  Then rest thee here till dawn of day;
+  Myself will guide thee on the way,
+  O'er stock and stone, through watch and ward,
+  Till past Clan-Alpine's outmost guard,
+  'As far as Coilantogle's ford;
+  From thence thy warrant is thy sword.
+
+  Around the keel that raced the dolphin and the shark
+  Only the sand-wren twitters from barren dawn till dark;
+  And all the long blank noon the blank sand chafes and mars
+  The prow once swift to follow the lure of the dancing stars.
+
+
+2. Distinguish the sound of _[=u]_ in use, pure, duke, etc.,
+
+  from the sound of _oo_ in
+    food, hoof, mood, rood, roof, soot, aloof,
+  and from the sound of _oo_ in
+    book, good, nook, hood, rook, look, foot, crook.
+
+Read the following with special reference to these sounds:
+
+  Flew flashing under the blinding blue.
+
+  She left the web, she left the loom,
+  She made three paces thro' the room,
+  She saw the water-lily bloom,
+  She saw the helmet and the plume,
+  She look'd down to Camelot.
+
+  Singing the bridal of sap and shoot,
+  The tree's slow life between root and fruit.
+
+  ... helter-skelter through the blue
+  Like a crowd of frightened porpoises a shoal of sharks pursue.
+
+  While on dreary moorlands lonely curlew pipe.
+
+  My Lords, you have that true image of the primitive Church in
+      its ancient form, in its ancient ordinances, purified from
+      the superstitions and vices which a long succession of
+      ages will bring upon the best institutions.
+
+3. Double and triple consonant endings present difficulties of
+articulation:--Robbed, bragged, divulged, mends, breathed, gossips,
+casques, barracks, depths, heights, lengths, breadths, lists, aspects,
+seethes, thirsteth, breathest, sheath'st, melt'st, search'st, sixths,
+twelfths, tests.
+
+Read with special reference to the articulation of the final
+consonants:
+
+  You blocks, you stones, you worse than senseless things!
+
+  Scattering down the snow-flakes off the curdled sky.
+
+  With throats unslaked, with black lips baked.
+
+  The guests are met, the feast is set
+  May'st hear the merry din.
+
+  Who forgiveth all thine iniquities; who healeth all thy diseases;
+  Who satisfieth thy mouth with good things; so that thy youth
+      is renewed like the eagle's.
+
+  Spirit that breathest through my lattice,
+  Thou that cool'st the twilight of the sultry day.
+
+  He groped toward the door, but it was locked,
+  He cried aloud, and listened, and then knocked,
+  And uttered awful threatenings and complaints,
+  And imprecations upon men and saints.
+
+  It glared on Roslin's castled rock,
+    It ruddied all the copse-wood glen;
+  'Twas seen from Dryden's groves of oak,
+    And seen from caverned Hawthornden.
+
+  Skilful artists thou employest,
+  And in chastest beauty joyest,
+  Forms most delicate, pure, and clear,
+  Frost-caught star-beams, fallen sheer
+  In the night, and woven here
+  In jewel-fretted tapestries.
+
+4. Sound distinctly the ending _ing_ in: Languishing, blackening,
+threatening, rushing, ascending, flashing, throbbing.
+
+  Roughening their crests and scattering high their spray,
+  And swelling the white sail.
+
+  Blazing with light and breathing with perfume.
+
+   . . . . a revolting shape
+  Shivering and chattering sat the wretched ape.
+  Lakelets' lisping wavelets lapping,
+  Round a flock of wild ducks napping,
+  And the rapturous-noted wooings,
+  And the molten-throated cooings
+  Of the amorous multitudes
+  Flashing through the dusky woods,
+  When a veering wind hath blown
+  A glare of sudden daylight down.
+
+  5. Sound final _d_ in "and":
+
+  Rest and a guide, and food and fire.
+
+  Away from the world, and its toils and its cares.
+
+  And the sun went down and the stars came out.
+
+  Peace, and order, and beauty draw
+  Round thy symbol of light and law.
+
+  East and west, and south and north
+    The messengers ride fast,
+  And tower, and town, and cottage,
+    Have heard the trumpet's blast.
+
+  Blood and fire on the streaming decks,
+    And fire and blood below;
+  The heat of hell, and the reek of hell,
+    And the dead men laid a-row!
+
+
+6. Articulate distinctly words in which the same or similar sounds
+immediately succeed each other:
+
+  Spanish ships of war at sea.
+
+  At Flores, in the Azores, Sir Richard Grenville lay.
+
+        Come Roderick Dhu,
+  And of his clan the boldest two.
+
+  Saint Fanny, my patroness sweet I declare.
+
+  Cast off earth's sorrows and know what I know,
+
+  When into the glad deep woods I go.
+
+  The silver vessels sparkle clean.
+
+  From the sails the dew did drip.
+
+  The sweetest songs are those that tell of saddest thought.
+
+  Thousands of their seamen looked down from their decks and laughed.
+
+
+7. Sound the letter _h_ in what, while, where, when, which, whether,
+white, whiten, whine, whist, etc.
+
+
+8. Avoid the sound of _u_ in:
+
+  for, from, was, because, when, what, etc.
+
+  for coalescent _e_ in:
+  her, earn, verse, mercy, verge, serge, prefer, ermine, etc.
+
+  for _[)e]_ in:
+  enemy, events, poem, etc.
+
+  for _[)i]_ in:
+  spirit, family, credible, visible, charity, unity, sanity,
+  humanity, ruin, promise, divide, divisible, dissolve, languid,
+  negative, similar, abominable, imitate, inimitable,
+  purity, native, etc.
+
+  for _i_ (coalescent) in:
+  sir, bird, girl, first, virgin, etc.
+
+  Vanity of vanities, saith the preacher; all is vanity.
+
+  Ruin seize thee, ruthless King!
+
+  A wind from the lands they had ruin'd.
+
+  Who was her father?
+  Who was her mother?
+  Had she a sister?
+  Had she a brother?
+  Or was there a dearer one
+  Still, and a nearer one
+  Yet, than all other?
+
+  Alas! for the rarity
+  Of Christian charity
+  Under the sun!
+  Oh! it was pitiful!
+  Near a whole city full
+  Home she had none.
+
+9. Avoid the sound of _ch_ for _t_ in: fortune, fortunate, future,
+futurity, nature, natural, picture, feature, etc.
+
+  King Robert's self in features, form and height.
+
+  For this man so vile and bent of stature
+  Rasped harshly against his dainty nature.
+
+  One more unfortunate
+  Weary of breath,
+  Rashly importunate
+  Gone to her death.
+
+
+
+
+B
+
+PHYSICAL EXERCISES
+
+
+(_These exercises form a course by themselves and should not be
+introduced into the regular reading lesson._)
+
+
+BREATHING.--The proper management of the breath is of the
+greatest importance in speaking and reading. Inhalation and exhalation
+should be gradual and natural, not spasmodic. The
+reader should never allow his supply of breath to be wholly exhausted,
+but should replenish it at regular intervals. Inhalation
+should be through the nostrils, not the mouth. This prevents
+gasping, and promotes and preserves a healthy condition of the
+vocal organs. It is not necessary to keep the mouth closed in
+order that the breath be inhaled through the nostrils. Inhalation
+may be effected when the mouth is open by allowing the tip of
+the tongue to touch the upper palate. All breathing exercises
+should be deep, commencing with the abdomen, and should expand
+the chest to the fullest capacity.
+
+
+_Exercise I._ Stand erect in a well ventilated room. Inhale
+slowly from the abdomen while counting five, hold the breath
+while counting five, and exhale while counting five.
+
+Repeat this exercise, gradually increasing the count by one
+until the maximum of ten or fifteen is reached.
+
+
+_Exercise II._ Practise the preceding exercise in the open air
+while walking, taking five steps while inhaling, holding the breath,
+and exhaling respectively. The count may be increased as in the
+preceding.
+
+
+_Exercise III._ Stand erect, arms akimbo, fingers pressing the
+abdominal muscles in front, thumbs on the dorsal muscles on each
+side of the spine. Rise slowly on the toes while inhaling, hold the
+breath while standing on tiptoe, and exhale while gradually resuming
+the original position. In each case regulate the count as
+in the preceding exercises.
+
+
+_Exercise IV._ Stand erect, arms hanging loosely at the sides.
+Inhale slowly, rising on the toes, clenching the fists with gradually
+increased intensity, and raising them to the arm-pits. Expel
+the breath suddenly, dropping back to the original position.
+
+
+CHEST AND LUNGS.--Gymnastic exercises, such as develop the
+chest and lungs, are of great importance, since they regulate the
+breathing capacity.
+
+_Exercise I._ Stand erect, arms hanging loosely at the sides.
+Raise the arms slowly to the vertical position over the head, making
+the hands meet with palms outward, the thumb of the left
+hand over the right, rising on the toes at the same time; then let
+the arms fall apart slowly to their original position, while coming
+down on the heels.
+
+_Exercise II._ Stand erect as in the preceding. Bring the
+arms slowly forward until the hands meet on a level with the
+mouth, bending forward slightly and rising on the toes; then
+throw back the arms in a circular movement, allowing them to
+fall to their original position, coming down on the heels at the
+same time.
+
+_Exercise III._ Raise the hands above the head; bring down
+the elbows to the sides; shoot out the hands in front; bring in
+the elbows to the sides; shoot down the hands toward the floor;
+firing up the elbows to the sides. Repeat. This exercise may
+be practised with hands clenched.
+
+THROAT AND NECK.--Exercises of the throat and neck develop
+and keep flexible the vocal cords, which are of prime importance
+in producing pure tones.
+
+_Exercise I._ Stand erect. Look at the ceiling; allow the head
+to drop backward as far as possible; then bring the head slowly
+forward until the chin rests on the chest. Repeat.
+
+_Exercise II._ Stand erect. Twist the head slowly to the
+left, without moving the shoulders, until the chin is parallel to the
+left shoulder; then slowly twist the head to the right, without
+moving the shoulders, until the chin is parallel to the right
+shoulder. Repeat.
+
+_Exercise III._ Press the head to the left until the left ear
+rests almost on the left shoulder, raising the right arm above the
+head at the same time. Practise this exercise, pressing the head
+to the right and raising the left arm. Repeat.
+
+MOUTH.--To produce the finest tones of the voice, three conditions
+of the mouth are necessary:
+
+(1) The mouth must be well opened.
+(2) The vocal aperture must be large.
+(3) The jaws must be flexible.
+
+If the mouth is well opened the tones are full; if partially
+closed they are muffled. The vocal aperture is the opening in the
+rear of the mouth produced by the elevation of the uvula, and
+the depression of the root of the tongue and the larynx. The
+purity and richness of the voice depend, to a great extent, upon
+the capacity of the vocal aperture. If it is of small capacity, or
+contracted, the tones are impure and nasal.
+
+The mode of producing pure tones can be studied best before
+a mirror placed so that the light falls upon the back part of the
+mouth.
+
+_Exercise I._ Open the mouth to the fullest extent and close
+rapidly. Repeat.
+
+_Exercise II._ Open the mouth to the fullest extent, so that
+the uvula rises and almost disappears, and the root of the tongue
+and larynx are depressed. The action is similar to yawning, and
+to accomplish it "think a yawn", if necessary.
+
+
+
+
+C
+
+LIST OF REFERENCE BOOKS.
+
+
+How to Teach Reading in the Public Schools. S. H. Clark.
+(Scott, Foresman & Co.)
+
+The Voice and Spiritual Education. Hiram Corson. (Macmillan
+& Co.)
+
+The Aims of Literary Study. Hiram Corson. (Macmillan
+& Co.)
+
+Practical Elocution. Fulton and Trueblood. (Ginn & Co.)
+
+Elementary Phonetics. A.W. Burt. (The Copp, Clark
+Co., Limited.)
+
+Enunciation and Articulation. Ella M. Boyce. (Ginn & Co.)
+
+Clear Speaking and Good Reading. Arthur Burrell. (Longmans,
+Green & Co.)
+
+Reading as a Fine Art. Ernest Legouvé. (Penn Publishing
+Co., Philadelphia.)
+
+Lessons in Vocal Expression. S. S. Curry. (The Expression
+Co., Boston.)
+
+
+
+
+
+End of Project Gutenberg's The Ontario High School Reader, by A.E. Marty
+
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