,,the ,,ontario ,,high ,,school ,,reader ,,by ,a4 ,e4 ,,marty1 ,m4,a4 ,,collegiate ,,institute1 ,,ottawa ,illustration ,authorized by the ,minister of ,education for ,ontario ,for ,use ,in ,continuation and ,high ,schools and ,collegiate ,institutes ,,the ,,canada ,,publishing ,,company1 ,,limited ,,toronto ,copyright1 ,canada1 #aiaa1 by ,the ,canada ,publishing ,company1 ,limited4 ---------------------------------------- --------- ,transcriber's note3 ,words with bold font style are enclosed in equal to 77 signs4 ,,utf-#h characters3 x x with a tilde x3 x with two dots below 7diaresis1 umlaut7 7x x with x with breve 7u-shaped symbol7 x x with macron 7straight line7 4x x with a dot above x4 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 classes1 the author has made a number of important additions and changes4 ,in its amended form the book is published under the title of the ,ontario ,high ,school ,reader4 ,as the book is intended for the teaching of oral reading it contains an introductory chapter on the ,principles of ,reading1 and selections for practice1 with appended notes4 ,an effort has also been made to grade the selections in the order of their difficulty4 ,accordingly1 a number of selections1 each illustrating in a marked degree only one1 or at most two1 of the various elements of ,vocal ,expression1 have been placed at the beginning2 these should1 of course1 be taught before the more complex selections are attempted4 ,it is not intended that the pupil shall master the chapter on the principles before beginning to read the selections2 he should become familiar with each topic as it is illustrated in the lesson4 ,in dealing with each lesson the teacher should first ascertain the elements of vocal expression that it best exemplifies4 ,he should then discuss these elements with the pupils1 using the necessary paragraphs of the ,introduction1 and such black-board exercises as he may deem necessary1 until he is satisfied that the pupils are ready to undertake the study of the selection4 ,at the oral reading the pupils should be able to show their mastery of the principles thus taught4 ,toward the close of the course1 they will naturally read connectedly the various sections of the ,introduction1 in order to obtain a comprehensive and systematic view of the principles4 ,to secure good reading1 systematic drill on the exercises in ,vowel ,sounds and in ,articulation is also necessary4 ,,table ,,of ,,contents ,,principles ,,of ,,reading #a-ce ,importance of ,oral ,reading #a ,mechanical ,side of ,oral ,reading #b ,correct ,pronunciation1 ,distinct ,articulation4 ,expression #c ,concrete ,thinking1 ,abstract ,thinking1 ,emotion4 ,elements of ,vocal ,expression #g ,pause1 ,grouping1 ,time1 ,inflection1 ,pitch1 ,force1 ,stress1 ,emphasis1 ,shading1 ,perspective1 ,quality4 ,,selections #cf-cje ,the ,banner of ,st4 ,george ,shapcott ,wensley #cf ,jean ,valjean and the ,bishop ,victor ,hugo #ch ,the ,well of ,st4 ,keyne ,robert ,southey #dc ,faith1 ,hope and ,charity ,bible #df ,the ,legend ,beautiful ,henry ,w4 ,longfellow #dg ,the ,vicar's ,family ,use ,art ,oliver ,goldsmith #eb ,the ,soldier's ,dream ,thomas ,campbell #eh ,van ,elsen ,frederick ,george ,scott #fj ,pibroch of ,donuil ,dhu ,sir ,walter ,scott #fa ,the ,day is ,done ,henry ,w4 ,longfellow #fc ,the ,schoolmaster and the ,boys ,charles ,dickens #fe ,the ,knights' ,chorus ,alfred1 ,lord ,tennyson #gj ,the ,northern ,star ,unknown #ga ,the ,indigo ,bird ,ethelwyn ,wetherald #gb ,the ,pasture ,field ,ethelwyn ,wetherald #gc ,shipwrecked ,robert ,louis ,stevenson #ge ,on ,his ,blindness ,john ,milton #hj ,briggs in ,luck ,william ,m4 ,thackeray #ha ,the ,laughing ,sally ,charles ,g4 ,d4 ,roberts #hd ,the ,prodigal ,son ,bible #hh ,christmas at ,sea ,robert ,louis ,stevenson #ij ,the ,evening ,wind ,william ,cullen ,bryant #ic ,paradise and the ,peri ,thomas ,moore #ie ,the ,lady of ,shalott ,alfred1 ,lord ,tennyson #ajj ,home they brought her ,warrior dead ,alfred1 ,lord ,tennyson #ajg ,the ,sky ,john ,ruskin #ajh ,the ,return of the ,swallows ,edmund ,w4 ,gosse #aaa ,barbara ,frietchie ,john ,greenleaf ,whittier #aac ,bless the ,lord1 ,o ,my ,soul ,bible #aaf ,the ,eternal ,goodness ,john ,greenleaf ,whittier #aah ,the ,king of ,glory ,bible #aai ,the ,four-,horse ,race ,ralph ,connor #aba ,mrs4 ,malaprop's ,views ,richard ,b4 ,sheridan #abf ,the ,glove and the ,lions ,leigh ,hunt #aca ,the ,fickleness of a ,roman ,mob ,william ,shakespeare #acc ,sir ,peter and ,lady ,teazle ,richard ,b4 ,sheridan #acf ,the ,parting of ,marmion and ,douglas ,sir ,walter ,scott #adj ,columbus ,joaquin ,miller #adc ,from the ,apology of ,socrates ,benjamin ,jowett #ade ,highland ,hospitality ,sir ,walter ,scott #aea ,the ,outlaw ,sir ,walter ,scott #aed ,of ,studies ,francis1 ,lord ,bacon #aeg ,the ,influence of ,athens ,thomas ,babington1 ,lord ,macaulay #aei ,national ,morality ,john ,bright #afa ,hamlet's ,advice to the ,players ,william ,shakespeare #afd ,rosabelle ,sir ,walter ,scott #aff ,the ,island of the ,scots ,william ,e4 ,aytoun #afh ,cranford ,society ,mrs4 ,gaskell #agh ,sir ,galahad ,alfred1 ,lord ,tennyson #ahb ,song for ,saint ,cecilia's ,day ,john ,dryden #ahf ,the ,day was ,lingering ,charles ,heavysege #ahi ,on ,first ,looking into ,chapman's ,homer ,john ,keats #ahi ,great ,things ,were ,ne'er ,begotten in an ,hour ,sir ,daniel ,wilson #aij ,a ,wood ,lyric ,william ,wilfred ,campbell #aia ,to ,night ,percy ,bysshe ,shelley #aic ,the ,opening ,scene at the ,trial ,thomas ,babington1 ,lord of ,warren ,hastings ,macaulay #aid ,peroration of ,opening ,speech against ,edmund ,burke ,warren ,hastings #bja ,the ,song ,my ,paddle ,sings ,e4 ,pauline ,johnson #bjc ,the ,defence of the ,bridge ,thomas ,babington1 ,lord ,macaulay #bjf ,on the ,death of ,king ,edward ,,vii ,sir ,herbert ,henry ,asquith #bag ,the ,heroes of ,magersfontein ,the ,london ,daily ,news #bba ,funeral of ,julius ,caesar ,william ,shakespeare #bbe ,the ,revenge ,alfred1 ,lord ,tennyson #bcd ,herve ,riel ,robert ,browning #bda ,the ,handwriting on the ,wall ,bible #bdh ,paul's ,defence before ,king ,agrippa ,bible #bea ,the ,stranded ,ship ,charles ,g4 ,d4 ,roberts #bed ,sir ,patrick ,spens ,old ,ballad #beh ,king ,john and the ,abbot of ,canterbury ,old ,ballad #bfb ,the ,key to ,human ,happiness ,george ,eliot #bff ,the ,vision of ,sir ,launfal ,james ,russell ,lowell #bga ,on the ,death of ,gladstone ,sir ,wilfrid ,laurier #bgh ,the ,downfall of ,wolsey ,william ,shakespeare #bhf ,the ,italian in ,england ,robert ,browning #bij ,advantages of ,imperial ,federation ,george ,monro ,grant #bif ,collect for ,dominion ,day ,charles ,g4 ,d4 ,roberts #cje 99 99 99 99 99 ,,appendix ,a4 ,exercises in ,vocalization and ,articulation #cjf ,b4 ,physical ,exercises #cab ,c4 ,list of ,reference ,books #cad 99 99 99 99 99 ,,principles ,,of ,,reading ,importance of ,oral ,reading ,there are several reasons why every boy or girl should strive to become a good reader4 ,in the first place1 good oral reading is an accomplishment in itself4 ,it affords a great deal of pleasure to others as well as to ourselves4 ,in the second place1 it improves our everyday speech and is also a preparation for public speaking2 for the one who reads with distinctness and an accent of refinement is likely to speak in the same way1 whether in private conversation or on the public platform4 ,moreover1 it is only one step from reading aloud before the class to recitation1 and another step from recitation to public speaking4 ,lastly1 oral reading is the best method of bringing out and conveying to others and to oneself all that a piece of literature expresses4 ,for example1 the voice is needed to bring out the musical effects of poetry4 ,the following lines will illustrate this point3 ,but the sea-caves rung1 and the wild winds sung ,the dirge of lovely ,rosabelle4 ,here the music of the rhythm and the harmony between sound and sense would be almost entirely lost in silent reading4 ,the voice1 too1 is often the surest and most effective means of conveying differences of meaning and feeling in both prose and poetry4 ,the following words from ,herve ,riel 7pp4 #bda-bdg7 may be made to convey different meanings according to the intonation of the voice3 ,burn the fleet and ruin ,france8 ,this may be read to express hesitation and deliberation1 or1 as is the evident intention1 shewn by the context as well as by the punctuation1 to express ,herve ,riel's surprise and indignation that such a thought should be entertained4 ,mechanical ,side of ,oral ,reading ,now in what does oral reading consist8 ,it consists1 first of all1 in recognizing the words1 pronouncing them correctly1 and articulating them distinctly4 ,the pupil in the ,first ,book1 who is learning to read1 is trying to master this side of reading1 which is the mechanical side4 ,he cannot be too careful as to the habits of speech he forms2 for correct position of the organs of speech and proper control of the breath make for correct pronunciation and distinct articulation1 which are two of the foundation stones of good reading4 ,by ,correct ,pronunciation1 we mean the pronunciation approved by a standard dictionary4 ,elegance and refinement of speech depend largely on the correct pronunciation of the vowel sounds4 ,the vowel a1 which is sounded in seven different ways in the ,english language1 presents the greatest difficulty4 ,many people recognize at most1 only the sound of a in at1 ate1 all1 far1 and mortal respectively4 ,they ignore the sound as in air1 and the shorter quantity of the ,italian a in ask1 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 latter4 ,another difficulty is that of distinguishing the sound of oo in roof1 food1 etc41 from the sound of oo in book and good1 and from the sound of u in such words as pure and duke4 ,pronunciation1 when perfectly pure1 should be free from what we call provincialisms2 that is1 from any peculiarity of tone1 accent1 or vowel sound1 which would mark the speaker as coming from any particular locality4 ,if our pronunciation is perfectly pure1 it does not indicate1 in the slightest degree1 the part of the country in which we have lived4 ,distinct articulation requires that each syllable should receive its full value1 and that the end of a word should be enunciated as distinctly as the beginning4 ,it depends largely on the way in which we utter the consonants1 just as correct pronunciation depends on the enunciation of the vowels4 ,final consonants are easily slurred1 especially in the case of words ending in two or more consonants1 which present special difficulties of articulation4 ,such words are mends1 seethes1 thirsteth1 breathed1 etc4 ,sometimes1 too1 the careless reader fails to articulate two consonants separately when the first word ends with the consonant or consonant sound with which the second begins2 for example1 ,sir ,richard ,grenville lay1 ,spanish ships2 or when the first word ends with a consonant and the second begins with a vowel1 as in eats apples1 not at all1 an ox1 etc4 ,on the other hand1 too evident an effort to secure the proper enunciation of the sound elements should be avoided1 since a stilted mode of utterance is thus produced4 ,exercises for drill in the vowel sounds and in articulation are provided in ,appendix ,a4 ,expression ,oral reading1 however1 even in its earliest stages1 consists in more than recognizing words1 pronouncing them correctly1 and articulating them distinctly4 ,it includes thinking thoughts1 seeing mental pictures1 7which is only another form of thinking7 and feeling varied emotions--all while the mechanical act of reading is going on4 ,to illustrate1 let us take a line from ,the ,island of the ,scots3 ,high flew the spray above their heads1 yet onward still they bore4 ,if we wish to read this line well1 what must we do besides pronouncing the words correctly and articulating them distinctly8 ,we must think about the meaning of what we read4 ,this includes two kinds of thinking4 ,in the example we first think the picture presented by the words2 that is1 we make a mental image of the little band of ,scots1 hand in hand1 trying to ford the swiftly flowing waters of the swollen river4 ,this is called concrete thinking4 ,at the same time we form some judgment based on the picture4 ,we think of the great determination and courage these men showed in struggling forward in spite of the danger4 ,this is called abstract thinking4 ,but1 as we have said1 a reader does more than think in these two ways--he feels2 and feeling1 or emotion1 comes of itself1 if the reader thinks in the two ways described1 for emotion is the result of thinking4 ,especially is it the result of concrete thinking2 for what we see1 even if only with the mind's eye1 stirs our emotions more than that of which we think in the abstract4 ,while reading the line just quoted1 there are three emotions which spring from the thinking4 ,as we see these men struggling against the strong current we have an emotion of fear for them2 then as we think of their determination and courage in the face of such great danger1 an emotion of determination comes to us1 for we identify ourselves with their fortunes2 and lastly we are filled with admiration for their heroism4 ,thus we experience the three emotions of fear1 determination1 and admiration1 while performing the mechanical act of reading the words4 ,these emotions1 together with the two kinds of thinking mentioned1 affect the voice and the manner of reading1 and determine what we call expression4 ,if the words were simply repeated mechanically there would be no expression4 ,since expression involves the employment of so many different powers at one time1 a mastery of the art of expression is much harder to acquire1 than a mastery of merely the mechanical side of reading4 ,accordingly1 good vocal expression springs primarily from something within ourselves--that is1 from our mental and emotional state4 ,it cannot be acquired by mechanical imitation1 whether of the reading of another1 or of the movements1 sounds1 and gestures indicated in the subject matter of what we read4 ,nevertheless it is very stimulating to hear a selection well read1 not because a model is thus supplied for our imitation1 but because we get a grasp of the selection as a whole1 and because the voice1 which possesses great power in stirring the imagination and the feelings1 thus prepares within us the mental and emotional state necessary for the correct expression4 ,in the same way1 imitation of the movements1 sounds1 and gestures1 suggested by the subject matter may be a stimulus to thought and feeling when preparing a selection1 since what we have actually reproduced is more real to us than what we have only imagined4 ,after such preparation1 imitation1 if it enters into the reading at all1 will be spontaneous1 and not intentional and forced4 ,in reading ,the ,charge of the ,light ,brigade or ,the ,ride from ,ghent to ,aix1 we do not designedly hurry along to imitate rapidity of movement2 but1 rather1 the imagination having been kindled by the picture1 our pulse is quickened1 and the voice moves rapidly in sympathy with the feelings aroused4 ,in the following extract 7p4 #baf7 the atmosphere is one of joy4 ,the reader is moved through sympathy with ,horatius1 and his voice indicates the joy of the ,romans1 but he does not attempt to imitate vocally1 or by gesture1 the shouts1 clapping1 and weeping3 ,now round him throng the ,fathers ,to press his gory hands2 ,and now1 with shouts and clapping1 ,and noise of weeping loud1 ,he enters through the ,river-,gate1 ,borne by the joyous crowd4 ,sometimes1 as already stated1 we imitate spontaneously3 ,back darted ,spurius ,lartius2 ,herminius darted back3 ,and1 as they passed1 beneath their feet ,they felt the timbers crack4 ,here we imitate spontaneously the movement expressive of sudden fear4 ,our action is prompted by our own fears for their safety4 ,sometimes the feeling is still more complex4 ,in reading the following we spontaneously reproduce ,sextus' alternate hate and fear which1 moreover1 we tinge with our own contempt3 ,thrice looked he at the city2 ,thrice looked he at the dead2 ,and thrice came on in fury1 ,and thrice turned back in dread3 ,and1 white with fear and hatred1 ,scowled at the narrow way ,where1 wallowing in a pool of blood1 ,the bravest ,tuscans lay4 ,in reading the little poem from ,the ,princess1 7page #ajg7 note how we are influenced by the tense emotion of the attendants who speak4 ,we do not try to imitate them2 but having made the scene stand out before us1 we speak as we in imagination hear them1 in an aspirated tone of voice3 ,she must weep or she will die4 ,in the last line it would savour of melodrama to try to impersonate the lady as she says3 ,sweet my child1 ,i live for thee4 ,the important point is to show intelligent sympathy with her speech1 not to imitate her manner of uttering it4 ,on the other hand we must not make the mistake of supposing that if we get the thought and the emotion1 the true vocal expression will follow4 ,one who has a fine appreciation of a piece of literature may1 notwithstanding1 read it very indifferently4 ,even in conversation where we are interpreting vocally our own thoughts and feelings1 we sometimes misplace emphasis or employ the wrong inflection4 ,how much more likely we are to fall into such errors when we attempt to interpret vocally from a book the thoughts of another4 ,elements ,of ,vocal ,expression ,in order to criticise ourselves or understand intelligent criticism1 we must have a knowledge of the laws that govern speech--that is1 we must know what properties of tone or what acts of the voice correspond to certain mental and emotional states4 ,for example1 the amount and character of thinking done while we read determines the rate of utterance2 the purpose or motive of the thought and its completeness or incompleteness are indicated by an upward or downward slide of the voice2 the nervous tension expresses itself in a certain key2 the physical and mental energy1 in a certain power or volume of the voice2 and the character of the emotion is reflected in the quality4 ,these principles of vocal expression are known technically as the elements of time1 inflection1 pitch1 force1 and quality4 ,closely connected with these elements are pause1 grouping1 stress1 emphasis1 shading1 and perspective4 ,pause4 ,it must be quite clear that when we are reading silently1 for the purpose of getting the thought for ourselves1 our minds are at work as has been described4 ,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 others4 ,as an illustration we shall take an example from ,the ,glove and the ,lions3 ,the nobles fill'd the benches round1 the ladies by their side1 ,and 'mongst them ,count de ,lorge1 with one he hoped to make his bride4 ,in these lines there are certain words or phrases which stand out prominently1 since they call up mental pictures1 namely3 nobles1 benches round1 ,count de ,lorge1 and one4 ,in order to give time to make these mental pictures1 we naturally pause after each one4 ,at the end of the first line we combine the details1 making a larger mental image1 with the result that we make a long pause after side4 ,in reading the second line1 the eye and the mind run ahead of the voice1 and the reader1 wishing to impress the listener with the new and important idea ,count de ,lorge1 pauses before it as well as after it4 ,in the same way he pauses before the phrase1 he hoped to make his bride1 to prepare the mind of the listener to receive the impression4 ,thus we see that1 if the mind is working1 a pause occurs after a word while we are making a mental image or trying to realize the idea more fully1 and also often before we express an important idea1 in order to prepare the mind of the listener for what is to come4 ,a very useful exercise in the study of pause is to image the pictures in selections such as the following3 ,come from deep glen 7picture7 and ,from mountain so rocky2 7picture7 ,the war pipe and pennon 7picture7 ,are at ,inverlocky4 ,come every hill-plaid1 and ,true heart that wears one2 7picture7 ,come every steel blade1 7picture7 and ,strong hand that bears one4 7picture7 ,leave untended the herd1 7picture7 ,the flock without shelter2 7picture7 ,leave the corpse uninterred1 7picture7 ,the bride at the altar2 7picture7 ,leave the deer1 7picture7 leave the steer1 7picture7 ,leave nets and barges3 7picture7 ,come with your fighting gear1 ,broadswords and targes1 7picture7 ,then1 too1 in passing from one idea or thought to another1 the mind requires time to make the transition3 ,stout ,lartius hurled down ,aunus ,into the stream beneath3 ,herminius struck at ,seius1 ,and clove him to the teeth3 ,at ,picus brave ,horatius ,darted one fiery thrust2 ,and the proud ,umbrian's gilded arms ,clashed in the bloody dust4 ,here the mind passes in succession from the action of ,lartius to that of ,herminius and that of ,horatius4 ,a long pause is required after beneath1 teeth1 and dust1 with a shorter pause after ,seius and after thrust4 ,further1 if the thoughts concern actions far apart1 more time is required to make the transition1 and hence a longer pause3 ,all day long that free flag toss'd ,over the heads of the rebel host4 ,ever its torn folds rose and fell ,on the loyal winds that loved it well2 ,and through the hill-gaps1 sunset light ,shone over it with a warm good-night4 ,barbara ,frietchie's work is o'er1 ,and the ,rebel rides on his raids no more4 ,note the transition in thought from the day on which these stirring events are supposed to have taken place to the present time4 ,this is indicated by a long pause after warm good-night4 ,sometimes the mind requires time to fill in ideas suggested but not expressed3 ,forty flags with their crimson bars1 ,flapped in the morning wind3 the sun ,of noon look'd down and saw not one4 ,here1 the tearing down of the flags between the morning and noon1 is suggested to the mind2 hence a long pause after wind4 ,where an ellipsis occurs and the meaning is not obvious1 there is a pause to give time to realize the logical connection3 ,i'd rather rove with ,edmund there ,than reign our ,english queen4 ,here's the ,english can and will6 ,note the pauses after reign1 and ,english 7second example74 ,in such examples as the following where the meaning is obvious1 the pauses after them1 one1 weary1 and wounded1 make prominent the important idea following3 ,and 'mongst them ,count de ,lorge1 with one he hoped to make his bride4 ,the weary to sleep and the wounded to die4 ,when preparing to read a selection1 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 one4 ,the poem ,barbara ,frietchie 7p4 #aac7 could be divided into paragraphs with some such titles as the following3 7#a7 the town of ,frederick and its surroundings1 7#b7 the approach of the army1 7#c7 the tearing down of the flags1 7#d7 the raising of ,barbara ,frietchie's flag1 7#e7 ,stonewall ,jackson and his men1 and so on4 ,each of the paragraphs is a complete section of the poem1 and requires a well-marked pause before passing on to the next one4 ,grouping4 ,in the extract from ,the ,glove and the ,lions1 used above to illustrate pause1 the mental pictures and important ideas are suggested in nearly every ease by a single word4 ,ideas are1 however1 suggested as often by groups of words as by single words4 ,these groups are treated as single words1 and may take pauses before or after them as the case may be4 ,the reader1 who is thinking as he reads1 will group together words that express one idea1 or symbolize one picture1 presenting these ideas and pictures to himself and to the listener one by one1 and separating by a pause1 of greater or less length1 those not closely connected4 ,a slouched leather cap half hid his face bronzed by the sun and wind and dripping with sweat4 ,he wore a cravat twisted like a rope coarse blue trousers worn and shabby white on one knee and with holes in the other2 an old ragged gray blouse patched on one side with a piece of green cloth sewed with twine2 upon his back was a well-filled knapsack1 in his hand he carried an enormous knotted stick2 his stockingless feet were in hobnailed shoes2 his hair was cropped and his beard long4 ,here the double vertical lines mark off groups of words which express one idea or symbolize one picture1 and which are therefore each separated from the other by a well-marked pause4 ,the single vertical lines indicate a shorter pause between the subdivisions of each group4 ,the phrase an old ragged gray blouse patched on one side with a piece of green cloth sewed with twine presents one picture by itself1 and is separated from the context by a long pause1 but each detail in this picture is presented in turn to the mind's eye1 hence the shorter pauses after blouse1 cloth1 and twine4 ,the reader should be careful not to allow pause and grouping to produce a jerky effect1 thus interfering with the rhythm4 ,this applies especially to poetry1 which demands1 in order to preserve the rhythm1 that the caesural pause should not be slighted1 and that there should be a more or less marked pause at the end of each line3 ,and they had trod the ,pass once more1 and stoop'd on either side ,to pluck the heather from the spot where he had dropped and died4 ,in the second line1 the caesural pause occurs after spot1 but the phrase from the spot where he had dropped and died expresses one idea and must be given as a whole4 ,the rhythm and the grouping appear to be at variance2 but the difficulty is easily overcome by making the caesural pause shorter than the pause after heather which introduces the group1 and at the same time1 by not allowing the voice to fall on the word spot4 ,the following affords another instance where the grouping appears to interfere with the rhythm3 ,if the husband of this gifted well ,shall drink before his wife1 ,a happy man thenceforth is he1 ,for he shall be master for life4 ,of this gifted well is evidently not connected in thought with husband4 ,it must be separated from husband by a pause and attached to shall drink at the beginning of the next line4 ,to do this1 it is not1 however1 necessary to omit the pause at the end of the line2 for this would mar the effect of the rhythm4 ,the difficulty is again overcome by making the pause at the end of the line shorter than the pauses which mark the grouping1 and by not allowing the voice to fall on well4 ,time is the rate at which we read4 ,it is fast or slow according to the number and the length of the pauses between words and phrases1 and also according to the length of time the reader dwells on the words themselves4 ,there is perhaps no more frequent criticism made on reading than that it is too fast4 ,what does this mean8 ,it means that the reader is not doing enough thinking as he repeats the words4 ,consequently1 he does not dwell on words that are full of meaning1 nor pause before and after words and phrases to make the mental picture and to grasp the thought more fully4 ,moreover1 for the benefit of the listener1 the reading should be slower than is required by the reader for himself4 ,the reader1 with his eye on the page1 can allow his eye and mind to run ahead of his voice1 and can thus realize the thought in less time than the listener4 ,the following line calls for a comparatively small amount of thinking3 ,high flew the spray above their heads1 yet onward still they bore4 ,here1 there is little except what is on the surface1 and the thoughts suggested by the words are of the kind to make the mind think rapidly4 ,hence the line is read in faster time than the average rate4 ,reading may1 accordingly1 be fast from one or both of two causes4 ,first1 when there is no background of thought for the mind to dwell upon1 and second when the nature of the thoughts themselves1 such as the narration of the rapid succession of events1 impels to quick mental action4 ,the following lines from ,pibroch of ,donuil ,dhu 7p4 #fa7 will serve as an illustration3 ,faster come1 faster come1 ,faster and faster1 ,chief1 vassal1 page and groom1 ,tenant and master4 ,fast they come1 fast they come2 ,see how they gather6 etc4 ,so1 too1 reading may be slow from the exact opposite of these two reasons4 ,first1 when there is a great back-ground of thought suggested by the words1 and second1 when the reflective and meditative nature of the thought leads to slow action on the part of the mind4 ,in some selections both of these conditions are present2 in others only one of them4 ,in ,the ,day is ,done 7p4 #fc7 there is little thought below the surface2 but the reading is slow because the quiet1 meditative nature of the thought tends to slow mental action3 ,and the night shall be filled with music1 ,and the cares that infest the day1 ,shall fold their tents1 like the ,arabs1 ,and as silently steal away4 ,both conditions1 however1 exist in the lines from ,barbara ,frietchie which describe the effect produced on ,stonewall ,jackson by ,barbara ,frietchie's heroic action and daring speech3 ,a shade of sadness1 a blush of shame1 ,over the face of the leader came4 ,a great many thoughts are suggested by these two lines4 ,the heart of the gallant ,southerner is touched at the sight of this weak1 decrepit old woman with the courage and boldness of youth1 ready to die for her principles4 ,his stern features relax and a look of sadness passes over his face4 ,the taunting words spare your country's flag have struck home4 ,the tragic side of civil war is forced upon him--father fighting against son1 and brother against brother1 the sons of freedom firing at their own star-spangled banner4 ,the sorrow and the shame of it all rise before him1 and the crimson flush mounts to his brow4 ,with this undercurrent of thought in the mind1 it is impossible to read rapidly4 ,besides1 the reflective nature of the thoughts themselves tends to make one repeat the words slowly4 ,sometimes1 again1 reading is faster than the moderate rate because of the unimportance of the events or facts3 ,he spoke of the grass1 the flowers and the trees1 ,of the singing birds and the humming bees2 ,then talked of the haying1 and wondered whether ,the cloud in the west would bring foul weather4 ,note the lightness with which the unimportant details of conversation are skimmed over4 ,inflection4 ,if we listen to the speech of the people around us1 we can easily detect an upward slide of the voice on some words1 a downward slide on others1 and on others again a combination of the two4 ,this slide of the voice on words--generally on the accented syllable of an emphatic word--is called inflection1 and the various inflections are known as rising 7_/71 falling 771 rising circumflex 7_/71 and falling circumflex 7_/74 ,each inflection has a definite and fixed meaning recognized by every one1 and it is because of the laws of inflection that we can tell what meaning a speaker intends to convey when he uses certain words2 for often the same words may carry two or three different meanings according to the inflection4 ,the simple word ,yes1 with an abrupt downward slide1 expresses decided affirmation4 ,when spoken with an upward slide1 it expresses interrogation and is equivalent to ,is that really so8 ,when it has a combination of the downward and upward slide or a rising circumflex inflection1 the meaning is no longer simple but complex4 ,there is an assertion combined with doubt4 ,it is equivalent to saying3 ,i think so but ,i am not really sure4 ,in such a sentence as3 ,do not say 'yes1' where the idea but say 'no1' is merely implied1 but not formally expressed1 the word yes has a combination of the upward and downward slide or a falling circumflex inflection4 ,if we take an idea for its own sake1 if it is independent and complete in itself1 the voice has the downward slide or falling inflection on the words which stand for the central idea3 ,my good blade carves the casques of men1 ,my tough lance thrusteth sure1 ,my strength is as the strength of ten1 ,because my heart is pure4 ,the shattering trumpet shrilleth high1 ,the hard brands shiver on the steel1 ,the splinter'd spear-shafts crack and fly1 ,the horse and rider reel4 ,each statement is complete in itself and has the falling inflection4 ,sometimes there is a slight downward slide before the statement is completed1 because the mind feels that the ideas already expressed are of sufficient force to give them the value of completeness3 ,my strength is as the strength of ten1 ,because my heart is pure4 ,and the sick men down in the hold were most of them stark and cold1 ,and the pikes were all broken or bent1 and the powder was all of it spent2 ,and the masts and the rigging were lying over the side4 ,note the momentary completeness on ten1 cold1 bent1 and spent1 requiring the falling inflection4 ,if on the other hand an idea is incomplete1 either pointing forward to some other idea or being subordinate1 the voice has the upward slide or rising inflection4 ,the rising inflection1 like the falling1 may be long or short1 more or less abrupt1 according to the importance of the thought3 ,she1 with all a monarch's pride1 ,felt them in her bosom glow4 ,she points forward to the predicate felt and because of the importance of the idea it takes a long rising inflection2 with all a monarch's pride being subordinate and incomplete also requires the voice to be kept up1 but takes a shorter rising inflection4 ,it is of the greatest importance to know the exact purpose of the thought1 so that the voice may1 of itself1 give the corresponding inflection3 ,and you may gather garlands there ,would grace a summer queen4 ,the sense is evidently not complete in the first line1 the intention being to emphasize the beauty of the garlands to be gathered1 and not merely to state that they may be gathered there4 ,when the reader understands the exact meaning he will convey it by keeping the rising inflection on garlands4 ,similar to the foregoing is the following3 ,there is not a wife in the west country ,but has heard of the ,well of ,st4 ,keyne4 ,the sense is not complete until we read the second line4 ,the rising inflection on country indicates this and connects the first line with the second1 bringing out the meaning1 that every wife in the west country has heard of the ,well of ,st4 ,keyne4 ,sometimes we have a series of rising inflections1 all pointing forward to the leading statement which is to follow and which is necessary to complete the sense1 for example3 ,of man's first disobedience and the fruit ,of that forbidden tree1 whose mortal taste ,brought death into the world1 and all our woe1 ,with loss of ,eden1 till one greater man ,restore us1 and regain the blissful seat1 ,sing1 heavenly ,muse4 ,incompleteness may be suggested by a negative statement or its equivalent3 ,not from the grand old masters1 ,not from the bards sublime1 ,whose distant footsteps echo ,through the corridors of ,time4 ,i do not know what ,i was playing1 ,or what ,i was dreaming then1 ,but ,i struck one chord of music ,like the sound of a great ,amen4 ,note the rising inflection on these negative clauses4 ,on the same principle the rising inflection is used on the negative statements of persuasive argument as in the ,apology of ,socrates 7p4 #ade74 ,but ,i thought that ,i ought not to do anything common or mean1 in the hour of danger3 nor do ,i now repent of the manner of my defence4 ,for neither in war nor yet at law ought any man to use every way of escaping death4 ,not so2 the deficiency which led to my conviction was not of words--certainly not4 ,doubt and hesitation also imply incompleteness3 ,he surely would do desperate things to show his love of me6 ,king1 ladies1 lovers1 all look on2 the chance is wondrous fine2 ,i'll drop my glove to prove his love2 great glory will be mine6 ,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 love1 and the falling inflection on the last one when she has reached a decision4 ,pleading and entreaty also convey a sense of incompleteness and take the rising inflection3 ,good friends1 sweet friends1 let me not stir you up ,to such a sudden flood of mutiny4 ,good ,sir ,richard1 tell us now1 ,for to fight is but to die6 ,a direct interrogation1 that is1 one that can be answered by ,yes or ,no1 implies incompleteness in the mind of the questioner and requires a decided rising inflection3 ,is your name ,shylock8 ,may you stead me8 ,will you pleasure me8 ,shall ,i know your answer8 ,questions that require an explanatory answer and cannot be answered by ,yes or ,no1 do not convey an idea of incompleteness1 being merely equivalent to the statement of a desire for certain information4 ,consequently they take the falling inflection3 ,flav4 ,speak1 what trade art thou8 #ast ,cit4 ,why1 sir1 a carpenter4 ,mar4 ,where is thy leather apron1 and thy rule8 ,what dost thou with thy best apparel on8-- ,you1 sir1 what trade are you8 ,the purpose or motive of a question must be considered4 ,we must know whether the question is asked for information1 or whether its purpose is to give information2 that is1 whether it is only another way of making an assertion--what is sometimes called a question of appeal4 ,when ,shylock asks ,portia3 ,shall ,i not have barely my principal8 he does so with the direct purpose of learning his sentence4 ,his question can be answered by ,yes or ,no and the rising inflection is used4 ,but when he asks3 ,on what compulsion must ,i8 he means simply to give the information that there is no power on earth to compel him4 ,this is a complete thought1 hence the falling inflection4 ,other examples are3 ,have you e'er heard of gallant like young ,lochinvar8 ,god of battles1 was ever a battle like this in the world before8 ,what conquest brings he home8 ,what tributaries follow him to ,rome1 ,to grace in captive bonds his chariot wheels8 ,the opposite inflections on antithetical words or phrases are also due to this law of completeness and incompleteness4 ,the first part of the antithesis usually has the rising inflection marking incompleteness1 and the second1 the falling1 marking completeness4 ,his blast is heard at merry morn1 ,and mine at dead of night4 ,for this thy brother was dead1 and is alive again2 and was lost1 and is found4 ,similarly1 in a series of words or phrases parallel in construction1 all have the rising inflection but the last3 ,as ,caesar loved me1 ,i weep for him2 as he was fortunate1 ,i rejoice at it2 as he was valiant1 ,i honour him2 but as he was ambitious1 ,i slew him6 ,there is tears for his love2 joy for his fortune2 honour for his valour2 and death for his ambition4 ,crafty men contemn studies2 simple men admire them2 and wise men use them4 ,if one part of the antithesis is a negation1 it takes the rising inflection1 whether it comes first or second4 ,this is owing to the fact that1 as illustrated above1 a negation implies incompleteness4 ,the other part then takes the falling inflection3 ,fall into the hands of ,god1 not into the hands of ,spain4 ,i come to bury ,caesar1 not to praise him4 ,i said an elder soldier1 not a better4 ,often only one part of the antithesis is expressed1 the contrast being implied4 ,in such a case1 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 parts3 ,cassius says3 ,i said an elder soldier1 not a better in reply to ,brutus' speech--,you say you are a better soldier4 ,the antithesis is fully expressed1 and the voice places the falling inflection on elder and the rising inflection on better4 ,if ,cassius had omitted the words not a better1 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 elder1 thus--,i said an elder soldier4 ,in the next line he goes on to say ,did ,i say b7etter8 ,here1 there is an implied contrast with elder1 which is expressed by a combination of the falling and the rising inflection or a rising circumflex4 ,from these two examples1 we can see that the law of completeness and incompleteness holds good with the compound or circumflex inflection1 just as it does with the simple inflection1 and determines whether the circumflex shall be rising or falling4 ,a very common mistake in reading is to use the circumflex inflection in emphasizing a word1 thus making a contrast where none is intended4 ,ramped and roared the lions with a falling circumflex inflection on lions1 instead of a simple falling inflection1 suggests that the tigers or some other animals did not ramp and roar4 ,for similar reasons1 avoid the circumflex when emphasizing hand and feet in put a ring on his hand and shoes on his feet4 ,as has already been stated1 it is necessary to know the motive behind the words4 ,when ,shylock says3 ,o wise and upright judge1 his intention is evidently to bestow sincere praise4 ,the reader1 knowing this1 instinctively gives a straight slide4 ,later1 when ,gratiano says3 ,o upright judge1 ,o learned judge6 his intention is to taunt and hold up to ridicule2 there is a double meaning conveyed1 which finds its natural expression in a curved inflection4 ,compare the curved inflections in the cobbler's speeches in ,act ,i4 ,scene ,i1 of ,julius ,caesar 7p4 #acc7 when he is fencing with ,marullus1 with the straight inflections of his final speech when he has thrown aside his raillery and speaks with sincerity3 ,truly1 sir1 to wear out their shoes1 to get myself in more work4 ,but1 indeed1 sir1 we make holiday to see ,caesar1 and to rejoice in his triumph4 ,one writer has said3 ,where there is simple and genuine thought1 deep and sincere feeling1 wherever the eye is single1 the inflections of the voice are straight2 a crook in the mind however is indicated by a crook in the voice4 ,pitch is the key of the voice4 ,a change of pitch is a leap from one key to another during silence4 ,inflection1 as we have seen1 is a gradual change in the key while the voice is speaking4 ,the pitch or key depends upon the muscular tension of the vocal chords1 which act like the strings of a musical instrument3 the greater the tension1 the higher the key4 ,muscular tension implies nervous tension and this is dependent upon the mental state4 ,if the mind is calm1 the nervous and muscular tension is normal1 and the speaker uses the key habitual to him in his ordinary speech4 ,if the mental state is one of excitement1 the key is higher because of greater nervous and muscular tension4 ,if1 on the other hand1 the mental state is one of depression1 the key is lower because of relaxed muscular tension4 ,in ,the ,defence of the ,bridge 7p4 #bjf7 the ,romans1 seeing the danger of the heroes1 are wrought up to a high state of nervous tension which finds its natural expression in the high-pitched voice3 ,come back1 come back ,horatius6 ,loud cried the ,fathers all4 ,back1 ,lartius6 back ,herminius6 ,back1 ere the ruin fall6 ,contrast with this the lower key of ,horatius1 who is calm and self-controlled3 ,o ,tiber6 ,father ,tiber6 ,to whom the ,romans pray1 ,a ,roman's life1 a ,roman's arms1 ,take thou in charge this day6 ,observe the gradual rise in pitch with the increase of tension or excitement in the following3 ,and now he feels the bottom2 ,now on dry earth he stands2 ,now round him throng the ,fathers ,to press his gory hands2 ,and now1 with shouts and clapping1 ,and noise of weeping loud1 ,he enters through the ,river-,gate1 ,borne by the joyous crowd4 ,in the following lines1 where the ,douglas holds communion with himself1 the tension is low chiefly because of his great mental depression1 and1 consequently1 he speaks in a low key3 ,yes6 all is true my fears could frame2 ,a prisoner lies the noble ,graeme1 ,and fiery ,roderick soon will feel ,the vengeance of the royal steel4 ,i1 only ,i1 can ward their fate1-- ,god grant the ransom come not late4 ,the abbess hath her promise given4 ,my child shall be the bride of ,heaven3-- ,be pardoned one repining tear6 ,for he1 who gave her1 knows how dear1 ,how excellent6 but that is by1 ,and now my business is--to die4 ,the low pitch is also partly due to the fact that the ,douglas is speaking to himself1 and has no desire to communicate his thoughts to another2 for the effort to communicate thought causes increased tension4 ,again1 it requires greater effort to address a person who is at a distance than one close at hand1 or to address a large audience than a small one4 ,observe the comparatively high pitch in which ,antony 7p4 #bbe7 begins his oration3 ,friends1 ,romans1 countrymen1 lend me your ears2 ,i come to bury ,caesar1 not to praise him4 ,if the reader wishes to give prominence to a thought1 the effort put forth causes muscular tension1 resulting in a higher pitch4 ,on the other hand1 a thought1 which the reader regards as not of special importance to the listener1 finds expression in lower pitch1 more as if he were addressing himself3 ,bold words6--but1 though the beast of game ,the privilege of chase may claim1 ,though space and law the stag we lend1 ,ere hound we slip1 or bow we bend1 ,who ever recked1 where1 how1 or when1 ,the prowling fox was trapped or slain8 ,observe the lower pitch of the subordinate clauses in the first four lines1 and the higher pitch in the last two lines which project the leading thought4 ,i think1 boys1 said the schoolmaster1 when the clock struck twelve1 that ,i shall give an extra half-holiday this afternoon4 ,similarly1 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 after4 ,parenthetical expressions1 also for the same reason1 are read in lower pitch4 ,she had not perceived--how could she until she had lived longer8--the inmost truth of the old monk's outpourings1 that renunciation remains sorrow1 though a sorrow borne willingly4 ,he 7,mr4 ,pickwick7 would not deny that he was influenced by human passions1 and human feelings1 7cheers7--possibly by human weaknesses--7loud cries of ,no72 but this he would say1 that if ever the fire of self-importance broke out in his bosom1 the desire to benefit the human race in preference1 effectually quenched it4 ,passages which are collateral or co-ordinate in construction1 and equally balanced1 will find their natural vocal expression in the same pitch and1 of course1 the pitch varies as the attitude of the mind changes3 ,forty flags with their silver stars1 ,forty flags with their crimson bars1 ,flapped in the morning wind3 the sun ,of noon looked down and saw not one4 ,the first two lines have the same pitch1 because there is no difference in intensity of feeling or in the mental conception4 ,there is1 however1 an entire change of thought beginning with the sun4 ,this is accompanied by a change of pitch4 ,force4 ,force is vocal energy2 in other words1 it is the power or volume of the voice1 and is determined by the amount of physical and mental energy exerted by the speaker4 ,the language of everyday conversation1 when not marked by intensity of feeling or purpose1 requires only a moderate amount of physical and mental energy and is expressed by moderate force4 ,intensity of feeling or purpose1 on the other hand1 is accompanied by a great expenditure of energy1 and finds its natural outlet in strong force4 ,in the following lines1 7p4 #acb7 the king's emphatic approval of ,de ,lorge's action and his vehement condemnation of the lady's vanity find expression in strong force3 ,in truth6 cried ,francis1 rightly done6 and he rose from where he sat3 ,no love1 quoth he1 but vanity1 sets love a task like that6 ,compare the moderate amount of energy expended in uttering the narrative clauses cried ,francis1 and he rose from where he sat1 and quoth he1 which should be read with moderate force4 ,more physical energy is expended in making one's self understood at a distance than near at hand1 and in addressing a large audience than a small one2 hence strong force is used in the following where it is accompanied by a loud tone of voice3 ,come back1 come back ,horatius6 ,loud cried the ,fathers all4 ,but strong force does not necessarily imply a loud tone of voice3 ,curse on him6 quoth false ,sextus2 ,will not the villain drown8 ,but for this stay1 ere close of day ,we should have sacked the town6 ,here ,sextus gives vent to his concentrated hate for ,horatius and speaks with strong force1 but not in a loud tone of voice4 ,the effort to influence the mind and action of others draws on a great fund of mental energy2 hence commands1 persuasion1 and argument1 all find their vocal expression in strong force4 ,herve ,riel1 urging the captains to allow him to pilot the ships1 speaks with strong force3 ,sirs1 they know ,i speak the truth6 ,sirs1 believe me there's a way6 ,only let me lead the line1 ,when the mental or physical energy is at a low ebb we speak with weak force3 ,but all that ,i could think of1 in the darkness and the cold1 ,was just that ,i was leaving home1 and my folks were growing old4 ,take me out1 sink me deep in the green profound1 ,to sway with the long-weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 ,for the same reason such poems as ,the ,day is ,done1 7p4 #fc7 and ,part ,,iv1 of ,the ,lady of ,shalott1 7p4 #bjj7 are read with gentle force4 ,a change in force often accompanies a change in pitch4 ,the lower pitch of parenthetical expressions1 and narrative clauses which interrupt direct discourse1 is accompanied by weaker force1 and the higher pitch resulting from the efforts to make one's self heard at a distance is accompanied by stronger force4 ,stress is force applied to the vowel sound4 ,when we are taken by surprise and give expression to it by means of the one word ,oh1 we apply the force or volume of the voice to the beginning of the vowel sound4 ,this is called initial or radical stress 774 ,when we wish to give a very emphatic denial to a statement1 or to insist on a refusal to some persistent request we say ,no1 gradually increasing the force of the voice to the last part of the vowel sound4 ,this is called final or vanishing stress 774 ,again1 if our minds are uplifted with wonder and delight at something we have heard or seen1 we exclaim ,oh applying the force to the middle of the vowel sound4 ,this swell of the vowel sound is called median stress 774 ,it has already been pointed out that force depends upon the amount of energy4 ,the above examples show that stress or the location of force depends upon the kind of mental energy1 or the attitude of mind1 whether it be that of abruptness1 of insistence1 or of uplift4 ,all speech has a slight tendency toward initial stress1 because the effort made by the vocal chords to articulate sound is characterized by abruptness4 ,if1 in addition1 the mental energy of the speaker possesses abruptness through sudden impulse or emotion1 or through unconscious imitation of sound or movement1 the initial stress is very prominent3 ,where is thy leather apron1 and thy rule8 ,what dost thou with thy best apparel on8-- ,you1 sir1 what trade are you8 ,quick1 as it fell1 from the broken staff ,dame ,barbara snatched the silken scarf4 ,she leaned far out on the window-sill1 ,and shook it forth with a royal will4 ,while ,i nodded1 nearly napping1 suddenly there came a tapping1 ,as of some one gently rapping1 rapping at my chamber door4 ,if the speaker desires to impress on others his own feelings or convictions1 the final stress is the result4 ,such insistence is found in the expression of anger1 scorn1 indignation1 and determination3 ,burn the fleet and ruin ,france8 ,that were worse than fifty ,hogues6 ,sirs1 they know ,i speak the truth6 ,sirs1 believe me1 there's a way6 ,in the first two lines ,herve ,riel wishes to make others feel his own indignation at the thought of burning the fleet4 ,in the last two1 he tries to impress them with his conviction that there is a way out of the difficulty4 ,hence the final stress in each case4 ,sometimes the speaker tries to enforce his own opinion by peevishness1 whining1 or complaining1 with the result that he uses the final stress3 ,lady ,teazle4 ,then why will you endeavour to make yourself so disagreeable to me1 and thwart me in every little elegant expense8 ,sir ,peter4 ,madam1 ,i say1 had you any of these little elegant expenses when you married me8 ,lady ,teazle4 ,sir ,peter6 would you have me be out of the fashion8 ,if the mental energy or mental attitude is one of uplift or exaltation1 expressing itself in adoration of the ,deity1 or in admiration and love of the beautiful1 or in sympathy and tenderness toward mankind1 the median stress is used3 ,bless the ,lord1 ,o my soul3 and all that is within me1 bless his holy name4 ,roll on1 thou deep and dark blue ocean--roll6 ,dear lost companions of my tuneful art1 ,dear as the light that visits these sad eyes1 ,dear as the ruddy drops that warm my heart1 ,ye died amidst your dying country's cries4 ,determination and settled conviction in the speaker's mind1 especially when accompanied by a marked degree of dignity1 calmness1 and self-control1 cause equal stress on every part of the vowel sound4 ,this is called thorough stress3 ,if every ducat in six thousand ducats ,were in six parts1 and every part a ducat1 ,i would not draw them2 ,i would have my bond4 ,it is the stress of quiet strength and great reserve force3 ,though the water flashed around them1 ,not an eye was seen to quiver2 ,though the shot flew sharp and deadly1 ,not a man relax'd his hold4 ,in a more marked degree1 it is also the stress used in calling3 ,then rose a warning cry behind1 a joyous shout before3 ,the current's strong1--the way is long1--they'll never reach the shore6 ,see1 see6 they stagger in the midst1 they waver in their line6 ,fire on the madmen6 break their ranks1 and whelm them in the ,rhine6 ,if the speaker's attitude of mind is not straightforward and sincere1 if he speaks with a double meaning1 in irony or sarcasm1 the stress is a combination of the radical and final1 known as compound stress 774 ,this is analogous to the compound inflection4 ,see page #ba4 ,now welcome1 welcome1 ,sextus6 ,now welcome to thy home6 ,why dost thou stay1 and turn away8 ,here lies the road to ,rome4 ,accordingly1 the compound stress is used when the intention is to taunt or to ridicule3 ,sir ,peter4 ,ay--there again--taste6 ,zounds6 ,madam1 you had no taste when you married me6 ,lady ,teazle4 ,that's very true1 indeed1 ,sir ,peter6 and after having married you1 ,i should never pretend to taste again1 ,i allow4 ,emphasis--,the importance of an idea1 whether this idea is expressed by a single word1 or by a phrase or clause1 is indicated by a variation of pitch1 force1 or time4 ,this change in pitch1 force1 or time1 by attracting attention to that idea1 is a means of emphasis4 ,it is the new idea1 or the idea which is important through contrast either expressed or implied1 which will attract the reader's attention and which he will make prominent in this way3 ,brutus4 ,you say you are a better soldier3 ,let it appear so2 make your vaunting true1 ,and it shall please me well3 for mine own part1 ,i shall be glad to learn of noble men4 ,cassius4 ,you wrong me every way2 you wrong me1 ,brutus2 ,i said1 an elder soldier1 not a better3 better soldier1 appear1 and true are central ideas2 they express important ideas not mentioned before4 ,when ,cassius replies he at once throws the idea of soldier in the back-ground and emphasizes better by contrasting it with elder4 ,he also introduces the new idea wrong which he makes still more emphatic by repetition4 ,brutus also introduces the new idea please me well which he makes emphatic by repeating it in the word glad4 ,other examples of words and phrases becoming more emphatic through repetition are3 ,faster come1 faster come2 ,faster and faster1 99 99 99 99 99 ,fast they come1 fast they come2 ,jump--far--out boy into the wave1 ,,jump1 or ,i fire1 he said1 ,this chance alone your life can save3 ,,jump1 ,,jump4 ,in the case of a climax1 the emphasis grows stronger on each member of the series3 ,take the helm1 lead the line1 save the squadron6 cried its chief4 ,it is enthroned in the hearts of ,kings1 ,it is an attribute to ,god himself4 ,when a wind from the lands they had ruin'd awoke from sleep1 ,and the water began to heave and the weather to moan1 ,and or ever that evening ended a great gale blew1 ,and a wave like the wave that is raised by an earthquake grew1 ,till it smote on their hulls and their sails and their masts and their flags4 ,however1 if a word is repeated1 it is not necessarily emphatic each time3 ,the ,german heart is stout and true1 the ,german arm is strong2 ,the ,german foot goes seldom back where armed foemen throng4 ,in the phrase ,the ,german heart the chief emphasis is on heart1 with a slighter emphasis on ,german4 ,the emphasis is then transferred to arm and foot through contrast with heart4 ,to emphasize ,german again would weaken the effect4 ,compare the repetition1 in the following1 of the syllable un1 also of the phrase this year3 ,unwatched along ,clitumnus ,grazes the milk-white steer2 ,unharmed the water-fowl may dip ,in the ,volsinian mere4 ,the harvests of ,arretium1 ,this year1 old men shall reap1 ,this year young boys in ,umbro ,shall plunge the struggling sheep2 ,and in the vats of ,luna1 ,this year1 the must shall foam ,round the white feet of laughing girls ,whose sires have marched to ,rome4 ,words and phrases are emphatic quite as often through contrast implied as through contrast expressed4 ,it is evident that such a sentence as3 ,will you ride to town to-day8 may have a number of different meanings according to the words emphasized4 ,this difference of meaning is due to an implied contrast4 ,if you is emphatic1 it is because there is a mental contrast between you and some other person4 ,if ride is emphatic1 it is because riding is being contrasted with walking or driving and so on4 ,the following contain examples of emphasis through implied contrast3 ,great things were ne'er begotten in an hour4 ,but now no sound of laughter was heard among the foes4 ,as already shown on page #ba1 the emphasis1 in the case of implied contrast1 is brought out by the circumflex inflection4 ,shading and ,perspective4 ,these deal with the relative importance of words1 phrases1 or clauses4 ,according as an idea suggested by a word or group of words is regarded as principal or subordinate1 the voice either projects it or holds it in the back-ground as an artist shades his picture3 ,and1 though the legend does not live1--for legends lightly die-- ,the peasant1 as he sees the stream in winter rolling by1 ,and foaming o'er its channel-bed between him and the spot ,won by the warriors of the sword1 still calls that deep and dangerous ford ,the ,passage of the ,scot4 ,the principal statement1 ,the peasant still calls that deep and dangerous ford the ,passage of the ,scot1 is projected or emphasized by higher pitch and stronger force1 the thought being sustained1 and the connection made between ,the peasant and still calls by means of the rising inflection4 ,the subordinate statements1 though the legend does not live and as he sees the stream in winter rolling by 444 sword1 are kept in the back-ground by slightly lower pitch and moderate force4 ,the parenthetical clause1 for legends lightly die1 is subordinate to the subordinate statement and is thrown still more into the back-ground in the same way as the preceding4 ,strictly speaking1 the term shading is used to indicate the value of individual phrases or clauses2 perspective1 to indicate the values of several phrases or clauses viewed relatively4 ,the quality1 or timbre1 of the voice reveals the speaker's emotions1 their character1 number1 and intensity4 ,the voice is affected by the muscular texture of the throat1 just as the tone of an instrument is affected by the texture of the material of which it is made4 ,this muscular texture is affected by nerve and muscular vibrations which are caused by emotion1 the result of mental impressions4 ,whatever be the quality of voice peculiar to the individual1 it is greatly modified by his emotions4 ,the man of few emotions has few vocal vibrations2 hence his monotonous voice4 ,the man whose emotions are habitually cruel1 has a harsh1 hard muscular texture through contraction of the muscles2 hence the hard voice4 ,it is plain that the natural voice is an index to the character4 ,if the imagination and soul are cultivated1 the voice will gain in richness and fulness4 ,if1 in reading that which expresses the sublime1 noble1 and grand1 the imagination is kindled1 the voice will express by its vibrations the largeness of our conception4 ,this full1 rich voice is called the orotund3 ,these are the gardens of the ,desert1 these ,the unshorn fields1 boundless and beautiful1 ,for which the speech of ,england has no name-- ,the prairies4 ,for as the heaven is high above the earth1 so great is his mercy toward them that fear him4 ,as far as the east is from the west1 so far hath he removed our transgressions from us4 ,in thinking of what is stern1 severe1 harsh1 cruel1 or base1 the muscles of the throat contract and produce the rigid1 throaty tone known as the guttural3 ,on what compulsion must ,i8 ,tell me that4 ,curse on him6 quoth false ,sextus ,will not the villain drown8 ,but for this stay1 ere close of day1 ,we should have sacked the town6 ,certain states of mind1 such as awe1 caution1 secrecy1 fear1 etc41 produce in greater or less degree an aspirated or breathy quality1 called the whisper or aspirate3 ,when ,jubal struck the chorded shell1 ,his listening brethren stood around1 ,and1 wondering1 on their faces fell ,to worship that celestial sound4 ,the red rose cries1 ,she is near1 she is near2 ,and the white rose weeps1 ,she is late2 ,the larkspur listens1 ,i hear1 ,i hear2 ,and the lily whispers1 ,i wait4 ,the atmosphere of hush and repose expresses itself by a partial whisper3 ,ne'er saw ,i1 never felt1 a calm so deep6 ,the river glideth at his own sweet will3 ,dear ,god6 the very houses seem asleep2 ,and all that mighty heart is lying still6 ,it must not be supposed that the whisper is always associated with moderate or with weak force as in the preceding examples4 ,strong force is used with the whisper to express intensity of feeling or vehemence3 ,whispering with white lips3 the foe6 they come6 they come6 ,hush1 ,i say1 hush6 ,other emotional states have their corresponding qualities of voice1 such1 for example1 as the quality of oppressed feeling and the quality expressing agitation4 ,to conclude3 it must be carefully borne in mind that the reader should never strive to produce a certain quality apart from the emotion which should precede4 ,by force alone1 for example1 he will succeed in producing mere sound without the quality4 ,nor are any of the examples given above1 in dealing with the various elements of vocal expression1 intended for practice in voice gymnastics apart from the preliminary state of which they are the vocal expression4 ,they are intended merely as illustrations of the laws which govern correct speech4 99 99 99 99 99 ,,the ,,high ,,school ,,reader ,,the ,,banner ,,of ,,st4 ,,george ,words by ,shapcott ,wensley3 music by ,sir ,edward ,elgar ,it comes from the misty ages1 ,the banner of ,england's might1 ,the blood-red cross of the brave ,st4 ,george1 ,that burns on a field of white6 ,it speaks of the deathless heroes #e ,on fame's bright page inscrolled1 ,and bids great ,england ne'er forget ,the glorious deeds of old6 ,o'er many a cloud of battle ,the banner has floated wide2 #aj ,it shone like a star o'er the valiant hearts ,that dashed the ,armada's pride6 ,for ever amid the thunders ,the sailor could do or die1 ,while tongues of flame leaped forth below1 #ae ,and the flag of ,st4 ,george was high6 ,o ne'er may the flag beloved ,unfurl in a strife unblest1 ,but ever give strength to the righteous arm1 ,and hope to the hearts oppressed6 #bj ,it says to the passing ages3 ,be brave if your cause be right1 ,like the soldier saint whose cross of red ,still burns on your banner white6 ,great race1 whose empire of splendour #be ,has dazzled the wondering world6 ,may the flag that floats o'er thy wide domains ,be long to all winds unfurled6 ,three crosses in concord blended1 ,the banner of ,britain's might6 #cj ,but the central gem of the ensign fair ,is the cross of the dauntless ,knight6 --,by permission of the publishers1 ,novello ,co4 ,,preparatory--,divide the poem into two parts1 giving to each part a descriptive title4 ,what feelings are aroused by this poem8 ,what lines in stanzas i and iv call up a mental picture of the flag8 ,what three phrases in stanza i suggest the important ideas to be associated with the flag8 ,how does the voice indicate the importance of these ideas8 7,introduction1 p4 #h47 ,of what phrases in stanza i is stanza ii only an elaboration8 ,what wish is contained in stanza iii8 ,what sentences express it8 ,what additional idea does stanza iv add to this wish8 ,,star1 ,,valiant1 ,,armada1 ,,central4 ,make a distinction in the sound of the letter a in these words1 and elsewhere in the poem4 7,appendix ,a1 #a47 ,,george1 ,,cross1 ,,forget1 ,,forth1 ,,concord4 ,what sound has the letter o in each word8 7,appendix ,a1 #a47 ,articulate with energy the final consonantal combinations of all such words as3 ,,england',s1 ,,burns1 ,,speaks1 ,,inscrolled1 ,,floated1 ,,hearts1 ,,dashed1 ,,leaped1 ,,unblest1 ,,strength1 ,,dazzled1 ,,unfurled1 ,,blended4 7,appendix ,a1 #c47 99 99 99 99 99 ,,jean ,,valjean ,,and ,,the ,,bishop ,from ,les ,miserables ,at the bishop's house1 his housekeeper1 ,mme4 ,magloire was saying3 ,we say that this house is not safe at all2 and1 if ,monseigneur will permit me1 ,i will go on and tell the locksmith to come and put the old bolts in the door again4 ,i say1 than a door which opens by a latch on the outside to the first comer1 nothing could be more horrible2 and then ,monseigneur has the habit of always saying3 ',come in1' even at midnight4 ,but1 my goodness1 there is no need to even ask leave---- ,at this moment there was a violent knock on the door4 ,come in6 said the bishop4 ,the door opened4 ,it opened quickly1 quite wide1 as if pushed by some one boldly and with energy4 ,a man entered4 ,that man we know already2 it was the traveller we have seen wandering about in search of a lodging4 ,he came in1 took one step1 and paused1 leaving the door open behind him4 ,he had his knapsack on his back1 his stick in his hand1 and a rough1 hard1 and fierce look in his eyes4 ,he was hideous4 ,the bishop looked upon the man with a tranquil eye4 ,as he was opening his mouth to speak1 doubtless to ask the stranger what he wanted1 the man1 leaning with both hands on his club1 glanced from one to another in turn1 and1 without waiting for the bishop to speak1 said1 in a loud voice3 ,see here6 my name is ,jean ,valjean4 ,i am a convict2 ,i have been nineteen years in the galleys4 ,four days ago ,i was set free1 and started for ,pontarlier2 during these four days ,i have walked from ,toulon4 ,to-day ,i have walked twelve leagues4 ,when ,i reached this place this evening ,i went to an inn1 and they sent me away on account of my yellow passport1 which ,i had shown at the ,mayor's office1 as was necessary4 ,i went to another inn2 they said1 ',get out6' ,it was the same with one as with another2 nobody would have me4 ,i went to the prison and the turnkey would not let me in4 ,i crept into a dog kennel1 the dog bit me1 and drove me away as if he had been a man2 you would have said that he knew who ,i was4 ,i went into the fields to sleep beneath the stars1 there were no stars4 ,i thought it would rain1 and there was no good ,god to stop the drops1 so ,i came back to the town to get the shelter of some doorway4 ,there in the square ,i laid down upon a stone2 a good woman showed me your house1 and said3 ',knock there6' ,i have knocked4 ,what is this place8 ,are you an inn8 ,i have money2 my savings1 one hundred and nine francs and fifteen sous1 which ,i have earned in the galleys by my work for nineteen years4 ,i will pay4 ,what do ,i care8 ,i have money1 ,i am very tired--twelve leagues on foot--and ,i am so hungry4 ,can ,i stay8 ,mme4 ,magloire1 said the bishop1 put on another plate4 ,the man took three steps and came near the lamp which stood on the table4 ,stop1 he exclaimed2 as if he had not been understood2 not that1 did you understand me8 ,i am a galley slave--a convict--,i am just from the galleys4 ,he drew from his pocket a large sheet of yellow paper1 which he unfolded4 ,there is my passport1 yellow1 as you see4 ,that is enough to have me kicked out wherever ,i go4 ,will you read it8 ,see1 here is what they have put on my passport3 ,jean ,valjean1 a liberated convict2 has been nineteen years in the galleys2 five years for burglary2 fourteen years for having attempted four times to escape4 ,this man is very dangerous4 ,there you have it6 ,everybody has thrust me out2 will you receive me8 ,is this an inn8 ,can you give me something to eat and a place to sleep8 ,have you a stable8 ,mme4 ,magloire1 said the bishop1 put some sheets on the bed in the alcove4 ,the bishop turned to the man3 ,monsieur1 sit down and warm yourself2 we are going to take supper presently1 and your bed will be made ready while you sup4 ,at last the man quite understood2 his face1 the expression of which till then had been gloomy1 and hard1 now expressed stupefaction1 doubt and joy1 and became absolutely wonderful4 ,he began to stutter like a madman4 ,true8 ,what8 ,you will keep me8 you won't drive me away--a convict8 ,you call me monsieur and don't say1 ',get out1 dog6' as everybody else does4 ,i shall have a supper6 a bed like other people1 with mattress and sheets--a bed6 ,it is nineteen years that ,i have not slept on a bed4 ,you are good people6 ,besides1 ,i have money2 ,i will pay well4 ,i beg your pardon1 ,m4 ,innkeeper1 what is your name8 ,i will pay all you say4 ,you are a fine man4 ,you are an innkeeper1 is it not so8 ,i am a priest who lives here1 said the bishop4 ,a priest1 said the man4 ,oh1 noble priest6 ,then you do not ask any money8 ,no1 said the bishop1 keep your money4 ,how much have you8 ,one hundred and nine francs and fifteen sous1 said the man4 ,one hundred and nine francs and fifteen sous4 ,and how long did it take you to earn that8 ,nineteen years4 ,nineteen years6 ,the bishop sighed deeply1 and shut the door1 which had been left wide open4 ,mme4 ,magloire brought in a plate and set it on the table4 ,mme ,magloire1 said the bishop1 put this plate as near the fire as you can4 ,then turning toward his guest he added3 ,the night wind is raw in the ,alps2 you must be cold1 monsieur4 ,every time he said the word monsieur with his gentle1 solemn and heartily hospitable voice1 the man's countenance lighted up4 ,monsieur to a convict is a glass of water to a man dying of thirst at sea4 ,the lamp1 said the bishop1 gives a very poor light4 ,mme4 ,magloire understood him1 and1 going to his bedchamber1 took from the mantel the two silver candlesticks1 lighted the candles and placed them on the table4 ,m4 le ,cure1 said the man1 you are good2 you don't despise me4 ,you take me into your house2 you light your candles for me1 and ,i haven't hid from you where ,i come from1 and how miserable ,i am4 ,the bishop touched his hand gently and said3 ,you need not tell me who you are4 ,this is not my house2 it is the house of ,christ4 ,it does not ask any comer whether he has a name1 but whether he has an affliction4 ,you are suffering2 you are hungry and thirsty2 be welcome4 ,and do not thank me2 do not tell me that ,i take you into my house4 ,this is the home of no man except him who needs an asylum4 ,i tell you1 who are a traveller1 that you are more at home here than ,i2 whatever is here is yours4 ,what need have ,i to know your name8 ,besides1 before you told me1 ,i knew it4 ,the man opened his eyes in astonishment4 ,really8 ,you knew my name8 ,yes1 answered the bishop1 your name is my brother4 ,stop1 stop1 ,m4 le ,cure1 exclaimed the man1 ,i was famished when ,i came in1 but you are so kind that now ,i don't know what ,i am2 that is all gone4 ,the bishop looked at him again and said3 ,you have seen much suffering8 ,oh1 the red blouse1 the ball and chain1 the plank you sleep on1 the heat1 the cold1 the galley's screw1 the lash1 the double chain for nothing1 the dungeon for a word--even when sick in bed1 the chain4 ,the dogs1 the dogs are happier6 nineteen years6 and ,i am forty-six1 and now a yellow passport4 ,that is all4 ,yes1 answered the bishop1 you have left a place of suffering4 ,but listen1 there will be more joy in heaven over the tears of a repentant sinner than over the white robes of a hundred good men4 ,if you are leaving that sorrowful place with hate and anger against men1 you are worthy of compassion2 if you leave it with good-will1 gentleness1 and peace1 you are better than any of us4 --,victor ,hugo ,this lesson can be used as an exercise on ,pause springing from 7#a7 ,visualization and ,grouping1 7,introduction1 pp4 #g and #h72 7#b7 ,narrative which breaks in upon the direct discourse4 7,introduction1 p4 #bd47 ,,that ,,man ,,we ,,know ,,already4 7,introduction1 p4 #aa47 ,,see ,,here 444 ,,can ,i ,,stay8 ,this paragraph is an exercise on ,emphasis4 ,make a list of the words which are emphatic 7#a7 because they express new and important ideas1 7#b7 because of contrast4 ,why is ,,galleys not emphatic8 ,where is the emphasis placed in that sentence8 99 99 99 99 99 ,,the ,,well ,,of ,,st4 ,,keyne ,a well there is in the west country1 ,and a clearer one never was seen2 ,there is not a wife in the west country ,but has heard of the well of ,st4 ,keyne4 ,an oak and an elm-tree stand beside1 #e ,and behind doth an ash-tree grow1 ,and a willow from the bank above ,droops to the water below4 ,a traveller came to the well of ,st4 ,keyne2 ,joyfully he drew nigh1 #aj ,for from cock-crow he had been travelling1 ,and there was not a cloud in the sky4 ,he drank of the water so cool and clear1 ,for thirsty and hot was he2 ,and he sat down upon the bank1 #ae ,under the willow-tree4 ,there came a man from the house hard by1 ,at the well to fill his pail2 ,on the well-side he rested it1 ,and he bade the stranger hail4 #bj ,now1 art thou a bachelor1 stranger8 quoth he2 ,for1 an if thou hast a wife1 ,the happiest draught thou hast drank this day ,that ever thou didst in thy life4 ,or has thy good woman1 if one thou hast1 #be ,ever here in ,cornwall been8 ,for1 an if she have1 ,i'll venture my life ,she has drank of the well of ,st4 ,keyne4 ,i have left a good woman who never was here1 ,the stranger he made reply2 #cj ,but that my draught should be the better for that1 ,i pray you answer me why4 ,st4 ,keyne1 quoth the ,cornish-man1 many a time ,drank of this crystal well2 ,and before the angel summoned her1 #ce ,she laid on the water a spell1-- ,if the husband of this gifted well ,shall drink before his wife1 ,a happy man thenceforth is he1 ,for he shall be master for life2 #dj ,but1 if the wife should drink of it first1 ,god help the husband then6-- ,the stranger stooped to the well of ,st4 ,keyne1 ,and drank of the water again4 ,you drank of the well1 ,i warrant1 betimes8 #de ,he to the ,cornish-man said2 ,but the ,cornish-man smiled as the stranger spake1 ,and sheepishly shook his head3-- ,i hastened1 as soon as the wedding was done1 ,and left my wife in the porch2 #ej ,but i' faith she had been wiser than me1 ,for she took a bottle to church4 --,robert ,southey ,,preparatory4--,select the lines that 7a7 describe the scene1 7b7 indicate the action1 7c7 give the dialogue4 ,show by recasting this ballad into dramatic form that it is a miniature drama4 ,give examples of ,pause springing from 7a7 ,visualization1 in ll4 #a1 #e1 #f1 #g1 #i1 #ac1 #ag1 #ai1 7b7 narrative which interrupts direct discourse1 in ll4 #ba1 #bi1 #cc1 #de4 ,which are the emphatic words in ll4 #b1 #c1 #d1 #aj1 #aa1 #ad1 #ba1 #bi1 #ca1 #ch1 #de1 #df8 ,give your reasons and show how they are made emphatic4 7,introduction1 p4 #cj47 l4 #c4 ,what is the ,inflection on 'country1' l4 #c8 7,introduction1 p4 #ag47 ll4 #cg-ch4 ,note the ,grouping and ,pause4 7,introduction1 p4 #ab47 99 99 99 99 99 ,,faith1 ,,hope ,,and ,,charity #a ,corinthians xiii ,though ,i speak with the tongues of men and of angels1 and have not charity1 ,i am become as sounding brass1 or a tinkling cymbal4 ,and though ,i have the gift of prophecy1 and understand all mysteries1 and all knowledge2 and though ,i have all faith1 so that ,i could remove mountains1 and have not charity1 ,i am nothing4 ,and though ,i bestow all my goods to feed the poor1 and though ,i give my body to be burned1 and have not charity1 it profiteth me nothing4 ,charity suffereth long1 and is kind2 charity envieth not2 charity vaunteth not itself1 is not puffed up1 doth not behave itself unseemly1 seeketh not her own1 is not easily provoked1 thinketh no evil2 rejoiceth not in iniquity1 but rejoiceth in the truth2 beareth all things1 believeth all things1 hopeth all things1 endureth all things4 ,charity never faileth3 but whether there be prophecies1 they shall fail2 whether there be tongues1 they shall cease2 whether there be knowledge1 it shall vanish away4 ,for we know in part1 and we prophesy in part4 ,but when that which is perfect is come1 then that which is in part shall be done away4 ,when ,i was a child1 ,i spake as a child1 ,i understood as a child1 ,i thought as a child3 but when ,i became a man ,i put away childish things4 ,for now we see through a glass1 darkly2 but then face to face3 now ,i know in part2 but then shall ,i know even as also ,i am known4 ,and now abideth faith1 hope and charity1 these three2 but the greatest of these is charity4 ,,charity1 ,,suffereth1 ,,profiteth4 7,appendix ,a1 #h and #c47 ,show by examples from this selection how completeness and incompleteness of thought affect the ,inflection4 7,introduction1 pp4 #ae and #af47 ,what ,inflection does a negative statement usually require8 ,give examples from the second paragraph4 7,introduction1 p4 #ag47 ,give examples1 from the second paragraph1 of momentary completeness4 7,introduction1 pp4 #ae and #af47 ,select the words which are emphatic because they express 7a7 new and important ideas4 7b7 contrast4 ,,beareth ,,all ,,things1 ,,etc4 ,how may the repetition of a word or phrase affect the ,emphasis8 7,introduction1 pp4 #ca and #cb47 ,how are the principal clauses in the first three sentences made prominent8 7,introduction1 p4 #cc47 99 99 99 99 99 ,,the ,,legend ,,beautiful ,from ,tales of a ,wayside ,inn ,hadst thou stayed1 ,i must have fled6 ,that is what the ,vision said4 ,in his chamber all alone1 ,kneeling on the floor of stone1 ,prayed the ,monk in deep contrition #e ,for his sins of indecision1 ,prayed for greater self-denial ,in temptation and in trial2 ,it was noonday by the dial1 ,and the ,monk was all alone4 #aj ,suddenly1 as if it lightened1 ,an unwonted splendour brightened ,all within him and without him ,in that narrow cell of stone2 ,and he saw the ,blessed ,vision #ae ,of our ,lord1 with light ,elysian ,like a vesture wrapped about ,him1 ,like a garment round ,him thrown4 ,not as crucified and slain1 ,not in agonies of pain1 #bj ,not with bleeding hands and feet1 ,did the ,monk his ,master see2 ,but as in the village street1 ,in the house or harvest-field1 ,halt and lame and blind ,he healed1 #be ,when ,he walked in ,galilee4 ,in an attitude imploring1 ,hands upon his bosom crossed1 ,wondering1 worshipping1 adoring1 ,knelt the ,monk in rapture lost4 #cj ,lord1 he thought1 in heaven that reignest1 ,who am ,i1 that thus ,thou deignest ,to reveal ,thyself to me8 ,who am ,i1 that from the centre ,of ,thy glory ,thou shouldst enter #ce ,this poor cell1 my guest to be8 ,then amid his exaltation1 ,loud the convent bell appalling1 ,from its belfry calling1 calling1 ,rang through court and corridor #dj ,with persistent iteration ,he had never heard before4 ,it was now the appointed hour ,when alike in shine or shower1 ,winter's cold or summer's heat1 #de ,to the convent portals came ,all the blind and halt and lame1 ,all the beggars of the street1 ,for their daily dole of food ,dealt them by the brotherhood2 #ej ,and their almoner was he ,who upon his bended knee1 ,rapt in silent ecstasy ,of divinest self-surrender1 ,saw the ,vision and the ,splendour4 #ee ,deep distress and hesitation ,mingled with his adoration2 ,should he go or should he stay8 ,should he leave the poor to wait ,hungry at the convent gate1 #fj ,till the ,vision passed away8 ,should he slight his radiant guest1 ,slight this visitant celestial1 ,for a crowd of ragged1 bestial ,beggars at the convent gate8 #fe ,would the ,vision there remain8 ,would the ,vision come again8 ,then a voice within his breast ,whispered1 audible and clear ,as if to the outward ear3 #gj ,do thy duty2 that is best2 ,leave unto thy ,lord the rest6 ,straightway to his feet he started1 ,and with longing look intent ,on the ,blessed ,vision bent1 #ge ,slowly from his cell departed1 ,slowly on his errand went4 ,at the gate the poor were waiting1 ,looking through the iron grating1 ,with that terror in the eye #hj ,that is only seen in those ,who amid their wants and woes ,hear the sound of doors that close1 ,and of feet that pass them by2 ,grown familiar with disfavour1 #he ,grown familiar with the savour ,of the bread by which men die6 ,but to-day1 they knew not why1 ,like the gate of ,paradise ,seemed the convent gate to rise1 #ij ,like a sacrament divine ,seemed to them the bread and wine4 ,in his heart the ,monk was praying1 ,thinking of the homeless poor1 ,what they suffer and endure2 #ie ,what we see not1 what we see2 ,and the inward voice was saying3 ,whatsoever thing thou doest ,to the least of ,mine and lowest1 ,that thou doest unto ,me6 #ajj ,unto ,me6 but had the ,vision ,come to him in beggar's clothing1 ,come a mendicant imploring1 ,would he then have knelt adoring1 ,or have listened with derision1 #aje ,and have turned away with loathing8 ,thus his conscience put the question1 ,full of troublesome suggestion1 ,as at length1 with hurried pace1 ,toward his cell he turned his face1 #aaj ,and beheld the convent bright ,with a supernatural light1 ,like a luminous cloud expanding ,over floor and wall and ceiling4 ,but he paused with awestruck feeling #aae ,at the threshold of his door1 ,for the ,vision still was standing ,as he left it there before1 ,when the convent bell appalling1 ,from its belfry calling1 calling1 #abj ,summoned him to feed the poor4 ,through the long hour intervening ,it had waited his return1 ,and he felt his bosom burn1 ,comprehending all the meaning1 #abe ,when the ,blessed ,vision said1 ,hadst thou stayed1 ,i must have fled6 --,henry ,wadsworth ,longfellow ,,hadst1 ,,lightened1 ,,brightened1 ,,reignest1 ,,deignest1 ,,divinest 7,appendix1 ,a1 #c47 ll4 #bi1 #ch-ci1 #gh-gi4 7,appendix1 ,a1 #d47 ,how can the reader show that the first two lines are merely introductory8 ,divide the poem proper into five parts1 giving to each part a suggestive title4 ,how can the reader make each part stand out by itself8 7,introduction1 p4 #aj47 ,select the principal statement in each stanza and show how the voice may make it prominent4 7,introduction1 p4 #cc47 ,what ,inflection is placed on the principal statement8 ,what ,inflection on the subordinate phrases and clauses8 7,introduction1 p4 #ae47 ,select examples of momentary completeness from the poem4 ll4 #ai-bb4 ,what is the ,inflection on these negative phrases8 7,introduction1 pp4 #ag and #ah47 ,what is the ,inflection on the various questions throughout the poem8 7,introduction1 p4 #ah47 99 99 99 99 99 ,,the ,,vicar',s ,,family ,,use ,,art ,from ,the ,vicar of ,wakefield #a4 ,whatever might have been ,sophia's sensations1 the rest of the family was easily consoled for ,mr4 ,burchell's absence by the company of our landlord1 whose visits now became more frequent1 and longer4 ,though he had been disappointed in procuring my daughters the amusements of the town1 as he designed1 he took every opportunity of supplying them with those little recreations which our retirement would admit of4 ,he usually came in the morning2 and while my son and ,i followed our occupations abroad1 he sat with the family at home1 and amused them by describing the town1 with every part of which he was particularly acquainted4 ,he could repeat all the observations that were retailed in the atmosphere of the play-houses1 and had all the good things of the high wits by rote1 long before they made their way into the jest-books4 ,the intervals between conversation were employed in teaching my daughters piquet1 or sometimes in setting my two little ones to box1 to make them sharp1 as he called it2 but the hopes of having him for a son-in-law1 in some measure blinded us to all his imperfections4 ,it must be owned1 that my wife laid a thousand schemes to entrap him2 or1 to speak it more tenderly1 used every art to magnify the merit of her daughter4 ,if the cakes at tea ate short and crisp1 they were made by ,olivia2 if the gooseberry wine was well knit1 the gooseberries were of her gathering2 it was her fingers that gave the pickles their peculiar green2 and in the composition of a pudding1 it was her judgment that mixed the ingredients4 ,then the poor woman would sometimes tell the ,squire that she thought him and ,olivia extremely of a size1 and would bid both stand up to see which was tallest4 ,these instances of cunning1 which she thought impenetrable1 yet which everybody saw through1 were very pleasing to our benefactor1 who gave every day some new proofs of his passion1 which1 though they had not risen to proposals of marriage1 yet we thought fell but little short of it2 and his slowness was attributed sometimes to native bashfulness1 and sometimes to his fear of offending his uncle4 ,an occurrence1 however1 which happened soon after1 put it beyond a doubt that he designed to become one of our family2 my wife even regarded it as an absolute promise4 #b4 ,my wife and daughters happening to return a visit at neighbour ,flamborough's1 found that family had lately got their pictures drawn by a limner1 who travelled the country1 and took likenesses for fifteen shillings a head4 ,as this family and ours had long a sort of rivalry in point of taste1 our spirit took the alarm at this stolen march upon us2 and notwithstanding all ,i could say1 and ,i said much1 it was resolved that we should have our pictures done too4 ,having1 therefore1 engaged the limner--for what could ,i do8--our next deliberation was to shew the superiority of our taste in the attitudes4 ,as for our neighbour's family1 there were seven of them1 and they were drawn with seven oranges--a thing quite out of taste1 no variety in life1 no composition in the world4 ,we desired to have something in a brighter style2 and after many debates1 at length came to an unanimous resolution of being drawn together1 in one large historical family piece4 ,this would be cheaper1 since one frame would serve for all1 and it would be infinitely more genteel2 for all families of any taste were now drawn in the same manner4 ,as we did not immediately recollect an historical subject to hit us1 we were contented each with being drawn as independent historical figures4 ,my wife desired to be represented as ,venus1 and the painter was desired not to be too frugal of his diamonds in her stomacher and hair4 ,her two little ones were to be as ,cupids by her side2 while ,i1 in my gown and band1 was to present her with my books on the ,whistonian controversy4 ,olivia would be drawn as an ,amazon1 sitting upon a bank of flowers1 dressed in a green joseph richly laced with gold1 and a whip in her hand4 ,sophia was to be a shepherdess1 with as many sheep as the painter could put in for nothing2 and ,moses was to be dressed out with an hat and white feather4 ,our taste so much pleased the ,squire that he insisted on being put in as one of the family1 in the character of ,alexander the ,great1 at ,olivia's feet4 ,this was considered by us all as an indication of his desire to be introduced into the family1 nor could we refuse his request4 ,the painter was therefore set to work1 and as he wrought with assiduity and expedition1 in less than four days the whole was completed4 ,the piece was large1 and it must be owned he did not spare his colours2 for which my wife gave him great encomiums4 ,we were all perfectly satisfied with his performance2 but an unfortunate circumstance which had not occurred till the picture was finished1 now struck us with dismay4 ,it was so very large that we had no place in the house to fix it4 ,how we all came to disregard so material a point is inconceivable2 but certain it is1 we had been all greatly remiss4 ,the picture1 therefore1 instead of gratifying our vanity1 as we hoped1 leaned1 in a most mortifying manner1 against the kitchen wall1 where the canvas was stretched and painted1 much too large to be got through any of the doors1 and the jest of all our neighbours4 ,one compared it to ,robinson ,crusoe's long-boat1 too large to be removed2 another thought it more resembled a reel in a bottle2 some wondered how it could be got out4 but still more were amazed how it ever got in4 #c4 ,but though it excited the ridicule of some1 it effectually raised more malicious suggestions in many4 ,the ,squire's portrait being found united with ours1 was an honour too great to escape envy4 ,scandalous whispers began to circulate at our expense1 and our tranquillity was continually disturbed by persons1 who came as friends1 to tell us what was said of us by enemies4 ,these reports we always resented with becoming spirit2 but scandal ever improves by opposition4 #d4 ,we once again1 therefore1 entered into a consultation upon obviating the malice of our enemies1 and at last came to a resolution which had too much cunning to give me entire satisfaction4 ,it was this3 as our principal object was to discover the honour of ,mr4 ,thornhill's addresses1 my wife undertook to sound him1 by pretending to ask his advice in the choice of an husband for her eldest daughter4 ,if this was not found sufficient to induce him to a declaration1 it was then resolved to terrify him with a rival4 ,to this last step1 however1 ,i would by no means give my consent1 till ,olivia gave me the most solemn assurances that she would marry the person provided to rival him upon this occasion1 if he did not prevent it by taking her himself4 ,such was the scheme laid1 which1 though ,i did not strenuously oppose1 ,i did not entirely approve4 #e4 ,the next time1 therefore1 that ,mr4 ,thornhill came to see us1 my girls took care to be out of the way1 in order to give their mamma an opportunity of putting her scheme in execution2 but they only retired to the next room1 whence they could overhear the whole conversation4 ,my wife artfully introduced it1 by observing1 that one of the ,miss ,flamboroughs was like to have a very good match of it in ,mr4 ,spanker4 ,to this the ,squire assenting1 she proceeded to remark1 that they who had warm fortunes were always sure of getting good husbands3 ,but heaven help1 continued she1 the girls that have none6 ,what signifies beauty1 ,mr4 ,thornhill8 or what signifies all the virtue1 and all the qualifications in the world1 in this age of self-interest8 ,it is not1 ,what is she8 but1 ,what has she8 is all the cry4 #f4 ,madam1 returned he1 ,i highly approve the justice1 as well as the novelty1 of your remarks1 and if ,i were a king1 it should be otherwise4 ,it should then1 indeed1 be fine times for the girls without fortunes3 our two young ladies should be the first for whom ,i would provide4 #g4 ,ah1 sir1 returned my wife1 you are pleased to be facetious3 but ,i wish ,i were a queen1 and then ,i know where my eldest daughter should look for an husband4 ,but now that you have put it into my head1 seriously1 ,mr4 ,thornhill1 can't you recommend me a proper husband for her8 ,she is now nineteen years old1 well grown and well educated1 and1 in my humble opinion1 does not want for parts4 #h4 ,madam1 replied he1 if ,i were to choose1 ,i would find out a person possessed of every accomplishment that can make an angel happy4 ,one with prudence1 fortune1 taste1 and sincerity2 such1 madam1 would be1 in my opinion1 the proper husband4--,ay1 sir1 said she1 but do you know of any such person8--,no1 ,madam1 returned he1 it is impossible to know any person that deserves to be her husband3 she's too great a treasure for one man's possession3 she's a goddess6 ,upon my soul1 ,i speak what ,i think1 she's an angel6--,ah1 ,mr4 ,thornhill1 you only flatter my poor girl3 but we have been thinking of marrying her to one of your tenants1 whose mother is lately dead1 and who wants a manager2 you know whom ,i mean1 ,farmer ,williams2 a warm man1 ,mr4 ,thornhill1 able to give her good bread2 and who has several times made her proposals 7which was actually the case72 but1 sir1 concluded she1 ,i should be glad to have your approbation of our choice4--,how1 ,madam1 replied he1 my approbation6--my approbation of such a choice6 ,never4 ,what6 ,sacrifice so much beauty1 and sense1 and goodness1 to a creature insensible of the blessing6 ,excuse me1 ,i can never approve of such a piece of injustice4 ,and ,i have my reasons4--,indeed1 sir1 cried ,deborah1 ,if you have your reasons1 that's another affair2 but ,i should be glad to know those reasons4--,excuse me1 ,madam1 returned he1 they lie too deep for discovery 7laying his hand upon his bosom72 they remain buried1 rivetted here4 #i4 ,after he was gone1 upon a general consultation1 we could not tell what to make of these fine sentiments4 ,olivia considered them as instances of the most exalted passion2 but ,i was not quite so sanguine2 yet1 whatever they might portend1 it was resolved to prosecute the scheme of ,farmer ,williams1 who1 from my daughter's first appearance in the country1 had paid her his addresses4 --,oliver ,goldsmith ,,absolute1 ,,resolution1 ,,introduced1 7,appendix1 ,a1 #b47 ,,visits1 ,,native1 ,,infinitely1 ,,cupids1 ,,vanity1 ,,gratifying1 ,,mortifying1 ,,sanguine4 7,appendix1 ,a1 #h47 ,,unfortunate1 ,,fortune1 ,,virtue4 7,appendix1 ,a1 #i47 ,show by numerous examples from this selection that the dependent clause of a sentence takes the rising ,inflection--whilst the principal clause takes the falling4 ,which of the two has the heavier shading8 7,introduction1 p4 #cc47 ,how are such parenthetical clauses as ,,as ,,he ,,designed1 in the second sentence1 kept in the background8 7,introduction1 pp4 #bd and #bg47 ,give similar examples from this selection4 ,what ,inflection is placed on the rhetorical questions in par4 v8 7,introduction1 p4 #ai47 ,how is the effect of the climax in par4 viii brought out8 7,introduction1 p4 #ca47 99 99 99 99 99 ,,the ,,soldier',s ,,dream ,our bugles sang truce--for the night-cloud had lowered ,and the sentinel stars set their watch in the sky2 ,and thousands had sunk on the ground overpowered1 ,the weary to sleep1 and the wounded to die4 ,when reposing that night on my pallet of straw1 #e ,by the wolf-scaring faggot that guarded the slain1 ,at the dead of the night a sweet vision ,i saw1 ,and thrice ere the morning ,i dreamt it again4 ,methought from the battlefield's dreadful array1 ,far1 far ,i had roamed on a desolate track2 #aj ',twas autumn--and sunshine arose on the way ,to the home of my fathers1 that welcomed me back4 ,i flew to the pleasant fields traversed so oft ,in life's morning march1 when my bosom was young2 ,i heard my own mountain-goats bleating aloft1 #ae ,and knew the sweet strain that the corn-reapers sung4 ,then pledged we the wine-cup1 and fondly ,i swore ,from my home and my weeping friends never to part2 ,my little ones kissed me a thousand times o'er1 ,and my wife sobbed aloud in her fulness of heart4 #bj ,stay1 stay with us--rest1 thou art weary and worn2 ,and fain was their war-broken soldier to stay2 ,but sorrow returned with the dawning of morn1 ,and the voice in my dreaming ear melted away4 --,thomas ,campbell ,,preparatory4--,describe the picture suggested by this poem4 ,compare the soldier's dream with the vision of ,the ,private of the ,buffs in the hour of danger1 or with ,the ,slave's ,dream in ,longfellow's poem4 ,divide the poem into three distinct parts1 giving to each a descriptive title4 ,expand the thoughts contained in the last two lines of the poem1 using1 if possible1 illustrations from literature or real life4 ,what feelings do these lines arouse8 ,observe the difficulties of ,articulation in ll4 #a1 #b1 #ac and #af4 7,appendix ,a1 #f and #c47 ,how can each part of the poem be made to stand out by itself8 7,introduction1 p4 #aj47 #b4 ,,sentinel ,,stars4 ,select other phrases which call up mental images4 ,how does the process of mental imagery affect the ,time8 7,introduction1 p4 #ab47 #c4 ,how can it be shown that ,,overpowered and ,,ground are disconnected8 7,introduction1 p4 #g47 #d4 ,why do we pause after ,,weary ,,and ,,wounded8 7,introduction1 p4 #aj47 #f4 ,why is there no pause after ,,faggot8 7,introduction1 p4 #aa47 ,what lines of stanza ii contain the leading thought8 ,how does the voice indicate this8 7,introduction1 p4 #cc47 #i4 ,how is the mind prepared for the description of the dream8 #ba4 ,what feeling does the voice express8 ,does ,imitation play any part here8 7,introduction1 pp4 #e and #f47 #bb4 ,expand the thought of this line1 and show how your thinking affects the ,time4 7,introduction1 p4 #ad47 ,compare with the ,time of l4 #ba1 and explain the difference4 99 99 99 99 99 ,,van ,,elsen ,god spake three times and saved ,van ,elsen's soul2 ,he spake by sickness first1 and made him whole2 ,van ,elsen heard him not1 ,or soon forgot4 ,god spake to him by wealth2 the world outpoured #e ,its treasures at his feet1 and called him lord2 ,van ,elsen's heart grew fat ,and proud thereat4 ,god spake the third time when the great world smiled1 ,and in the sunshine slew his little child2 #aj ,van ,elsen like a tree ,fell hopelessly4 ,then in the darkness came a voice which said1 ,as thy heart bleedeth1 so ,my heart hath bled2 ,as ,i have need of thee #ae ,thou needest ,me4 ,that night ,van ,elsen kissed the baby feet1 ,and kneeling by the narrow winding-sheet ,praised him with fervent breath ,who conquered death4 #bj -,frederick ,george ,scott 7,by permission7 ,by what means is the introductory line kept distinct from the rest of the poem8 7,introduction1 p4 #aj47 ,how does the reader indicate the comparatively long space of time which elapses between the events of the first1 second1 and third stanzas respectively8 7,introduction1 p4 #i47 ,show that each of the first three stanzas falls according to meaning1 into two parts4 ,how does the reader indicate this division8 ,why should the last two stanzas1 in this respect1 be together treated as one of the preceding8 ,illustrate by means of ,pause4 99 99 99 99 99 ,,pibroch ,,of ,,donuil ,,dhu ,pibroch of ,donuil ,dhu1 ,pibroch of ,donuil1 ,wake thy wild voice anew1 ,summon ,clan ,conuil4 ,come away1 come away1 #e ,hark to the summons6 ,come in your war array1 ,gentles and commons4 ,come from deep glen1 and ,from mountains so rocky1 #aj ,the war-pipe and pennon ,are at ,inverlocky4 ,come every hill-plaid1 and ,true heart that wears one1 ,come every steel blade1 and #ae ,strong hand that bears one4 ,leave untended the herd1 ,the flock without shelter2 ,leave the corpse uninterr'd ,the bride at the altar2 #bj ,leave the deer1 leave the steer1 ,leave nets and barges3 ,come with your fighting gear1 ,broadswords and targes4 ,come as the winds come1 when #be ,forests are rended1 ,come as the waves come1 when ,navies are stranded2 ,faster come1 faster come1 ,faster and faster1 #cj ,chief1 vassal1 page and groom1 ,tenant and master4 ,fast they come1 fast they come2 ,see how they gather6 ,wide waves the eagle plume1 #ce ,blended with heather4 ,cast your plaids1 draw your blades1 ,forward each man set6 ,pibroch of ,donuil ,dhu ,knell for the onset6 #dj --,sir ,walter ,scott ,,herd1 ,,uninterr',d4 ,what sound has the vowel e8 7,appendix ,a1 #a47 ,,gentles ,,and ,,commons2 ,,nets ,,and ,,barges2 ,,fighting ,,gear2 ,,broadswords ,,and ,,targes2 ,,forests ,,are ,,rended2 ,,navies ,,are ,,stranded4 7,appendix ,a1 #c and #f47 ,for ,pause read 7,introduction1 pp4 #g and #h47 ,how is the gradually increasing excitement and energy indicated in ,time1 ,pitch1 and ,force8 7,introduction1 pp4 #ac1 #bc1 and #bg47 99 99 99 99 99 ,,the ,,day ,,is ,,done ,the day is done1 and the darkness ,falls from the wings of ,night1 ,as a feather is wafted downwards ,from an eagle in its flight4 ,i see the lights of the village #e ,gleam through the rain and the mist1 ,and a feeling of sadness comes o'er me1 ,that my soul cannot resist3 ,a feeling of sadness and longing1 ,that is not akin to pain1 #aj ,and resembles sorrow only ,as the mist resembles the rain4 ,come1 read to me some poem1 ,some simple and heartfelt lay1 ,that shall soothe this restless feeling1 #ae ,and banish the thoughts of day4 ,not from the grand old masters1 ,not from the bards sublime1 ,whose distant footsteps echo ,through the corridors of ,time4 #bj ,for1 like strains of martial music1 ,their mighty thoughts suggest ,life's endless toil and endeavour2 ,and to-night ,i long for rest4 ,read from some humbler poet1 #be ,whose songs gushed from his heart1 ,as showers from the clouds of summer1 ,or tears from the eyelids start2 ,who1 through long days of labour1 ,and nights devoid of ease1 #cj ,still heard in his soul the music ,of wonderful melodies4 ,such songs have power to quiet ,the restless pulse of care1 ,and come like the benediction #ce ,that follows after prayer4 ,then read from the treasured volume ,the poem of thy choice1 ,and lend to the rhyme of the poet ,the beauty of thy voice4 #dj ,and the night shall be filled with music1 ,and the cares that infest the day1 ,shall fold their tents1 like the ,arabs1 ,and as silently steal away4 --,henry ,wadsworth ,longfellow ,what is the atmosphere of this poem8 ,compare it in this respect with ,pibroch of ,donuil ,dhu4 ,how does it differ from the latter in expression1 so far as ,time1 ,pitch1 and ,force are concerned8 7,introduction1 pp4 #ac1 #bb and #bf47 ,,wafted1 ,,after1 ,,masters1 ,,poem1 ,,corridors1 ,,sorrow4 7,appendix ,a1 #a47 ,observe the difficulties of ,articulation in ll4 #c1 #aa1 #ae1 #ah1 #bb1 #bf1 #bh and #ca4 7,appendix ,a1 #c and #f47 99 99 99 99 99 ,,the ,,schoolmaster ,,and ,,the ,,boys ,from ,the ,old ,curiosity ,shop #a4 ,the schoolmaster had scarcely arranged the room in due order1 and taken his seat behind his desk1 when a white-headed boy with a sunburnt face appeared at the door1 and stopping there to make a rustic bow1 came in and took his seat upon one of the forms4 ,the white-headed boy then put an open book1 astonishingly dog-eared1 upon his knees1 and thrusting his hands into his pockets1 began counting the marbles with which they were filled4 ,soon afterwards another white-headed little boy came straggling in1 and after him a red-headed lad1 and after him two more with white heads1 and then one with a flaxen poll1 and so on until there were about a dozen boys in all1 with heads of every colour but gray1 and ranging in their ages from four years old to fourteen years or more2 for the legs of the youngest were a long way from the floor when he sat upon the form1 and the eldest was a heavy1 good-tempered1 foolish fellow1 about half a head taller than the schoolmaster4 #b4 ,at the top of the first form--the post of honour in the school--was the vacant place of the little sick scholar1 and at the head of the row of pegs on which the hats and caps were hung1 one peg was left empty4 ,no boy attempted to violate the sanctity of seat or peg1 but many a one looked from the empty spaces to the schoolmaster1 and whispered to his idle neighbour behind his hand4 #c4 ,then began the hum of conning over lessons and getting them by heart1 the whispered jest and stealthy game1 and all the noise and drawl of school2 and in the midst of the din sat the poor schoolmaster1 the very image of meekness and simplicity1 vainly attempting to fix his mind upon the duties of the day1 and to forget his little sick friend4 ,but the tedium of his office reminded him more strongly of the willing scholar1 and his thoughts were rambling from his pupils--it was plain4 ,none knew this better than the idlest boys1 who1 growing bolder with impunity1 waxed louder and more daring--eating apples under the master's eye1 pinching each other in sport or malice1 and cutting their autographs in the very legs of his desk4 ,the puzzled dunce1 who stood beside it to say his lesson out of book1 looked no longer at the ceiling for forgotten words1 but drew closer to the master's elbow and boldly cast his eyes upon the page4 ,if the master did chance to rouse himself and seem alive to what was going on1 the noise subsided for a moment1 and no eyes met his but wore a studious and deeply humble look2 but1 the instant he relapsed again1 it broke out afresh1 and ten times louder than before4 #d4 ,oh1 how some of those idle fellows longed to be outside1 and how they looked at the open door and window1 as if they half meditated rushing violently out1 plunging into the woods1 and being wild boys and savages from that time forth4 ,what rebellious thoughts of the cool river1 and some shady bathing-place beneath willow-trees with branches dipping in the water1 kept tempting and urging that sturdy boy1 who sat fanning his flushed face with a spelling-book wishing himself a whale1 or a fly1 or anything but a boy at school on that hot1 broiling day6 #e4 ,heat6 ,ask that other boy1 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 that1 when even the bees were diving deep down into the cups of flowers and stopping there1 as if they had made up their minds to retire from business and be manufacturers of honey no more4 ,the day was made for laziness1 and lying on one's back in green places1 and staring at the sky till its brightness forced one to shut one's eyes and go to sleep2 and was this a time to be poring over musty books in a dark room1 slighted by the very sun itself8 ,monstrous6 #f4 ,the lessons over1 writing-time began2 and there being but one desk and that the master's1 each boy sat at it in turn and laboured at his crooked copy1 while the master walked about4 ,this was a quieter time2 for he would come and look over the writer's shoulder1 and tell him mildly to observe how such a letter was turned in such a copy on the wall1 and bid him take it for his model4 ,then he would stop and tell them what the sick child had said last night1 and how he had longed to be among them once again2 and such was the schoolmaster's gentle and affectionate manner that the boys seemed quite remorseful that they had worried him so much1 and were absolutely quiet2 eating no apples1 cutting no names1 inflicting no pinches1 for full two minutes afterwards4 #g4 ,i think1 boys1 said the schoolmaster1 when the clock struck twelve1 that ,i shall give an extra half-holiday this afternoon4 #h4 ,at this intelligence the boys1 led on and headed by the tall boy1 raised a great shout1 in the midst of which the master was seen to speak1 but could not be heard4 ,as he held up his hand1 however1 in token of his wish that they should be silent1 they were considerate enough to leave off1 as soon as the longest-winded among them were quite out of breath4 #i4 ,you must promise me first1 said the schoolmaster1 that you 'll not be noisy1 or1 at least1 if you are1 that you'll go away and be so--away out of the village1 ,i mean4 ,i'm sure you wouldn't disturb your old playmate and companion4 #aj4 ,there was a general murmur in the negative4 #aa4 ,then1 pray1 don't forget--there's my dear scholars1 said the schoolmaster--what ,i have asked you1 and do it as a favour to me4 ,be as happy as you can1 and likewise be mindful that you are blessed with health4 ,good-bye1 all6 #ab4 ,thank you1 sir1 and ,good-bye1 sir1 were said a great many times in a variety of voices1 and the boys went out very slowly and softly4 #ac4 ,but there was the sun shining and there were the birds singing1 as the sun only shines and the birds only sing on holidays and half-holidays2 there were the trees waving to all free boys to climb and nestle among their leafy branches2 the hay1 entreating them to come and scatter it in the pure air2 the green corn1 gently beckoning toward wood and stream2 the smooth ground rendered smoother still by blending lights and shadows1 inviting to runs and leaps1 and long walks no one knows whither4 ,it was more than boy could bear1 and with a joyous whoop the whole company took to their heels and spread themselves about1 shouting and laughing as they went4 #ad4 ,it's natural1 thank heaven6 said the poor schoolmaster1 looking after them4 ,i'm very glad they didn't mind me6 --,charles ,dickens ,par4 #a4 ,,due4 7,appendix ,a #b47 ,indicate the pauses required to allow time for the ,imaging process4 ,discriminate between the short and the long pauses4 7,introduction1 pp4 #h and #aa47 ,,order1 ,,desk1 ,,door4 ,account for the ,inflection on each of these words4 7,introduction1 pp4 #ae and #af47 ,what clause in the first sentence should be made most prominent8 ,indicate the relative value of each part of this sentence by the ,shading4 7,introduction1 p4 #cc47 ,par4 #b4 ,what two phrases suggest the central idea of this paragraph8 ,how does the voice indicate that the parenthetical clause is subordinate in thought8 7,introduction1 pp4 #bd and #cc47 ,par4 #c4 ,,simplicity1 ,,impunity1 ,,studious4 7,appendix ,a #h and #b47 ,,did ,,chance4 ,what is the emphatic word8 ,why8 ,read the last two sentences with a view to ,perspective4 7,introduction1 p4 #cc47 ,,no ,,eyes ,,met ,,his 444 ,how does the ,inflection on ,,his indicate the exact meaning8 7,introduction1 p4 #af47 ,par4 #d4 ,give examples of ,grouping in the last sentence and show how ,grouping affects the ,pause4 7,introduction1 p4 #aa47 ,par4 #e4 ,,whose ,,seat--,,grass4 ,what is the ,shading8 ,indicate the pauses in this group of words giving your reason in each case4 ,what ,inflection is placed on the question in the last sentence8 ,account for it4 7,introduction1 p4 #ai47 ,par4 #f4 ,,writer',s ,,shoulder1 ,,boys ,,seemed1 ,,absolutely4 7,appendix ,a1 #f1 #b47 ,give examples of ,grouping in the second sentence4 ,,bid ,,him ,,take ,,it ,,for ,,his ,,model4 ,which is the emphatic word8 ,why8 ,par4 #g4 ,how is ,i ,,think1 ,,boys connected with the rest of the speech8 ,apply this principle to other examples of direct speech interrupted by narrative4 7,introduction1 p4 #bd47 ,par4 #i4 ,,if ,,you ,,are 444 ,,be ,,so4 ,select the two emphatic ,words and give your reason for emphasizing them1 7,introduction1 p4 #cj47 99 99 99 99 99 ,,the ,,knights' ,,chorus ,from ,idylls of the ,king ,blow trumpet1 for the world is white with ,may2 ,blow trumpet1 the long night hath roll'd away6 ,blow thro' the living world--,let the ,king reign4 ,shall ,rome or ,heathen rule in ,arthur's realm8 ,flash brand and lance1 fall battleaxe upon helm1 #e ,fall battleaxe1 and flash brand6 ,let the ,king reign4 ,strike for the ,king and live6 his knights have heard ,that ,god hath told the ,king a secret word4 ,fall battleaxe1 and flash brand6 ,let the ,king reign4 ,blow trumpet6 he will lift us from the dust6 #aj ,blow trumpet6 live the strength1 and die the lust6 ,clang battleaxe1 and clash brand6 ,let the ,king reign4 ,strike for the ,king and die6 and if thou diest1 ,the ,king is ,king1 and ever wills the highest4 ,clang battleaxe1 and clash brand6 ,let the king reign4 #ae ,blow1 for our ,sun is mighty in his ,may6 ,blow1 for our ,sun is mightier day by day6 ,clang battleaxe1 and clash brand6 ,let the ,king reign4 ,the ,king will follow ,christ1 and we the ,king ,in whom high ,god hath breathed a secret thing4 #bj ,fall battleaxe1 and flash brand6 ,let the ,king reign4 --,alfred ,tennyson ,how do you describe this poem from the standpoint of2 7#a7 the amount of energy1 7#b7 excitement or nervous tension8 ,with what ,force and in what ,pitch should it be read8 7,introduction1 pp4 #bb and #be47 ,account for the ,time in which it is read4 7,introduction1 p4 #ac47 ,what is the purpose of the question in stanza ii8 ,how is this purpose indicated by the ,inflection8 7,introduction1 p4 #ai47 99 99 99 99 99 ,,the ,,northern ,,star ,a ,tynemouth ,ship ,the ,northern ,star ,sail'd over the bar ,bound to the ,baltic ,sea2 ,in the morning gray ,she stretched away3-- #e ',twas a weary day to me6 ,for many an hour ,in sleet and shower ,by the lighthouse rock ,i stray2 ,and watch till dark #aj ,for the winged bark ,of him that is far away4 ,the castle's bound ,i wander round ,amidst the grassy graves3 #ae ,but all ,i hear ,is the north-wind drear1 ,and all ,i see are the waves4 ,the ,northern ,star ,is set afar6 #bj ,set in the ,baltic ,sea3 ,and the waves have spread ,the sandy bed ,that holds my ,love from me4 --,unknown ,,preparatory4--,tell the story of the poem1 making as vivid as possible the scenes depicted4 ,compare ,kingsley's ,three ,fishers1 and ,lucy ,larcom's ,hannah binding ,shoes4 ,compare this poem with ,the ,knights' ,chorus from the standpoint of the amount of energy4 ,how is the difference between the two indicated vocally by the ,force8 7,introduction1 p4 #bf47 ,what is the difference in nervous tension between the last stanza and the preceding ones8 ,what difference in ,pitch8 7,introduction1 p4 #bc47 ,account for the ,time in which it is read4 7,introduction1 p4 #ad47 #aa4 ,,winged1 with sails #ae4 ,,tynemouth ,,castle used as a graveyard4 99 99 99 99 99 ,,the ,,indigo ,,bird ,when ,i see1 ,high on the tip-top twig of a tree1 ,something blue by the breezes stirred1 ,but so far up that the blue is blurred1 ,so far up no green leaf flies4 #e ,twixt its blue and the blue of the skies1 ,then ,i know1 ere a note be heard1 ,that is naught but the ,indigo bird4 ,blue on the branch and blue in the sky1 ,and naught between but the breezes high1 #aj ,and naught so blue by the breezes stirred ,as the deep1 deep blue of the ,indigo bird4 ,when ,i hear ,a song like a bird laugh1 blithe and clear1 ,as though of some airy jest he had heard #ae ,the last and the most delightful word1 ,a laugh as fresh in the ,august haze ,as it was in the full-voiced ,april days1 ,then ,i know that my heart is stirred ,by the laugh-like song of the ,indigo bird4 #bj ,joy in the branch and joy in the sky1 ,and naught between but the breezes high2 ,and naught so glad on the breezes heard ,as the gay1 gay note of the ,indigo bird4 --,ethelwyn ,wetherald 7,by permission7 ,,preparatory4--,suggest a picture which would serve as an illustration for this poem4 ,how does the ,imaging affect the ,pitch in the first two stanzas8 ,what feelings does the poem arouse8 ,where do these feelings reach a ,climax8 ,what is the effect on the ,pitch8 ,what other ,climax is found in the poem besides the ,climax of feeling8 ,,far1 ,,laugh1 ,,branch1 ,,glad4 7,appendix ,a1 #a47 ,,breezes ,,stirred4 7,appendix ,a1 #f47 ,what is the ,inflection on ll4 #a-f of stanza i and iii8 7,introduction1 p4 #ag47 ,how does the ,pitch of these lines differ from that of ll4 #g and #h of these stanzas8 ,account for the change4 7,introduction1 p4 #bc47 ,what are the contrasting words in l4 #f1 stanza i8 ,note the ,grouping and ,pause in ll4 #c and #d1 stanza iii4 99 99 99 99 99 ,,the ,,pasture ,,field ,when spring has burned ,the ragged robe of winter1 stitch by stitch1 ,and deftly turned ,to moving melody the wayside ditch1 ,the pale-green pasture field behind the bars #e ,is goldened o'er with dandelion stars4 ,when summer keeps ,quick pace with sinewy white-shirted arms1 ,and daily steeps ,in sunny splendour all her spreading farms1 #aj ,the pasture field is flooded foamy white ,with daisy faces looking at the light4 ,when autumn lays ,her golden wealth upon the forest floor1 ,and all the days #ae ,look backward at the days that went before1 ,a pensive company1 the asters1 stand1 ,their blue eyes brightening the pasture land4 ,when winter lifts ,a sounding trumpet to his strenuous lips1 #bj ,and shapes the drifts ,to curves of transient loveliness1 he slips ,upon the pasture's ineffectual brown ,a swan-soft vestment delicate as down4 --,ethelwyn ,wetherald 7,by permission7 ,,preparatory4--,select the phrases which call into play the ,imaging process4 ,describe four typical ,canadian scenes suggested by this poem4 ,distinguish the sound of a in ,,pasture1 ,,ragged1 ,,bars1 etc4 7,appendix ,a1 #a47 ,what words express the central ideas in each stanza1 and at the same time form a contrast with one another8 ,what ,inflection is used in the first four lines of each stanza8 7,introduction1 p4 #af47 ,how does the ,shading of these lines compare with that of the last two of each stanza8 7,introduction1 p4 #cc47 99 99 99 99 99 ,,shipwrecked ,from ,kidnapped #a4 ,the time ,i spent upon the island is still so horrible a thought to me that ,i must pass it lightly over4 ,in all the books ,i have read of people cast away1 either they had their pockets full of tools1 or a chest of things would be thrown upon the beach along with them1 as if on purpose4 ,my case was very much different4 ,i had nothing in my pockets but money and ,alan's silver button2 and being inland bred1 ,i was as much short of knowledge as of means4 #b4 ,i knew indeed that shellfish were counted good to eat2 and among the rocks of the isle ,i found a great plenty of limpets1 which at first ,i could scarcely strike from their places1 not knowing quickness to be needful4 ,there were1 besides1 some of the little shells that we call buckies2 ,i think periwinkle is the ,english name4 ,of these two ,i made my whole diet1 devouring them cold and raw as ,i found them2 and so hungry was ,i that at first they seemed to me delicious4 #c4 ,perhaps they were out of season1 or perhaps there was something wrong in the sea about my island4 ,but at least ,i had no sooner eaten my first meal than ,i was seized with giddiness and retching1 and lay for a long time no better than dead4 ,a second trial of the same food 7indeed1 ,i had no other7 did better with me and revived my strength4 #d4 ,but as long as ,i was on the island1 ,i never knew what to expect when ,i had eaten2 sometimes all was well1 and sometimes ,i was thrown into a miserable sickness2 nor could ,i ever distinguish what particular fish it was that hurt me4 ,all day it streamed rain2 there was no dry spot to be found2 and when ,i lay down that night1 between two boulders that made a kind of roof1 my feet were in a bog4 #e4 ,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 ,iona4 ,and on the other hand1 over the low country of the ,ross1 ,i saw smoke go up1 morning and evening1 as if from a homestead in a hollow of the land4 #f4 ,i used to watch this smoke1 when ,i was wet and cold and had my head half-turned with loneliness1 and think of the fireside and of the company till my heart burned4 ,altogether1 this sight ,i had of men's homes and comfortable lives1 although it put a point on my own sufferings1 yet it kept hope alive1 and helped me to eat my raw shellfish 7which had soon grown to be a disgust71 and saved me from the sense of horror ,i had whenever ,i was quite alone with dead rocks1 and fowls1 and the rain1 and the cold sea4 #g4 ,charles the ,second declared a man could stay outdoors more days in the year in the climate of ,england than in any other4 ,that was very like a king with a palace at his back and changes of dry clothes4 ,but he must have had better luck on his flight from ,worcester than ,i had on that miserable isle4 ,it was the height of summer2 yet it rained for more than twenty-four hours1 and did not clear until the afternoon of the third day4 #h4 ,there is a pretty high rock on the north-west of ,earraid1 which 7because it had a flat top and overlooked the ,sound7 ,i was much in the habit of frequenting2 not that ,i ever stayed in one place1 save when asleep1 my misery giving me no rest4 ,indeed1 ,i wore myself down with continual and aimless goings and comings in the rain4 #i4 ,as soon1 however1 as the sun came out1 ,i lay down on the top of that rock to dry myself4 ,the comfort of the sunshine is a thing ,i cannot tell4 ,it set me thinking hopefully of my deliverance1 of which ,i had begun to despair2 and ,i scanned the sea and the ,ross with a fresh interest4 ,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 wiser4 #aj4 ,well1 all of a sudden1 a coble1 with a brown sail and a pair of fishers aboard of it1 came flying round that corner of the isle1 bound for ,iona4 ,i shouted out1 and then fell on my knees on the rock and prayed to them4 ,they were near enough to hear--,i could even see the colour of their hair--and there was no doubt but they observed me1 for they cried out in the ,gaelic tongue1 and laughed4 ,but the boat never turned aside1 and flew right on1 before my eyes1 for ,iona4 #aa4 ,i could not believe such wickedness1 and ran along the shore from rock to rock1 crying on them piteously2 even after they were out of reach of my voice ,i still cried and waved to them2 and when they were quite gone ,i thought my heart would burst4 #ab4 ,the next day 7which was the fourth of this horrible life of mine7 ,i found my bodily strength run very low4 ,but the sun shone1 the air was sweet1 and what ,i managed to eat of the shellfish agreed well with me and revived my courage4 #ac4 ,i was scarce back on my rock 7where ,i went always the first thing after ,i had eaten7 before ,i observed a boat coming down the ,sound1 and with her head1 as ,i thought1 in my direction4 #ad4 ,i began at once to hope and fear exceedingly2 for ,i thought these men might have thought better of their cruelty and be coming back to my assistance4 ,but another disappointment1 such as yesterday's1 was more than ,i could bear4 ,i turned my back accordingly upon the sea1 and did not look again till ,i had counted many hundreds4 #ae4 ,the boat was still heading for the island4 ,the next time ,i counted the full thousand1 as slowly as ,i could1 my heart beating so as to hurt me4 ,and then it was out of all question4 ,she was coming straight to ,earraid4 ,i could no longer hold myself back1 but ran to the seaside and out1 from one rock to another1 as far as ,i could go4 ,it is a marvel ,i was not drowned2 for when ,i was brought to a stand at last my legs shook under me1 and my mouth was so dry ,i must wet it with the sea water before ,i was able to shout4 #af4 ,all this time the boat was coming on2 and now ,i was able to perceive it was the same boat and the same two men as yesterday4 ,this ,i knew by their hair1 which the one had of bright yellow and the other black4 ,but now there was a third man along with them1 who looked to be of a better class4 #ag4 ,as soon as they were come within easy speech1 they let down their sail and lay quiet4 ,in spite of my supplications1 they drew no nearer in1 and what frightened me most of all1 the new man tee-heed with laughter as he talked and looked at me4 #ah4 ,then he stood up in the boat and addressed me a long while1 speaking fast and with many wavings of his hand4 ,i told him ,i had no ,gaelic2 and at this he became very angry1 and ,i began to suspect he thought he was talking ,english4 ,listening very close1 ,i caught the word whateffer several times2 but all the rest was ,gaelic1 and might have been ,greek and ,hebrew for me4 #ai4 ,whatever1 said ,i1 to show him ,i had caught a word4 ,yes1 yes--yes1 yes1 said he2 and then he looked at the other men as much as to say1 ,i told you ,i spoke ,english1 and began again as hard as ever in the ,gaelic4 #bj4 ,this time ,i picked out another word1 tide4 ,then ,i had a flash of hope4 ,i remembered he was always waving his hand toward the mainland of the ,ross4 #ba4 ,do you mean when the tide is out8--,i cried1 and could not finish4 #bb4 ,yes1 yes1 said he4 ,tide4 #bc4 ,at that ,i turned tail upon their boat 7where my adviser had once more begun to tee-hee with laughter71 leaped back the way ,i had come1 from one stone to another1 and set off running across the isle as ,i had never run before4 ,in about half an hour ,i came upon the shores of the creek1 and1 sure enough1 it was shrunk into a little trickle of water1 through which ,i dashed1 not above my knees1 and landed with a shout on the main island4 #bd4 ,a sea-bred boy would not have stayed a day on ,earraid1 which is only what they call a tidal islet1 and1 except1 in the bottom of the neaps1 can be entered and left twice in every twenty-four hours1 either dry-shod1 or1 at the most1 by wading4 ,even ,i1 who had seen the tide going out and in before me in the bay1 and even watched for the ebbs1 the better to get my shellfish--even ,i 7,i say71 if ,i had sat down to think1 instead of raging at my fate1 must have soon guessed the secret and got free4 #be4 ,it was no wonder the fishers had not understood me4 ,the wonder was rather that they had ever guessed my pitiful illusion1 and taken the trouble to come back4 ,i had starved with cold and hunger on that island for close upon one hundred hours4 ,but for the fishers1 ,i might have left my bones there1 in pure folly4 ,and even as it was1 ,i had paid for it pretty dear1 not only in past sufferings but in my present case1 being clothed like a beggar man1 scarce able to walk1 and in great pain of my sore throat4 #bf4 ,i have seen wicked men and fools--a great many of both--and ,i believe they both get paid in the end2 but the fools first4 --,robert ,louis ,stevenson 7,by arrangement7 ,how are the parenthetical clauses in this selection kept in the back-ground8 7,introduction1 p4 #bd47 #aa4 ,i could not believe such wickedness 444 heart would burst4 ,observe the ,climax4 7,introduction1 p4 #ca47 #ai4 ,whatever1 said ,i1 444 ,how is the direct speech made to stand out from the narration which interrupts it8 7,introduction1 p4 #bd47 99 99 99 99 99 ,,on ,,his ,,blindness ,when ,i consider how my light is spent ,ere half my days1 in this dark world and wide1 ,and that one talent which is death to hide1 ,lodged with me useless1 though my soul more bent ,to serve therewith my ,maker1 and present ,my true account1 lest ,he1 returning1 chide2 ,doth ,god exact day labour1 light denied8 ,i fondly ask4 ,but ,patience1 to prevent ,that murmur1 soon replies1 ,god doth not need ,either man's work1 or ,his own gifts4 ,who best ,bear ,his mild yoke1 they serve ,him best3 ,his state ,is kingly2 thousands at ,his bidding speed1 ,and post o'er land and ocean without rest3 ,they also serve who only stand and wait4 --,milton ,,preparatory4--,divide the sonnet into two parts1 giving each part a title4 ,read the first part in prose order1 supplying the ellipses4 ,how many distinct statements are there in the second part8 ,select the clauses of the first part that are equal in rank and have the same ,shading4 ,show which should be made prominent1 and which held in the background4 ,read the first part of this sonnet1 with a view to ,perspective4 7,introduction1 p4 #cc47 #a-d4 ,with what do you connect ,,when 444 ,,spent1 and ,,lodged8 ,how8 ,how do you make the statements of the second part stand out singly8 7,introduction1 pp4 #h and #aj47 99 99 99 99 99 ,,briggs ,,in ,,luck ,from ,doctor ,birch and his ,young ,friends ,enter the ,knife-boy4 ,hamper for ,briggses6 ,master ,brown4 ,hurray1 ,tom ,briggs6 ,i'll lend you my knife4 ,if this story does not carry its own moral1 what fable does1 ,i wonder8 ,before the arrival of that hamper1 ,master ,briggs was in no better repute than any other young gentleman of the lower school2 and in fact ,i had occasion myself1 only lately1 to correct ,master ,brown for kicking his friend's shins during the writing-lesson4 ,but how this basket1 directed by his mother's house-keeper1 and marked ,,glass ,,with ,,care1 whence ,i concluded that it contained some jam and some bottles of wine probably1 as well as the usual cake and game-pie1 and half a sovereign for the elder ,master ,b41 and five new shillings for ,master ,decimus ,briggs--how1 ,i say1 the arrival of this basket alters all ,master ,briggs's circumstances in life1 and the estimation in which many persons regard him6 ,if he is a good-hearted boy1 as ,i have reason to think1 the very first thing he will do1 before inspecting the contents of the hamper1 or cutting into them with the knife which ,master ,brown has so considerately lent him1 will be to read over the letter from home which lies on top of the parcel4 ,he does so1 as ,i remarked to ,miss ,raby 7for whom ,i happened to be mending pens when the little circumstance arose71 with a flushed face and winking eyes4 ,look how the other boys are peering into the basket as he reads--,i say to her1 ,isn't it a pretty picture8 ,part of the letter is in a very large hand4 ,that is from his little sister4 ,and ,i would wager that she netted the little purse which he has just taken out of it1 and which ,master ,lynx is eyeing4 ,you are a droll man1 and remark all sorts of queer things1 ,miss ,raby says1 smiling1 and plying her swift needle and fingers as quick as possible4 ,i am glad we were both on the spot1 and that the little fellow lies under our guns as it were1 and so is protected from some such brutal school-pirate as young ,duval for instance1 who would rob him1 probably1 of some of those good things2 good in themselves1 and better because fresh from home4 ,see1 there is a pie as ,i said1 and which ,i daresay is better than those which are served at our table 7but you never take any notice of these kind of things1 ,miss ,raby71 a cake1 of course1 a bottle of currant wine1 jam-pots1 and no end of pears in the straw4 ,with this money little ,briggs will be able to pay the tick which that impudent child has run up with ,mrs4 ,ruggles2 and ,i shall let ,briggs ,major pay for the pencil-case which ,bullock sold to him4--,it will be a lesson to the young prodigal for the future4 ,but1 ,i say1 what a change there will be in his life for some time to come1 and at least until his present wealth is spent6 ,the boys who bully him will mollify toward him and accept his pie and sweetmeats4 ,they will have feasts in the bedroom2 and that wine will taste more deliciously to them than the best out of the ,doctor's cellar4 ,the cronies will be invited4 ,young ,master ,wagg will tell his most dreadful story and sing his best song for a slice of that pie4 ,what a jolly night they will have6 ,when we go the rounds at night1 ,mr4 ,prince and ,i will take care to make a noise before we come to ,briggs's room1 so that the boys may have time to put the light out1 to push the things away1 and to scud into bed4 ,doctor ,spry may be put in requisition the next morning4 ,nonsense6 you absurd creature1 cries out ,miss ,raby1 laughing2 and ,i lay down the twelfth pen very nicely mended4 ,yes2 after luxury comes the doctor1 ,i say2 after extravagance1 a hole in the breeches pocket4 ,to judge from his disposition1 ,briggs ,major will not be much better off a couple of days hence than he is now1 and1 if ,i am not mistaken1 will end life a poor man4 ,brown will be kicking his shins before a week is over1 depend upon it4 ,there are boys and men of all sorts1 ,miss ,r4--there are selfish sneaks who hoard until the store they daren't use grows mouldy--there are spendthrifts who fling away1 parasites who flatter and lick its shoes1 and snarling curs who hate and envy good fortune4 ,i put down the last of the pens1 brushing away with it the quill chips from her desk first1 and she looked at me with a kind1 wondering face4 ,i brushed them away1 clicked the pen-knife into my pocket1 made her a bow1 and walked off--for the bell was ringing for school4 --,william ,makepeace ,thackeray ,,master1 ,,basket1 ,,glass1 ,,half1 ,,after4 7,appendix ,a1 #a47 ,,friend',s ,,shins1 ,,selfish ,,sneaks1 ,,spendthrifts4 7,appendix ,a1 #c and #f47 ,make an analysis from the standpoint of ,perspective of the following sentences3 ,,but ,,how ,,this ,,basket 444 ,,regard ,,him2 ,,if ,,he ,,is ,a ,,good-,,hearted ,,boy 444 ,,parcel2 ,,he ,,does ,,so 444 ,,winking ,,eyes2 ,,see ,,there ,,is ,a ,,pie 444 ,,straw4 99 99 99 99 99 ,,the ,,laughing ,,sally ,a wind blew up from ,pernambuco1 7,yeo heave ho6 the ,laughing ,sally6 ,hi yeo1 heave away67 ,a wind blew out of the east-sou'-east ,and boomed at the break of day4 #e ,the ,laughing ,sally sped for her life1 ,and a speedy craft was she4 ,the black flag flew at her top to tell ,how she took toll of the sea4 ,the wind blew up from ,pernambuco2 #aj ,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 last4 ,for a day and a night1 a night and a day2 ,over the blue1 blue round1 #ae ,went on the chase of the pirate quarry1 ,the hunt of the tireless hound4 ,land on the port bow6 came the cry2 ,and the ,sally raced for shore1 ,till she reached the bar at the river-mouth #bj ,where the shallow breakers roar4 ,she passed the bar by a secret channel ,with clear tide under her keel1-- ,for he knew the shoals like an open book1 ,the captain at the wheel4 #be ,she passed the bar1 she sped like a ghost1 ,till her sails were hid from view ,by the tall1 liana'd1 unsunned boughs ,o'erbrooding the dark bayou4 ,at moonrise up to the river-mouth #cj ,came the ,king's black ship of war1 ,the red cross flapped in wrath at her peak1 ,but she could not cross the bar4 ,and while she lay in the run of the seas1 ,by the grimmest whim of chance1 #ce ,out of the bay to the north came forth ,two battle-ships of ,france4 ,on the ,english ship the twain bore down ,like wolves that range by night2 ,and the breakers' roar was heard no more #dj ,in the thunder of the fight4 ,the crash of the broadsides rolled and stormed ,to the ,sally hid from view ,under the tall liana'd boughs ,of the moonless dark bayou4 #de ,a boat ran out for news of the fight1 ,and this was the word she brought-- ,the ,king's ship fights the ships of ,france ,as the ,king's ships all have fought6 ,then muttered the mate1 ,i'm a man of ,devon6 #ej ,and the captain thundered then-- ,there's ,english rope that bides for our necks1 ,but we all be ,englishmen6 ,the ,sally glided out of the gloom ,and down the moon-white river4 #ee ,she stole like a gray shark over the bar ,where the long surf seethes for ever4 ,she hove to under a high ,french hull1 ,and the red cross rose to her peak4 ,the ,french were looking for fight that night1 #fj ,and they hadn't far to seek4 ,blood and fire on the streaming decks1 ,and fire and blood below2 ,the heat of hell1 and the reek of hell1 ,and the dead men laid a-row6 #fe ,and when the stars paled out of heaven ,and the red dawn-rays uprushed1 ,the oaths of battle1 the crash of timbers1 ,the roar of the guns was hushed4 ,with one foe beaten under his bow1 #gj ,the other far in flight1 ,the ,english captain turned to look ,for his fellow in the fight4 ,the ,english captain turned and stared2-- ,for where the ,sally had been #ge ,was a single spar upthrust from the sea ,with the red cross flag serene6 ,a wind blew up from ,pernambuco 7,yeo heave ho6 the ,laughing ,sally6 ,hi yeo1 heave away67 ,and boomed for the doom of the ,laughing ,sally6 ,gone down at the break of day4 --,charles ,g4 ,d4 ,roberts 7,by arrangement7 ,,preparatory4--,divide the poem into sections giving to each part a descriptive title4 7,introduction1 p4 #aj47 ,how is each section made to stand out8 ,in what ,time is the section which describes the flight of the ,laughing ,sally read8 ,give your reason4 7,introduction1 pp4 #e and #ac47 ,contrast the first and last stanzas from the standpoint of feeling4 ,how does the voice express the difference8 ,,blew1 ,,knew1 ,,news1 ,,king',s ,,ship1 ,,seethes1 ,,and4 7,appendix ,a1 #b1 #c1 #e1 and #f47 ,distinguish the sound of a in ,,laughing ,,sally1 ,,craft1 ,,last1 ,,passed1 ,,wrath1 ,,chance1 ,,crash1 ,,dark1 ,,far1 ,,dawn4 7,appendix ,a1 #a47 #h-i4 ,note the ,grouping and ,pause4 7,introduction1 p4 #aa47 #aa-ac4 ,observe the ,grouping4 ,which phrases have the heaviest ,shading8 7,introduction1 p4 #cc47 #af4 ,where is the ,pause8 ,why8 #ah4 ,,land ,,on ,,the ,,port ,,bow4 ,what change is made in ,pitch and ,force8 ,account for it4 7,introduction1 pp4 #bb and #be47 #bd4 ,what is the ,inflection on this line8 #cj-cg4 ,observe the ,grouping and ,shading throughout these stanzas4 #ch-de4 ,what sense is appealed to in these stanzas8 ,how is the ,time affected8 #df-ec4 ,how are the transitions to direct discourse indicated8 7,introduction1 p4 #bd47 ,what is the difference in ,pitch between the mate's and the captain's speech8 7,introduction1 p4 #bc47 #ff-fg4 ,note the contrast with the preceding stanza and with the two following lines4 99 99 99 99 99 ,,the ,,prodigal ,,son ,luke xv #aa-cb ,a certain man had two sons3 ,and the younger of them said to his father1 ,father1 give me the portion of goods that falleth to me4 ,and he divided unto them his living4 ,and not many days after the younger son gathered all together1 and took his journey into a far country1 and there wasted his substance with riotous living4 ,and when he had spent all1 there arose a mighty famine in that land2 and he began to be in want4 ,and he went and joined himself to a citizen of that country2 and he sent him into his fields to feed swine4 ,and he would fain have filled his belly with the husks that the swine did eat3 and no man gave unto him4 ,and when he came to himself1 he said1 ,how many hired servants of my father's have bread enough and to spare1 and ,i perish with hunger6 ,i will arise and go to my father1 and will say unto him1 ,father1 ,i have sinned against heaven1 and before thee1 and am no more worthy to be called thy son3 make me as one of thy hired servants4 ,and he arose1 and came to his father4 ,but when he was yet a great way off1 his father saw him1 and had compassion1 and ran1 and fell on his neck1 and kissed him4 ,and the son said unto him1 ,father1 ,i have sinned against heaven1 and in thy sight1 and am no more worthy to be called thy son4 ,but the father said to his servants1 ,bring forth the best robe1 and put it on him2 and put a ring on his hand1 and shoes on his feet3 ,and bring hither the fatted calf1 and kill it2 and let us eat1 and be merry2 ,for this my son was dead1 and is alive again2 he was lost1 and is found4 ,and they began to be merry4 ,now his elder son was in the field3 and as he came and drew nigh to the house1 he heard musick and dancing4 ,and he called one of the servants1 and asked what these things meant4 ,and he said unto him1 ,thy brother is come2 and thy father hath killed the fatted calf1 because he hath received him safe and sound4 ,and he was angry1 and would not go in3 therefore came his father out1 and intreated him4 ,and he answering said to his father1 ,lo1 these many years do ,i serve thee1 neither transgressed ,i at any time thy commandment2 and yet thou never gavest me a kid1 that ,i might make merry with my friends3 ,but as soon as this thy son was come1 which hath devoured thy living with harlots1 thou hast killed for him the fatted calf4 ,and he said unto him1 ,son1 thou art ever with me1 and all that ,i have is thine4 ,it was meet that we should make merry1 and be glad1 for this thy brother was dead1 and is alive again2 and was lost1 and is found4 ,,preparatory4--,divide this parable into four parts1 giving each part a descriptive title4 ,describe pictures to illustrate each part4 ,connect the parable with any similar story drawn from modern life4 ,fill in details to account for 7a7 the prodigal's desire to leave home1 7b7 the father's great joy at his return1 7c7 the elder brother's jealousy4 ,,how ,,many ,,hired ,,servants1 ,,etc4 ,what are the prodigal's feelings8 ,what new feeling is introduced with 7a7 ,i ,,will ,,arise1 ,,etc48 7b7 ,,father1 ,i ,,have ,,sinned1 ,,etc48 ,in what ,time and ,pitch do you read the passages which describe the father's joy8 7,introduction1 pp4 #ab and #bb47 ,what feeling pervades the speech of the elder son8 ,what is the motive of the father's reply8 ,explain the ,emphasis in the following2 7a7 ,,and ,,he ,,sent ,,him2 7b7 ,,and ,i ,,perish2 7c7 ,,now ,,his ,,elder ,,son2 7d7 ,,therefore ,,came ,,his ,,father ,,out2 7e7 ,,thou ,,never ,,gavest ,,me ,a ,,kid4 7,introduction1 pp4 #cj and #ca47 ,explain the ,inflection on ,,dead1 ,,alive1 ,,lost1 ,,found4 99 99 99 99 99 ,,christmas ,,at ,,sea ,the sheets were frozen hard1 and they cut the naked hand2 ,the decks were like a slide1 where a seaman scarce could stand2 ,the wind was a nor'-wester1 blowing squally off the sea2 ,and cliffs and spouting breakers were the only things a-lee4 ,they heard the surf a-roaring before the break of day2 #e ,but 'twas only with the peep of light we saw how ill we lay4 ,we tumbled every hand on deck instanter1 with a shout1 ,and we gave her the maintops'l1 and stood by to go about4 ,all day we tacked and tacked between the ,south ,head and the ,north2 ,all day we hauled the frozen sheets1 and got no further forth2 #aj ,all day as cold as charity1 in bitter pain and dread1 ,for very life and nature we tacked from ,head to ,head4 ,we gave the ,south a wider berth1 for there the tide-race roared1 ,but every tack we made we brought the ,north ,head close aboard2 ,so's we saw cliffs and houses1 and the breakers running high1 #ae ,and the coast-guard in his garden1 with his glass against his eye4 ,the frost was on the village roofs as white as ocean foam2 ,the good red fires were burning bright in every 'longshore home2 ,the windows sparkled clear1 and the chimneys volleyed out2 ,and ,i vow we sniffed the victuals1 as the vessel went about4 #bj ,the bells upon the church were rung with a mighty jovial cheer2 ,for it's just that ,i should tell you how 7of all days in the year7 ,this day of our adversity was blessed ,christmas morn1 ,and the house above the coast-guard's was the house where ,i was born4 ,o well ,i saw the pleasant room1 the pleasant faces there1 #be ,my mother's silver spectacles1 my father's silver hair2 ,and well ,i saw the firelight1 like a flight of homely elves1 ,go dancing round the china plates that stand upon the shelves4 ,and well ,i knew the talk they had1 the talk that was of me1 ,of the shadow on the household and the son that went to sea2 #cj ,and ,o the wicked fool ,i seemed1 in every kind of way1 ,to be here and hauling frozen ropes on blessed ,christmas day4 ,they lit the high sea-light1 and the dark began to fall4 ,all hands to loose topgallant sails1 ,i heard the captain call4 ,captain1 she'll never stand it1 our first mate1 ,jackson1 cried4 #ce ,it's the one way or the other1 ,mr4 ,jackson1 he replied4 ,she staggered to her bearings1 but the sails were new and good1 ,and the ship smelt up to windward just as though she understood4 ,as the winter's day was ending1 in the entry of the night1 ,we cleared the weary headland1 and passed below the light4 #dj ,and they heaved a mighty breath1 every soul on board but me1 ,as they saw her nose again pointing handsome out to sea2 ,but all that ,i could think of1 in the darkness and the cold1 ,was just that ,i was leaving home1 and my folks were growing old4 --,robert ,louis ,stevenson 7,by arrangement7 ,,preparatory4--,supply an introduction and a conclusion for the story suggested by this poem4 ,indicate the pauses which should be made in this poem after words and phrases3 7a7 because of the ,imaging process1 7b7 in order to conceive the thought more fully1 7c7 in passing from the narration of one action to that of another1 7d7 because of direct speech interrupted by narrative4 7,introduction1 pp4 #g1 #bd1 and #bg47 #bj and #bb4 ,indicate the ,pause before phrases to prepare the mind for what is coming4 7,introduction1 p4 #h47 ,what ,inflection is used as a connecting link8 7,introduction1 p4 #af47 #bg4 ,,firelight4 ,with what should it be connected8 ,how8 7,introduction1 p4 #bd47 #cd4 ,,all ,,hands 444 ,,sails4 ,what change in ,pitch and ,force8 7,introduction1 pp4 #bb and #bf47 #dj4 ,what is the ,shading8 7,introduction1 p4 #cc47 ,compare the mental state of the captain with that of the first mate4 ,how is the difference indicated in the ,pitch of their respective speeches8 7,introduction1 p4 #bb47 ,connect stanzas vii and viii with the last two lines of the poem4 ,what background of thought is suggested8 ,how is the rate of reading affected by the thoughts suggested8 7,introduction1 p4 #ad47 99 99 99 99 99 ,,the ,,evening ,,wind ,spirit that breathest through my lattice1 thou ,that cool'st the twilight of the sultry day1 ,gratefully flows thy freshness round my brow3 ,thou hast been out upon the deep at play1 ,riding all day the wild blue waves till now1 #e ,roughening their crests1 and scattering high their spray1 ,and swelling the white sail4 ,i welcome thee ,to the scorched land1 thou wanderer of the sea6 ,nor ,i alone2--a thousand bosoms round ,inhale thee in the fulness of delight2 #aj ,and languid forms rise up1 and pulses bound ,livelier at coming of the wind of night2 ,and1 languishing to hear thy grateful sound1 ,lies the vast inland stretched beyond the sight4 ,go forth into the gathering shade2 go forth1 #ae ,god's blessing breathed upon the fainting earth6 ,go1 rock the little wood-bird in his nest1 ,curl the still waters1 bright with stars1 and rouse ,the wide old wood from his majestic rest1 ,summoning from the innumerable boughs #bj ,the strange deep harmonies that haunt his breast3 ,pleasant shall be thy way1 where meekly bows ,the shutting flower and darkling waters pass1 ,and where the o'ershadowing branches sweep the grass4 ,the faint old man shall lean his silver head #be ,to feel thee2 thou shalt kiss the child asleep1 ,and dry the moistened curls that overspread ,his temples1 while his breathing grows more deep2 ,and they who stand about the sick man's bed ,shall joy to listen to thy distant sweep1 #cj ,and softly part his curtains to allow ,thy visit1 grateful to his burning brow4 ,go1--but the circle of eternal change1 ,which is the life of nature1 shall restore1 ,with sounds and scents from all thy mighty range1 #ce ,thee to thy birthplace of the deep once more2 ,sweet odours in the sea-air1 sweet and strange1 ,shall tell the home-sick manner of the shore2 ,and1 listening to thy murmur1 he shall dream ,he hears the rustling leaf and running stream4 #dj --,william ,cullen ,bryant ,,preparatory4--,describe fully the picture suggested by 7a7 the first three lines of stanza i1 7b7 the last four lines of stanza i1 7c7 stanza ii4 ,give to each a suitable title4 #a1 #b1 and #f4 7,appendix ,a1 #c1 #d1 and #h47 #a4 ,,thou4 ,what is the ,inflection8 #f4 ,how does the sound accord with the sense8 #ae4 ,,go ,,forth 444 ,,go ,,forth4 ,where is the ,emphasis8 7,introduction1 p4 #ca47 #ai-ba4 ,what feeling is aroused8 ,how is the ,quality of voice affected8 7,introduction1 p4 #cd47 #be-cb4 ,what change in ,time8 ,account for it4 7,introduction1 p4 #ac47 #ca4 ,what atmosphere is created in this line8 ,what ,quality of voice is the result8 ,what lines in the last stanza have the same atmosphere8 7,introduction1 p4 #cd47 #cf4 ,with what should ,,thee be connected8 ,in what way8 #cc-cf4 ,what portions are read in lighter ,shading8 7,introduction1 p4 #cc47 99 99 99 99 99 ,,paradise ,,and ,,the ,,peri ,from ,lalla ,rookh ,one morn a ,peri at the gate ,of ,eden stood1 disconsolate2 ,and as she listened to the ,springs ,of ,life within1 like music flowing1 ,and caught the light upon her wings #e ,through the half-open portal glowing1 ,she wept to think her recreant race ,should e'er have lost that glorious place6 ,how happy1 exclaimed this child of air1 ,are the holy spirits who wander there1 #aj ',mid flowers that never shall fade or fall2 ,though mine are the gardens of earth and sea1 ,and the stars themselves have flowers for me1 ,one blossom of ,heaven out-blooms them all6 ,the glorious ,angel1 who was keeping #ae ,the ,gates of ,light1 beheld her weeping2 ,and1 as he nearer drew and listened ,to her sad song1 a tear-drop glistened ,within his eyelids1 like the spray ,from ,eden's fountain1 when it lies #bj ,on the blue flower1 which--,brahmins say-- ,blooms nowhere but in ,paradise4 ,nymph of a fair1 but erring line6 ,gently he said1--,one hope is thine4 ',tis written in the ,book of ,fate1 #be ,the ,peri yet may be forgiven ,who brings to this ,eternal ,gate ,the ,gift that is most dear to ,heaven6 ,go1 seek it1 and redeem thy sin3 ',tis sweet to let the ,pardoned in6 #cj ,downward the ,peri turns her gaze1 ,and1 through the war-field's bloody haze1 ,beholds a youthful warrior stand ,alone1 beside his native river1-- ,the red blade broken in his hand1 #ce ,and the last arrow in his quiver4 ,live1 said the conqueror1 live to share ,the trophies and the crowns ,i bear6 ,silent that youthful warrior stood-- ,silent he pointed to the flood #dj ,all crimson with his country's blood1 ,then sent his last remaining dart1 ,for answer1 to th' invader's heart4 ,false flew the shaft1 though pointed well2 ,the tyrant lived1 the hero fell6 #de ,yet marked the ,peri where he lay1 ,and when the rush of war was past1 ,swiftly descending on a ray ,of morning light1 she caught the last1 ,last glorious drop his heart had shed1 #ej ,before its free-born spirit fled6 ,be this1 she cried1 as she winged her flight1 ,my welcome gift at the ,gates of ,light4 ,sweet1 said the ,angel1 as she gave ,the gift into his radiant hand1 #ee ,sweet is our welcome of the brave ,who die thus for their native land4-- ,but see--alas6--the crystal bar ,of ,eden moves not--holier far ,than e'en this drop the boon must be1 #fj ,that opes the ,gates of ,heaven for thee6 ,but nought can charm the luckless ,peri2 ,her soul is sad1 her wings are weary4 ,when1 o'er the vale of ,balbec winging ,slowly1 she sees a child at play1 #fe ,among the rosy wild-flowers singing1 ,as rosy and as wild as they2 ,chasing1 with eager hands and eyes1 ,the beautiful blue damsel-flies ,that fluttered round the jasmine stems1 #gj ,like-winged flowers or flying gems3 ,and1 near the boy1 who1 tired with play1 ,now nestling 'mid the roses lay1 ,she saw a wearied man dismount ,from his hot steed1 and on the brink #ge ,of a small imaret's rustic fount ,impatient fling him down to drink4 ,then swift his haggard brow he turned ,to the fair child1 who fearless sat1 ,though never yet hath daybeam burned #hj ,upon a brow more fierce than that4 ,but hark6 the vesper call to prayer1 ,as slow the orb of daylight sets1 ,is rising sweetly on the air1 ,from ,syria's thousand minarets6 #he ,the boy has started from the bed ,of flowers1 where he had laid his head1 ,and down upon the fragrant sod ,kneels1 with his forehead to the south1 ,lisping th' eternal name of ,god #ij ,from purity's own cherub mouth4 ,and how felt he1 the wretched man1 ,reclining there--while memory ran ,o'er many a year of guilt and strife1 ,flew o'er the dark flood of his life1 #ie ,nor found one sunny resting-place1 ,nor brought him back one branch of grace8 ,there was a time1 he said1 in mild1 ,heart-humbled tones1 thou blessed child6 ,when1 young and haply pure as thou1 #ajj ,i looked and prayed like thee--but now-- ,he hung his head--each nobler aim1 ,and hope1 and feeling1 which had slept ,from boyhood's hour1 that instant came ,fresh o'er him1 and he wept--he wept6 #aje ,and now1 behold him kneeling there ,by the child's side1 in humble prayer1 ,while the same sunbeam shines upon ,the guilty and the guiltless one1 ,and hymns of joy proclaim through ,heaven #aaj ,the triumph of a soul forgiven6 ',twas when the golden orb had set1 ,while on their knees they lingered yet1 ,there fell a light1 more lovely far ,than ever came from sun or star1 #aae ,upon the tear that1 warm and meek1 ,dewed that repentant sinner's cheek3 ,to mortal eye that light might seem ,a northern flash or meteor beam-- ,but well th' enraptured ,peri knew #abj ',twas a bright smile the ,angel threw ,from ,heaven's gate1 to hail that tear-- ,her harbinger of glory near6 ,joy1 joy for ever6 my task is done3 ,the ,gates are passed1 and ,heaven is won6 #abe --,thomas ,moore ,,preparatory4--,divide this selection into four scenes1 describing minutely each scene1 and pointing out what part of the poem it covers4 7,introduction1 p4 #aj47 ,what feelings are aroused by each scene8 ,,spirit1 ,,native1 ,,purity4 7,appendix ,a1 #h47 #a-d4 ,give two examples of ,grouping from these lines4 ,give numerous other examples throughout the selection1 and show how ,grouping affects the ,inflection and ,pause4 7,introduction1 pp4 #aj-ab47 #c-g4 ,read with a view to ,perspective4 ,select other examples1 noting especially ll4 #ag-bb1 #dg-ea1 #gb-gg1 and #aab-aag4 7,introduction1 p4 #cc47 #i4 ,,exclaimed ,,this ,,child ,,of ,,air4 7,introduction1 pp4 #bd and #bg47 ,give other examples of direct discourse broken by narration4 #ed and #ef4 ,,sweet 444 ,,sweet4 ,which word is more emphatic8 7,introduction1 p4 #ca47 ,compare l4 #aje4 #hd4 ,with what should ,,is ,,rising be connected8 ,how8 ,compare ,,upon ,,the ,,tear1 l4 #aaf4 99 99 99 99 99 ,,the ,,lady ,,of ,,shalott ,,part #a ,on either side the river lie ,long fields of barley and of rye1 ,that clothe the wold and meet the sky2 ,and thro' the field the road runs by ,to many-tower'd ,camelot2 ,and up and down the people go1 ,gazing where the lilies blow ,round an island there below1 ,the island of ,shalott4 ,willows whiten1 aspens quiver1 ,little breezes dusk and shiver ,thro' the wave that runs for ever ,by the island in the river ,flowing down to ,camelot4 ,four gray walls1 and four gray towers1 ,overlook a space of flowers1 ,and the silent isle embowers ,the ,lady of ,shalott4 ,by the margin1 willow-veil'd1 ,slide the heavy barges trail'd ,by slow horses2 and unhail'd ,the shallop flitteth silken-sail'd ,skimming down to ,camelot3 ,but who has seen her wave her hand8 ,or at the casement seen her stand8 ,or is she known in all the land1 ,the ,lady of ,shalott8 ,only reapers1 reaping early ,in among the bearded barley1 ,hear a song that echoes cheerly ,from the river winding clearly1 ,down to tower'd ,camelot3 ,and by the moon the reaper weary1 ,piling sheaves in uplands airy1 ,listening1 whispers ',tis the fairy ,lady of ,shalott4 ,,part ,,ii ,there she weaves by night and day ,a magic web with colours gay4 ,she has heard a whisper say1 ,a curse is on her if she stay ,to look down to ,camelot4 ,she knows not what the curse may be1 ,and so she weaveth steadily1 ,and little other care hath she1 ,the ,lady of ,shalott4 ,and moving thro' a mirror clear ,that hangs before her all the year1 ,shadows of the world appear4 ,there she sees the highway near ,winding down to ,camelot3 ,there the river eddy whirls1 ,and there the surly village-churls1 ,and the red cloaks of market girls1 ,pass onward from ,shalott4 ,sometimes a troop of damsels glad1 ,an abbot on an ambling pad1 ,sometimes a curly shepherd-lad1 ,or long-hair'd page in crimson clad1 ,goes by to tower'd ,camelot2 ,and sometimes thro' the mirror blue ,the knights come riding two and two3 ,she hath no loyal knight and true1 ,the ,lady of ,shalott4 ,but in her web she still delights ,to weave the mirror's magic sights1 ,for often thro' the silent nights ,a funeral1 with plumes and lights ,and music1 went to ,camelot3 ,or when the moon was overhead1 ,came two young lovers lately wed2 ,i am half sick of shadows1 said ,the ,lady of ,shalott4 ,,part ,,iii ,a bow-shot from her bower-eaves1 ,he rode between the barley-sheaves1 ,the sun came dazzling thro' the leaves1 ,and flamed upon the brazen greaves ,of bold ,sir ,lancelot4 ,a red-cross knight for ever kneel'd ,to a lady in his shield1 ,that sparkled on the yellow field1 ,beside remote ,shalott4 ,the gemmy bridle glitter'd free1 ,like to some branch of stars we see ,hung in the golden ,galaxy4 ,the bridle bells rang merrily ,as he rode down to ,camelot3 ,and from his blazon'd baldric slung ,a mighty silver bugle hung1 ,and as he rode his armour rung1 ,beside remote ,shalott4 ,all in the blue unclouded weather ,thick-jewell'd shone the saddle-leather1 ,the helmet and the helmet-feather ,burn'd like one burning flame together1 ,as he rode down to ,camelot4 ,as often thro' the purple night1 ,below the starry clusters bright1 ,some bearded meteor1 trailing light1 ,moves over still ,shalott4 ,his broad clear brow in sunlight glow'd2 ,on burnished hooves his war-horse trode2 ,from underneath his helmet flow'd ,his coal-black curls as on he rode1 ,as he rode down to ,camelot4 ,from the bank and from the river ,he flash'd into the crystal mirror1 ,tirra lirra1 by the river ,sang ,sir ,lancelot4 ,she left the web1 she left the loom1 ,she made three paces thro' the room1 ,she saw the water-lily bloom1 ,she saw the helmet and the plume1 ,she look'd down to ,camelot4 ,out flew the web and floated wide2 ,the mirror crack'd from side to side2 ,the curse is come upon me1 cried ,the ,lady of ,shalott4 ,,part ,,iv ,in the stormy east-wind straining1 ,the pale yellow woods were waning1 ,the broad stream in his banks complaining1 ,heavily the low sky raining ,over tower'd ,camelot2 ,down she came and found a boat ,beneath a willow left afloat1 ,and round about the prow she wrote ,the ,lady of ,shalott4 ,and down the river's dim expanse ,like some bold seer in a trance1 ,seeing all his own mischance-- ,with a glassy countenance ,did she look to ,camelot4 ,and at the closing of the day ,she loosed the chain and down she lay2 ,the broad stream bore her far away1 ,the ,lady of ,shalott4 ,lying1 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 ,camelot3 ,and as the boat-head wound along ,the willowy hills and fields among1 ,they heard her singing her last song1 ,the ,lady of ,shalott4 ,heard a carol1 mournful1 holy1 ,chanted loudly1 chanted lowly1 ,till her blood was frozen slowly1 ,and her eyes were darken'd wholly1 ,turn'd to tower'd ,camelot4 ,for ere she reach'd upon the tide ,the first house by the water-side1 ,singing in her song she died1 ,the ,lady of ,shalott4 ,under tower and balcony1 ,by garden-wall and gallery1 ,a gleaming shape she floated by1 ,dead-pale between the houses high1 ,silent into ,camelot4 ,out upon the wharfs they came1 ,knight and burgher1 lord and dame1 ,and round the prow they read her name1 ,the ,lady of ,shalott4 ,who is this8 and what is here8 ,and in the lighted palace near ,died the sound of royal cheer2 ,and they cross'd themselves for fear1 ,all the knights at ,camelot3 ,but ,lancelot mused a little space2 ,he said1 ,she has a lovely face2 ,god in his mercy lend her grace1 ,the ,lady of ,shalott4 --,alfred ,tennyson ,,preparatory4--,compare the poet's treatment of the story of ,the ,lady of ,shalott with that given in ,lancelot and ,elaine4 ,combine the smaller pictures in this poem into a number of larger ones4 ,give to the larger pictures titles which suggest the different stages in the development of the story4 ,exercises in ,articulation4 7,appendix ,a4 ,see ,examples7 ,,part ,i ,stanza i1 ll4 #a and #d4 ,where is the ,pause in each line8 ,why8 7,introduction1 p4 #aa47 ,stanza iii1 ll4 #a and #b4 ,account for the change in ,time4 7,introduction1 p4 #ac47 #b4 ,where is the ,pause8 #f-i4 ,what is the ,inflection in these questions8 7,introduction1 p4 #ai47 ,stanza iv1 l4 #c4 ,,hear4 ,with what word should this be connected8 ,how8 7,introduction1 p4 #af47 ,note the ,shading4 #f4 ,where are the ,pauses in this line8 ,account for them4 #h-i4 ,in what ,quality of voice are these lines read8 7,introduction1 p4 #f47 ,compare from this standpoint the last lines of ,parts ,,ii1 ,,iii1 and ,,iv4 ,part ,,ii ,stanza i1 ll4 #c-e4 ,note the spontaneous imitation4 7,introduction1 pp4 #e and #f47 ,,and ,,there ,,the ,,surly 444 ,,two ,,and ,,two4 ,note the three separate groups of passers-by4 ,which group has the most significance in its bearing on the rest of the poem8 ,how does the voice indicate this relative significance8 7,introduction1 pp4 #bd and #cj47 ,stanza iii1 l4 #h4 ,how is the transition made effective8 7,introduction1 pp4 #h1 #i1 and #be47 ,stanza iv4 ,,for ,,often 444 ,,camelot4 ,observe the ,shading4 7,introduction1 p4 #cc47 ,,part ,,iii ,,his ,,shield1 ,,rode ,,down1 ,,armour ,,rung1 ,,saddle-,,leather1 ,,coal-,,black ,,curls4 7,appendix ,a1 #f47 ,stanza i1 l4 #d4 ,observe the ,grouping4 ,stanza ii1 l4 #b4 ,where is the ,pause8 ,explain4 ,what is the ,inflection on ,,stars8 ,compare the ,shading in ll4 #f and #g4 ,stanza iii4 ,what are the central ideas of ll4 #b and #c8 ,how does the reader make them stand out8 #f-h4 ,note the continuous ,inflection4 7,introduction1 p4 #ag47 ,stanza iv1 ll4 #c and #d4 ,how does the ,grouping here affect the ,pause and the ,inflection8 ,stanza v1 ll4 #a-d4 ,what change in the voice indicates the abrupt transition8 ,what atmosphere does the voice create as a preparation for the climax of the last four lines8 #a4 ,what is the central idea of this line8 #f-g4 ,what change in ,force1 ,pitch1 and ,stress expresses the sudden disaster8 ,,part ,,iv ,compare the atmosphere of the first four and a half stanzas of this ,part with the first four of ,part ,,iii1 and also with the remainder of ,part ,,iv4 ,what is the difference in ,pitch1 ,force1 and ,time8 7,introduction1 pp4 #bb1 #bf1 and #ac47 99 99 99 99 99 ,,home ,,they ,,brought ,,her ,,warrior ,,dead ,from ,the ,princess ,home they brought her warrior dead3 ,she nor swoon'd1 nor utter'd cry3 ,all her maidens1 watching1 said1 ,she must weep or she will die4 ,then they praised him1 soft and low1 ,call'd him worthy to be loved1 ,truest friend and noblest foe2 ,yet she neither spoke nor moved4 ,stole a maiden from her place1 ,lightly to the warrior stept1 ,took the face-cloth from the face2 ,yet she neither moved nor wept4 ,rose a nurse of ninety years1 ,set his child upon her knee-- ,like summer tempest came her tears-- ,sweet my child1 ,i live for thee4 --,alfred ,tennyson ,see ,introduction1 p4 #f4 99 99 99 99 99 ,,the ,,sky ,from ,modern ,painters #a4 ,it is a strange thing how little in general people know about the sky4 ,it is the part of creation in which nature has done more for the sake of pleasing man1 more for the sole and evident purpose of talking to him and teaching him1 than in any other of her works1 and it is just the part in which we least attend to her4 #b4 ,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 organization2 but every essential purpose of the sky might1 so far as we know1 be answered1 if once in three days1 or thereabouts1 a great ugly black rain-cloud were brought up over the blue1 and everything well watered1 and so all left blue again till next time1 with perhaps a film of morning and evening mist for dew4 #c4 ,and instead of this1 there is not a moment of any day of our lives1 when nature is not producing scene after scene1 picture after picture1 glory after glory1 and working still upon such exquisite and constant principles of the most perfect beauty1 that it is quite certain it is all done for us1 and intended for our perpetual pleasure4 ,and every man1 wherever placed1 however far from other sources of interest or of beauty1 has this doing for him constantly4 #d4 ,the noblest scenes of the earth can be seen and known but by few2 it is not intended that man should live always in the midst of them1 he injures them by his presence1 he ceases to feel them if he be always with them2 but the sky is for all2 bright as it is1 it is not too bright1 nor good1 for human nature's daily food2 it is fitted in all its functions for the perpetual comfort and exalting of the heart1 for the soothing it and purifying it from its dross and dust4 ,sometimes gentle1 sometimes capricious1 sometimes awful1 never the same for two moments together2 almost human in its passions1 almost spiritual in its tenderness1 almost divine in its infinity1 its appeal to what is immortal in us1 is as distinct1 as its ministry of chastisement or of blessing to what is mortal1 is essential4 #e4 ,and yet we never attend to it1 we never make it a subject of thought1 but as it has to do with our animal sensations2 we look upon all by which it speaks to us more clearly than to brutes1 upon all which bears witness to the intention of the ,supreme1 that we are to receive more from the covering vault than the light and the dew which we share with the weed and the worm1 only as a succession of meaningless and monotonous accidents too common and too vain to be worthy of a moment of watchfulness1 or a glance of admiration4 ,if in our moments of utter idleness and insipidity1 we turn to the sky as a last resource1 which of its phenomena do we speak of8 #f4 ,one says it has been wet1 and another it has been windy1 and another it has been warm4 ,who1 among the whole chattering crowd1 can tell me of the forms and the precipices of the chain of tall white mountains that girded the horizon at noon yesterday8 ,who saw the narrow sunbeam that came out of the south1 and smote upon their summits until they melted and mouldered away in a dust of blue rain8 ,who saw the dance of the dead clouds when the sunlight left them last night1 and the west wind blew them before it like withered leaves8 #g4 ,all has passed1 unregretted as unseen2 or if the apathy be ever shaken off1 even for an instant1 it is only by what is gross1 or what is extraordinary2 and yet it is not in the broad and fierce manifestations of the elemental energies1 not in the clash of the hail1 nor the drift of the whirlwind1 that the highest characters of the sublime are developed4 ,god is not in the earthquake1 nor in the fire1 but in the still1 small voice4 #h4 ,they are but the blunt and the low faculties of our nature1 which can only be addressed through lamp-black and lightning4 ,it is in quiet and subdued passages of unobtrusive majesty1 the deep1 and the calm1 and the perpetual1--that which must be sought ere it is seen1 and loved ere it is understood1--things which the angels work out for us daily1 and yet vary eternally1 which are never wanting1 and never repeated1 which are to be found always yet each found but once2 it is through these that the lesson of devotion is chiefly taught1 and the blessing of beauty given4 --,john ,ruskin 7,by arrangement with ,george ,allen1 ,publisher7 ,,spiritual1 ,,precipices1 ,,summits1 ,,unobtrusive4 7,appendix ,a1 #h47 ,par4 #a4 ,with what is ,,least ,,attend contrasted8 ,par4 #b4 ,why is ,,sky an emphatic word8 ,give examples of momentary completeness4 7,introduction1 p4 #af47 ,par4 #c4 ,what ,inflection is placed on ,,perfect ,,beauty8 ,par4 #d4 ,point out the contrasts in the first sentence4 ,what word is contrasted with ,,distinct8 ,par4 #e4 ,with what is ,,only ,,as ,a ,,succession1 ,,etc41 connected in sense8 ,how does the voice make the connection8 7,introduction1 p4 #cc47 ,par4 #g4 ,,unregretted1 ,,unseen4 ,note the transferred emphasis4 7,introduction1 p4 #cb47 ,par4 #g4 ,,and ,,yet ,,it ,,is ,,not 444 ,,nor ,,in ,,the ,,fire4 ,account for the ,inflection4 7,introduction1 p4 #ag47 99 99 99 99 99 ,,the ,,return ,,of ,,the ,,swallows ,out in the meadows the young grass springs1 ,shivering with sap1 said the larks1 and we ,shoot into air with our strong young wings1 ,spirally up over level and lea2 ,come1 ,o ,swallows1 and fly with us ,now that horizons are luminous6 ,evening and morning the world of light1 ,spreading and kindling1 is infinite6 ,far away1 by the sea in the south1 ,the hills of olive and slopes of fern ,whiten and glow in the sun's long drouth1 ,under the heavens that beam and burn2 ,and all the swallows were gather'd there ,flitting about in the fragrant air1 ,and heard no sound from the larks1 but flew ,flashing under the blinding blue4 ,out of the depths of their soft rich throats ,languidly fluted the thrushes1 and said3 ,musical thought in the mild air floats1 ,spring is coming and winter is dead6 ,come1 ,o ,swallows1 and stir the air1 ,for the buds are all bursting unaware1 ,and the drooping eaves and the elm-trees long ,to hear the sound of your low sweet song4 ,over the roofs of the white ,algiers1 ,flashingly shadowing the bright bazaar1 ,flitted the swallows1 and not one hears ,the call of the thrushes from far1 from far2 ,sigh'd the thrushes2 then1 all at once1 ,broke out singing the old sweet tones1 ,singing the bridal of sap and shoot1 ,the tree's slow life between root and fruit4 ,but just when the dingles of ,april flowers ,shine with the earliest daffodils1 ,when1 before sunrise1 the cold clear hours ,gleam with a promise that noon fulfils1-- ,deep in the leafage the cuckoo cried1 ,perch'd on a spray by a rivulet-side1 ,swallows1 ,o ,swallows1 come back again ,to swoop and herald the ,april rain4 ,and something awoke in the slumbering heart ,of the alien birds in their ,african air1 ,and they paused1 and alighted1 and twitter'd apart1 ,and met in the broad white dreamy square2 ,and the sad slave-woman1 who lifted up ,from the fountain her broad-lipp'd earthen cup1 ,said to herself1 with a weary sigh1 ,to-morrow the swallows will northward fly6 --,edmund ,william ,gosse ,how does the vocal expression of the descriptive parts of the poem differ from that of the call of the birds8 ,account for the difference4 7,introduction1 p4 #bb47 ,point out the contrasts of thought and feeling in the third and fourth stanzas respectively4 ,show a corresponding contrast in vocal expression4 ,what line expresses the central idea of the fifth stanza8 ,how is this shown8 7,introduction1 p4 #cc47 ,account for the ,pitch and the ,force used in the slave-woman's speech4 ,supply a background of thought for the last four lines4 ,how does this affect the ,time8 7,introduction1 p4 #ad47 99 99 99 99 99 ,,barbara ,,frietchie ,up from the meadows rich with corn1 ,clear in the cool ,september morn1 ,the clustered spires of ,frederick stand ,green walled by the hills of ,maryland4 ,round about them orchards sweep1 #e ,apple-and peach-tree fruited deep1-- ,fair as a garden of the ,lord ,to the eye of the famished rebel horde1 ,on that pleasant morn of the early fall ,when ,lee march'd over the mountain-wall1-- #aj ,over the mountains winding down1 ,horse and foot1 into ,frederick town4 ,forty flags with their silver stars1 ,forty flags with their crimson bars1 ,flapped in the morning wind3 the sun #ae ,of noon looked down1 and saw not one4 ,up rose old ,barbara ,frietchie then1 ,bowed with her fourscore years and ten2 ,bravest of all in ,frederick town1 ,she took up the flag the men hauled down2 #bj ,in her attic window the staff she set1 ,to show that one heart was loyal yet4 ,up the street came the rebel tread1 ,stonewall ,jackson riding ahead4 ,under his slouched hat left and right #be ,he glanced2 the old flag met his sight4 ,halt6--the dust-brown ranks stood fast4 ,fire6--out blazed the rifle-blast4 ,it shivered the window1 pane and sash2 ,it rent the banner with seam and gash4 #cj ,quick1 as it fell1 from the broken staff ,dame ,barbara snatched the silken scarf2 ,she leaned far out on the window-sill1 ,and shook it forth with a royal will4 ,shoot1 if you must1 this old gray head1 #ce ,but spare your country's flag6 she said4 ,a shade of sadness1 a blush of shame1 ,over the face of the leader came2 ,the nobler nature within him stirred ,to life at that woman's deed and word3 #dj ,who touches a hair of yon gray head1 ,dies like a dog6 ,march on6 he said4 ,all day long through ,frederick street ,sounded the tread of marching feet3 ,all day long that free flag tossed #de ,over the heads of the rebel host4 ,ever its torn folds rose and fell ,on the loyal winds that loved it well2 ,and1 through the hill-gaps1 sunset light ,shone over it with a warm good-night4 #ej ,barbara ,frietchie's work is o'er1 ,and the ,rebel rides on his raids no more4 ,honour to her6 and let a tear ,fall1 for her sake1 on ,stonewall's bier4 ,over ,barbara ,frietchie's grave1 #ee ,flag of ,freedom and ,union wave6 ,peace and order and beauty draw ,round thy symbol of light and law2 ,and ever the stars above look down ,on thy stars below in ,frederick town6 #fj --,john ,greenleaf ,whittier ,,preparatory4--,divide the poem into sections1 giving each a descriptive title4 7,introduction1 p4 #aj47 ,describe the scene portrayed in the first fifteen lines1 supplementing your description by a black-board diagram4 ll4 #a-b4 ,what is the ,inflection8 ,why8 l4 #c4 ,note the ,grouping and ,pause4 l4 #c4 ,,stand2 l4 #g1 ,,lord2 l4 #h1 ,,horde4 ,what is the ,inflection8 ,why8 l4 #ae4 7,introduction1 p4 #i47 l4 #bj4 ,what are the emphatic words8 ,are both words of a contrast necessarily emphatic8 ll4 #ag-bb4 ,note the change in nervous tension4 ,what effect has this on the key of the voice8 7,introduction1 p4 #be47 ll4 #be-bf4 ,how do these lines illustrate the truth that the ,visualization of a scene is a necessary forerunner of correct vocal expression8 ll4 #bg-bh4 ,,halt6 ,,fire6 ,what change in vocal expression accompanies the transition to abrupt command8 l4 #ca4 ,with what do you connect ,,from ,,the ,,broken ,,staff8 ,how8 7,introduction1 p4 #af47 ll4 #ca-cf4 ,what part should ,imitation play here8 7,introduction1 pp4 #e and #f47 ll4 #cg-ch4 7,introduction1 p4 #ad47 l4 #ci4 ,note ,grouping and ,pause4 ll4 #da-db4 7,introduction1 p4 #e47 l4 #dc4 ,with what do you connect ,,through ,,frederick ,,street8 ,how8 ,where do you pause in this line8 l4 #ea4 7,introduction1 p4 #i47 99 99 99 99 99 ,,bless ,,the ,,lord1 ,o ,,my ,,soul ,psalm ciii ,bless the ,lord1 ,o my soul3 ,and all that is within me1 bless his holy name ,bless the ,lord1 ,o my soul1 ,and forget not all his benefits3 ,who forgiveth all thine iniquities2 ,who healeth all thy diseases2 ,who redeemeth thy life from destruction2 ,who crowneth thee with lovingkindness and tender mercies3 ,who satisfieth thy mouth with good things2 ,so that thy youth is renewed like the eagle's4 ,the ,lord executeth righteousness ,and judgment for all that are oppressed4 ,he made known his ways unto ,moses1 ,his acts unto the children of ,israel4 ,the ,lord is merciful and gracious1 ,slow to anger1 and plenteous in mercy4 ,he will not always chide3 ,neither will he keep his anger for ever4 ,he hath not dealt with us after our sins2 ,nor rewarded us according to our iniquities4 ,for as the heaven is high above the earth1 ,so great is his mercy toward them that fear him4 ,as far as the east is from the west1 ,so far hath he removed our transgressions from us ,like as a father pitieth his children1 ,so the ,lord pitieth them that fear him4 ,for he knoweth our frame2 ,he remembereth that we are dust4 ,as for man1 his days are as grass3 ,as a flower of the field1 so he flourisheth4 ,for the wind passeth over it1 and it is gone2 ,and the place thereof shall know it no more4 ,but the mercy of the ,lord is from everlasting to everlasting upon them that fear him1 ,and his righteousness unto children's children2 ,to such as keep his covenant1 ,and to those that remember his commandments to do them4 ,the ,lord hath prepared his throne in the heavens2 ,and his kingdom ruleth over all4 ,bless the ,lord1 ye his angels1 ,that excel in strength1 ,that do his commandments1 ,hearkening unto the voice of his word4 ,bless ye the ,lord1 all ye his hosts2 ,ye ministers of his1 that do his pleasure4 ,bless the ,lord1 all his works1 ,in all places of his dominion3 ,bless the ,lord1 ,o my soul4 --,as arranged by ,richard ,g4 ,moulton ,,preparatory4--,what attitude of mind does the language of this ,psalm indicate8 ,what ,stress of voice is its natural expression8 7,introduction1 p4 #bi47 ,articulation4 7,appendix ,a1 #c47 99 99 99 99 99 ,,the ,,eternal ,,goodness ,i know not what the future hath ,of marvel or surprise1 ,assured alone that life and death ,his mercy underlies4 ,and if my heart and flesh are weak #e ,to bear an untried pain1 ,the bruised reed ,he will not break1 ,but strengthen and sustain4 ,no offering of my own ,i have1 ,nor works my faith to prove2 #aj ,i can but give the gifts ,he gave1 ,and plead ,his love for love4 ,and so beside the ,silent ,sea ,i wait the muffled oar2 ,no harm from ,him can come to me #ae ,on ocean or on shore4 ,i know not where ,his islands lift ,their fronded palms in air2 ,i only know ,i cannot drift ,beyond ,his love and care4 #bj --,john ,greenleaf ,whittier ,,preparatory4--,what attitude of mind is suggested by this poem8 ,how does it differ from that suggested by the preceding selection8 ,what is the difference in vocal expression8 ,account for the ,inflection placed on the negative statements in this poem4 7,introduction1 pp4 #ag and #ah47 99 99 99 99 99 ,,the ,,king ,,of ,,glory ,psalm xxiv 7,anthems for the ,inauguration of ,jerusalem7 ,i4--,at the ,foot of the ,hill ,,first ,,choir ,the earth is the ,,lord',s1 and the fulness thereof2 ,the world1 and they that dwell therein4 ,for ,he hath founded it upon the seas1 ,and established it upon the floods4 ,who shall ascend into the hill of the ,,lord8 ,and who shall stand in ,his holy place8 ,,second ,,choir ,he that hath clean hands1 and a pure heart2 ,who hath not lifted up his soul unto vanity1 ,and hath not sworn deceitfully4 ,he shall receive a blessing from the ,,lord1 ,and righteousness from the ,god of his salvation4 ,this is the generation of them that seek after ,him1 ,that seek ,thy face1 ,o ,god of ,jacob4 ,,ii4--,before the ,gates ,,first ,,choir ,lift up your heads1 ,o ye gates2 ,and be ye lift up1 ye everlasting doors3 ,and the ,king of ,glory shall come in4 ,,second ,,choir ,who is the ,king of ,glory8 ,,first ,,choir ,the ,,lord strong and mighty1 ,the ,,lord mighty in battle4 ,,first ,,choir ,lift up your heads1 ,o ye gates2 ,yea1 lift them up1 ye everlasting doors3 ,and the ,king of ,glory shall come in4 ,,second ,,choir ,who is this ,king of ,glory8 ,,first ,,choir ,the ,,lord of ,hosts1 ,he is the ,king of ,glory4 --,as arranged by ,richard ,g4 ,moulton 99 99 99 99 99 ,,the ,,four-,,horse ,,race ,from ,black ,rock #a4 ,the great event of the day1 however1 was to be the four-horse race1 for which three teams were entered--one from the mines driven by ,nixon1 ,craig's friend1 a citizens' team1 and ,sandy's4 ,the race was really between the miners' team and that from the woods1 for the citizens' team1 though made up of speedy horses1 had not been driven much together1 and knew neither their driver nor each other4 ,in the miners' team were four bays1 very powerful1 a trifle heavy perhaps1 but well matched1 perfectly trained1 and perfectly handled by their driver4 ,sandy had his long rangy roans1 and for leaders1 a pair of half-broken pinto bronchos4 ,the pintos1 caught the summer before upon the ,alberta prairies1 were fleet as deer1 but wicked and uncertain4 ,they were ,baptiste's special care and pride4 ,if they would only run straight1 there was little doubt that they would carry the roans and themselves to glory2 but one could not tell the moment they might bolt or kick things to pieces4 #b4 ,being the only non-partisan in the crowd1 ,i was asked to referee4 ,the race was about half a mile and return1 the first and last quarters being upon the ice4 ,the course1 after leaving the ice1 led up from the river by a long1 easy slope to the level above2 and at the further end1 curved somewhat sharply around the ,old ,fort4 ,the only condition attaching to the race was1 that the teams should start from the scratch1 make the turn of the ,fort1 and finish at the scratch4 ,there were no vexing regulations as to fouls4 ,the man making the foul would find it necessary to reckon with the crowd1 which was considered sufficient guarantee for a fair and square race4 ,owing to the hazards of the course1 the result would depend upon the skill of the drivers quite as much as the speed of the teams4 ,the points of hazard were at the turn round the ,old ,fort1 and at a little ravine which led down to the river1 over which the road passed by means of a long1 log bridge or causeway4 #c4 ,from a point upon the high bank of the river1 the whole course lay in open view4 ,it was a scene full of life and vividly picturesque4 ,there were miners in dark clothes and peak caps2 citizens in ordinary garb2 ranch-men in wide cowboy hats and buckskin shirts and leggings1 some with cartridge-belts and pistols2 a few half-breeds and ,indians in half-native1 half-civilized dress2 and scattering through the crowd1 the lumbermen with gay scarlet and blue blanket coats1 and some with knitted tuques of the same colour4 ,a very good-natured but extremely uncertain crowd it was4 ,at the head of each horse stood a man1 but at the pintos' heads ,baptiste stood alone1 trying to hold down the off-leader1 thrown into a frenzy of fear by the yelling of the crowd4 #d4 ,gradually all became quiet1 till1 in the midst of absolute stillness1 came the words3 ,are you ready8 then the pistol-shot1 and the great race had begun4 ,above the roar of the crowd came the shrill cry of ,baptiste1 as he struck his broncho with the palm of his hand1 and swung himself into the sleigh beside ,sandy1 as it shot past4 #e4 ,like a flash the bronchos sprang to the front1 two lengths before the other teams2 but1 terrified by the yelling of the crowd1 instead of bending to the left bank up which the road wound1 they wheeled to the right and were almost across the river before ,sandy could swing them back into the course4 #f4 ,baptiste's cries1 a curious mixture of ,french and ,english1 continued to strike through all other sounds1 till they gained the top of the slope to find the others almost a hundred yards in front1 the citizens' team leading1 with the miners' following close4 ,the moment the pintos caught sight of the teams before them1 they set off at a terrific pace and steadily devoured the intervening space4 ,nearer and nearer the turn came1 the eight horses in front1 running straight and well within their speed4 ,after them flew the pintos1 running savagely with ears set back1 leading well the big roans1 thundering along and gaining at every bound4 ,and now the citizens' team had almost reached the ,fort1 running hard and drawing away from the bays4 ,but ,nixon knew what he was about1 and was simply steadying his team for the turn4 ,the event proved his wisdom1 for in the turn the leading team left the track1 lost a moment or two in the deep snow1 and before they could regain the road1 the bays had swept superbly past1 leaving their rivals to follow in the rear4 ,on came the pintos1 swiftly nearing the ,fort4 ,surely at that pace they cannot make the turn4 ,but ,sandy knows his leaders4 ,they have their eyes upon the teams in front1 and need no touch of rein4 ,without the slightest change in speed the nimble-footed bronchos round the turn1 hauling the big roans after them1 and fall in behind the citizens' team1 which is regaining steadily the ground lost in the turn4 #g4 ,and now the struggle is for the bridge over the ravine4 ,the bays in front1 running with mouths wide open1 are evidently doing their best2 behind them1 and every moment nearing them1 but at the limit of their speed too1 come the lighter and fleeter citizens' team2 while opposite their driver are the pintos1 pulling hard1 eager and fresh4 ,their temper is too uncertain to send them to the front2 they run well following1 but when leading cannot be trusted1 and besides1 a broncho hates a bridge2 so ,sandy holds them where they are1 waiting and hoping for his chance after the bridge is crossed4 ,foot by foot the citizens' team creep up upon the flank of the bays1 with the pintos in turn hugging them closely1 till it seems as if the three1 if none slackens1 must strike the bridge together2 and this will mean destruction to one at least4 ,this danger ,sandy perceives1 but he dare not check his leaders4 ,suddenly1 within a few yards of the bridge1 ,baptiste throws himself upon the lines1 wrenches them out of ,sandy's hands1 and1 with a quick swing1 forces the pintos down the steep side of the ravine1 which is almost sheer ice with a thin coat of snow4 ,it is a daring course to take1 for the ravine1 though not deep1 is full of undergrowth1 and is partially closed up by a brush heap at the further end4 ,but with a yell1 ,baptiste hurls his four horses down the slope1 and into the undergrowth4 ,allons1 mes enfants6 ,courage6 vite1 vite6 cries their driver1 and nobly do the pintos respond4 ,regardless of bushes and brush heaps1 they tear their way through2 but as they emerge1 the hind bob-sleigh catches a root1 and1 with a crash1 the sleigh is hurled high into the air4 ,baptiste's cries ring out high and shrill as ever1 encouraging his team1 and never cease till1 with a plunge and a scramble1 they clear the brush heap lying at the mouth of the ravine1 and are out on the ice on the river1 with ,baptiste standing on the front bob1 the box trailing behind1 and ,sandy nowhere to be seen4 #h4 ,three hundred yards of the course remain4 ,the bays1 perfectly handled1 have gained at the bridge1 and in the descent to the ice1 and are leading the citizens' team by half a dozen sleigh lengths4 ,behind both comes ,baptiste4 ,it is now or never for the pintos4 ,the rattle of the trailing box1 together with the wild yelling of the crowd rushing down the bank1 excites the bronchos to madness1 and1 taking the bits in their teeth1 they do their first free running that day4 ,past the citizens' team like a whirlwind they dash1 clear the intervening space1 and gain the flanks of the bays4 ,can the bays hold them8 ,over them leans their driver1 plying for the first time the hissing lash4 ,only fifty yards more4 ,the miners begin to yell4 ,but ,baptiste1 waving his lines high in one hand1 seizes his tuque with the other1 whirls it above his head and flings it with a fiercer yell than ever at the bronchos4 ,like the bursting of a hurricane the pintos leap forward1 and with a splendid rush cross the scratch1 winners by their own length4 --,by arrangement with the ,westminster ,co41 ,limited1 and ,rev4 ,c4 ,w4 ,gordon 7,ralph ,connor7 ,,preparatory4--,make a black-board sketch of the race-course1 fixing the position of the scratch1 the ,old ,fort1 the high bank with the spectators1 the bridge1 etc4 ,in what passages does the excitement reach its greatest height8 ,how are the ,pitch and ,time affected8 7,introduction1 pp4 #ac and #bb47 ,what is the ,stress employed throughout8 ,where is the ,stress most marked8 ,give reasons4 7,introduction1 pp4 #bg and #bh47 99 99 99 99 99 ,,mrs4 ,,malaprop',s ,,views ,from ,the ,rivals ,the scene is ,mrs4 ,malaprop's lodgings at ,bath4 ,present1 ,lydia ,languish4 ,enter ,mrs4 ,malaprop and ,sir ,anthony ,absolute4 ,mrs4 ,malaprop4--,there1 ,sir ,anthony1 there sits the deliberate simpleton who wants to disgrace her family1 and lavish herself on a fellow not worth a shilling4 ,lydia4--,madam1 ,i thought you once-- ,mrs4 ,malaprop4--,you thought1 miss6 ,i don't know any business you have to think at all3 thought does not become a young woman4 ,but the point we would request of you is1 that you will promise to forget this fellow2 to illiterate him1 ,i say1 quite from your memory4 ,lydia4--,ah1 madam6 our memories are independent of our wills4 ,it is not so easy to forget4 ,mrs4 ,malaprop4--,but ,i say it is1 miss6 there is nothing on earth so easy as to forget1 if a person chooses to set about it4 ,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 do2 and let me tell you1 ,lydia1 these violent memories don't become a young woman4 ,sir ,anthony4--,why1 sure she won't pretend to remember what she's ordered not6 ,ay1 this comes of her reading6 ,lydia4--,what crime1 madam1 have ,i committed to be treated thus8 ,mrs4 ,malaprop4--,now don't attempt to extirpate yourself from the matter2 you know ,i have proof controvertible of it4 ,but tell me1 will you promise to do as you're bid8 ,will you take a husband of your friends' choosing8 ,lydia4--,madam1 ,i must tell you plainly that had ,i no preference for any one else1 the choice you have made would be my aversion4 ,mrs4 ,malaprop4--,what business have you1 miss1 with preference and aversion4 ,they don't become a young woman2 and you ought to know that as both always wear off1 'tis safest in matrimony to begin with a little aversion4 ,i am sure ,i hated your poor dear uncle before marriage as if he'd been a blackamoor2 and yet1 miss1 you are sensible what a wife ,i made8 and when it pleased ,heaven to release me from him1 'tis unknown what tears ,i shed6 ,but suppose we were going to give you another choice1 will you promise us to give up this ,beverley8 ,lydia4--,could ,i belie my thoughts so far as to give that promise1 my actions would certainly as far belie my words4 ,mrs4 ,malaprop4--,take yourself to your room4 ,you are fit company for nothing but your own ill-humours4 ,lydia4--,willingly1 ma'am--,i cannot change for the worse4 7,exit7 ,mrs4 ,malaprop4--,there's a little intricate hussy for you6 ,sir ,anthony4--,it is not to be wondered at1 ma'am3 all this is the natural consequence of teaching girls to read4 ,had ,i a thousand daughters1 by heaven ,i'd as soon have them taught the black art as their alphabet6 ,mrs4 ,malaprop4--,nay1 nay1 ,sir ,anthony3 you are an absolute misanthropy4 ,sir ,anthony4--,in my way hither1 ,mrs4 ,malaprop1 ,i observed your niece's maid coming forth from a circulating library6 ,she had a book in each hand2 they were half-bound volumes with marble covers6 ,from that moment ,i guessed how full of duty ,i should see her mistress6 ,mrs4 ,malaprop4--,those are vile places indeed6 ,sir ,anthony4--,madam1 a circulating library in a town is an evergreen tree of diabolical knowledge1--it blossoms through the year6 ,and depend on it1 ,mrs4 ,malaprop1 that they who are so fond of handling the leaves will long for the fruit at last4 ,mrs4 ,malaprop4--,fy1 fy1 ,sir ,anthony6 you surely speak laconically4 ,sir ,anthony4--,why1 ,mrs4 ,malaprop1 in moderation now1 what would you have a woman know8 ,mrs4 ,malaprop4--,observe me1 ,sir ,anthony4 ,i would by no means wish a daughter of mine to be a progeny of learning2 ,i don't think so much learning becomes a young woman3 for instance1 ,i would never let her meddle with ,greek1 or ,hebrew1 or algebra1 or simony1 or fluxions1 or paradoxes1 or such inflammatory branches of learning2 neither would it be necessary for her to handle any of your mathematical1 astronomical1 diabolical instruments4 ,but1 ,sir ,anthony1 ,i would send her at nine years old to a boarding-school1 in order to learn a little ingenuity and artifice4 ,then1 sir1 she should have a supercilious knowledge in accounts2 and as she grew up ,i would have her instructed in geometry1 that she might know something of the contagious countries3 but above all1 ,sir ,anthony1 she should be mistress of orthodoxy1 that she might not misspell and mispronounce words so shamefully as girls usually do2 and likewise that she might reprehend the true meaning of what she is saying4 ,this1 ,sir ,anthony1 is what ,i would have a woman know2 and ,i don't think there is a superstitious article in it4 ,sir ,anthony4--,well1 well1 ,mrs4 ,malaprop1 ,i will dispute the point no further with you2 though ,i must confess that you are a truly moderate and polite arguer1 for almost every third word you say is on my side of the question4 ,but1 ,mrs4 ,malaprop1 to the more important point in debate3 you say you have no objection to my proposal8 ,mrs4 ,malaprop4--,none1 ,i assure you4 ,i am under no positive engagement with ,mr4 ,acres2 and as ,lydia is so obstinate against him1 perhaps your son may have better success4 ,sir ,anthony4--,well1 madam1 ,i will write for the boy directly4 ,he knows not a syllable of this yet1 though ,i have for some time had the proposal in my head4 ,he is at present with his regiment4 ,mrs4 ,malaprop4--,we have never seen your son1 ,sir ,anthony2 but ,i hope no objection on his side4 ,sir ,anthony4--,objection6 let him object if he dare6 ,no1 no1 ,mrs4 ,malaprop1 ,jack knows that the least demur puts me in a frenzy directly4 ,my process was always very simple3 in their younger days1 'twas ,jack1 do this2 if he demurred ,i knocked him down1 and if he grumbled at that ,i always sent him out of the room4 ,mrs4 ,malaprop4--,ay1 and the properest way1 o'my conscience6 ,nothing is so conciliating to young people as severity4 ,well1 ,sir ,anthony1 ,i shall give ,mr4 ,acres his discharge1 and prepare ,lydia to receive your son's invocations2 and ,i hope you will represent her to the captain as an object not altogether illegible4 ,sir ,anthony4--,madam1 ,i will handle the subject prudently4 ,well ,i must leave you2 and let me beg you1 ,mrs4 ,malaprop1 to enforce this matter roundly to the girl4 ,take my advice--keep a tight hand3 if she rejects this proposal1 clap her under lock and key2 and if you were just to let the servants forget to bring her dinner for three or four days1 you can't conceive how she'd come about4 7,exit7 ,mrs4 ,malaprop4--,well1 at any rate ,i shall be glad to get her from under my intuition4 ,she has somehow discovered my partiality for ,sir ,lucius ,o',trigger3 sure ,lucy can't have betrayed me6 ,no1 the girl is such a simpleton1 ,i should have made her confess it4 7,calls7 ,lucy6 ,lucy6--,had she been one of your artificial ones1 ,i should never have trusted her4 --,richard ,brinsley ,sheridan ,what is the difference between ,mrs4 ,malaprop's mental attitude toward ,lydia and toward ,sir ,anthony8 ,how is this difference indicated in the ,stress of voice8 7,introduction1 pp4 #bg and #bh47 99 99 99 99 99 ,,the ,,glove ,,and ,,the ,,lions ,king ,francis was a hearty king1 and lov'd a royal sport1 ,and one day1 as his lions strove1 sat looking on the court2 ,the nobles fill'd the benches round1 the ladies by their side1 ,and 'mongst them ,count de ,lorge1 with one he hoped to make his bride2 ,and truly 'twas a gallant thing to see that crowning show1 #e ,valour and love1 and a king above1 and the royal beasts below4 ,ramp'd and roar'd the lions1 with horrid laughing jaws2 ,they bit1 they glared1 gave blows like beams1 a wind went with their paws2 ,with wallowing might and stifled roar1 they roll'd one on another1 ,till all the pit1 with sand and mane1 was in a thund'rous smother2 #aj ,the bloody foam above the bars came whizzing through the air2 ,said ,francis then1 ,good gentlemen1 we're better here than there6 ,de ,lorge's love o'erheard the ,king1 a beauteous1 lively dame1 ,with smiling lips1 and sharp bright eyes1 which always seem'd the same3 ,she thought1 ,the ,count1 my lover1 is as brave as brave can be2 #ae ,he surely would do desperate things to show his love of me6 ,king1 ladies1 lovers1 all look on2 the chance is wond'rous fine2 ,i'll drop my glove to prove his love2 great glory will be mine6 ,she dropp'd her glove to prove his love3 then looked on him and smiled2 ,he bow'd1 and in a moment leap'd among the lions wild3 #bj ,the leap was quick2 return was quick2 he soon regain'd his place2 ,then threw the glove1 but not with love1 right in the lady's face6 ,in truth6 cried ,francis1 rightly done6 and he rose from where he sat3 ,no love1 quoth he1 but vanity1 sets love a task like that6 --,leigh ,hunt ,,preparatory4--,divide the poem into four scenes1 and describe each scene4 ,what are the difficulties of ,articulation in ll4 #b1 #i1 #aj1 and #ad4 ,what attitude of mind is indicated by the ,king's first speech8 ,by his second speech8 ,what difference in ,stress8 7,introduction1 pp4 #bg-bi47 ,what is the ,force in each case8 7,introduction1 p4 #be47 #ae1 #af1 and #ag4 ,use these lines as an illustration to show that ,visualization is necessary in order to secure good vocal expression4 ,in what ,time do you read the lady's thoughts6 7,introduction1 p4 #ac47 ,give examples from stanzas ii1 and iv1 where the sympathy with the picture may be sufficiently strong to lead to imitation of movements or sounds4 7,introduction1 pp4 #e and #f47 99 99 99 99 99 ,,the ,,fickleness ,,of ,a ,,roman ,,mob ,from ,julius ,caesar ,act ,i4 ,scene i4 ,enter ,,flavius1 ,,marullus1 and certain ,commoners over the ,stage4 ,flav4 ,hence6 home1 you idle creatures1 get you home4 ,is this a holiday8 ,what6 know you not1 ,being mechanical1 you ought not walk ,upon a labouring day without the sign ,of your profession8--,speak1 what trade art thou8 #e #a ,cit4 ,why1 sir1 a carpenter4 ,mar4 ,where is thy leather apron1 and thy rule8 ,what dost thou with thy best apparel on8-- ,you1 sir1 what trade are you8 #b ,cit4 ,truly1 sir1 in respect of a fine workman1 ,i am #aj but1 as you would say1 a cobbler4 ,mar4 ,but what trade are thou8 ,answer me directly4 #b ,cit4 ,a trade1 sir1 that ,i hope ,i may use with a safe conscience2 which is1 indeed1 sir1 a mender of bad soles4 ,mar4 ,what trade1 thou knave8 thou naughty knave1 #ae what trade8 #b ,cit4 ,nay1 ,i beseech you1 sir1 be not out with me2 yet1 if you be out1 sir1 ,i can mend you4 ,mar4 ,what mean'st thou by that8 ,mend me1 thou saucy fellow8 #b ,cit4 ,why1 sir1 cobble you4 #bj ,flav4 ,thou art a cobbler1 art thou8 #b ,cit4 ,truly1 sir1 all that ,i live by is with the awl4 ,i meddle with no tradesman's matters1 nor women's matters1 but with all4 ,i am1 indeed1 sir1 a surgeon to old shoes2 when they are in great danger1 ,i re-cover #be them4 ,as proper men as ever trod upon neat's leather have gone upon my handiwork4 ,flav4 ,but wherefore art not in thy shop to-day8 ,why dost thou lead these men about the streets8 #b ,cit4 ,truly1 sir1 to wear out their shoes1 to get #cj myself into more work4 ,but1 indeed1 sir1 we make holiday to see ,caesar1 and to rejoice in his triumph4 ,mar4 ,wherefore rejoice8 ,what conquest brings he home8 ,what tributaries follow him to ,rome1 ,to grace in captive bonds his chariot wheels8 #ce ,you blocks1 you stones1 you worse than senseless things6 ,o1 you hard hearts1 you cruel men of ,rome1 ,knew you not ,pompey8 ,many a time and oft ,have you climbed up to walls and battlements1 ,to towers and windows1 yea1 to chimney-tops1 #dj ,your infants in your arms1 and there have sat ,the livelong day1 with patient expectation1 ,to see great ,pompey pass the streets of ,rome2 ,and when you saw his chariot but appear1 ,have you not made an universal shout1 #de ,that ,tiber trembled underneath her banks1 ,to hear the replication of your sounds ,made in her concave shores8 ,and do you now put on your best attire8 ,and do you now cull out a holiday8 #ej ,and do you now strew flowers in his way ,that comes in triumph over ,pompey's blood8 ,be gone6 ,run to your houses1 fall upon your knees1 ,pray to the gods to intermit the plague #ee ,that needs must light on this ingratitude4 ,flav4 ,go1 go1 good countrymen1 and for this fault ,assemble all the poor men of your sort2 ,draw them to ,tiber banks1 and weep your tears ,into the channel1 till the lowest stream #fj ,do kiss the most exalted shores of all4 ,exeunt all the ,commoners ,see1 whe'r their basest metal be not moved6 ,they vanish tongue-tied in their guiltiness4 ,go you down that way towards the ,capitol2 ,this way will ,i4 ,disrobe the images1 #fe ,if you do find them deck'd with ceremonies4 ,mar4 ,may we do so8 ,you know it is the feast of ,lupercal4 ,flav4 ,it is no matter2 let no images ,be hung with ,caesar's trophies4 ,i'll about1 #gj ,and drive away the vulgar from the streets2 ,so do you too1 where you perceive them thick4 ,these growing feathers pluck'd from ,caesar's wing ,will make him fly an ordinary pitch1 ,who else would soar above the view of men1 #ge ,and keep us all in servile fearfulness4 ,exeunt --,shakespeare ,in what ,stress do ,flavius and ,marullus speak when questioning the citizens8 ,why8 ,what ,stress does the first citizen use8 ,how does the mental attitude of the second citizen influence his ,stress and ,inflection8 7,introduction1 pp4 #ba1 #bb1 and #cj47 ,where does he change his ,stress8 ,for what reason8 ,,wherefore ,,rejoice8 ,point out the various examples of ,climax in this speech1 and show how the voice indicates them4 7,introduction1 p4 #ca47 ,account for the ,inflection on the various questions4 7,introduction1 pp4 #ah and #ai47 ,,see ,,whe',r ,,their ,,basest ,,metal1 ,,etc4 ,note the change in tension and energy4 ,what change in ,pitch and ,force is the natural result8 7,introduction1 pp4 #be and #bf47 99 99 99 99 99 ,,sir ,,peter ,,and ,,lady ,,teazle ,from ,the ,school for ,scandal ,sir ,peter4--,lady ,teazle1 ,lady ,teazle1 ,i'll not bear it6 ,lady ,teazle4--,sir ,peter1 ,sir ,peter1 you may bear it or not1 as you please2 but ,i ought to have my own way in everything1 and1 what's more1 ,i will1 too4 ,what though ,i was educated in the country1 ,i know very well that women of fashion in ,london are accountable to nobody after they are married4 ,sir ,peter4--,very well1 ma'am1 very well2 so a husband is to have no influence1 no authority8 ,lady ,teazle4--,authority6 ,no1 to be sure3 if you wanted authority over me1 you should have adopted me and not married me3 ,i am sure you were old enough4 ,sir ,peter4--,old enough6--ay1 there it is4 ,well1 well1 ,lady ,teazle1 though my life may be made unhappy by your temper1 ,i'll not be ruined by your extravagance6 ,lady ,teazle4--,my extravagance6 ,i'm sure ,i'm not more extravagant than a woman of fashion ought to be4 ,sir ,peter4--,no1 no1 madam1 you shall throw away no more sums on such unmeaning luxury4 ,to spend as much to furnish your dressing room with flowers in winter as would suffice to turn the ,pantheon into a greenhouse1 and give a fete champetre at ,christmas6 ,lady ,teazle4--,and am ,i to blame1 ,sir ,peter1 because flowers are dear in cold weather8 ,you should find fault with the climate1 and not with me4 ,for my part1 ,i'm sure ,i wish it was spring all the year round1 and that roses grew under our feet6 ,sir ,peter4--,oons6 madam--if you had been born to this1 ,i shouldn't wonder at your talking thus2 but you forget what your situation was when ,i married you4 ,lady ,teazle4--,no1 no1 ,i don't2 'twas a very disagreeable one1 or ,i should never have married you4 ,sir ,peter4--,yes1 yes1 madam1 you were then in somewhat a humbler style--the daughter of a plain country squire4 ,recollect1 ,lady ,teazle1 when ,i saw you first sitting at your tambour1 in a pretty figured linen gown1 with a bunch of keys at your side1 your hair combed smooth over a roll1 and your apartment hung round with fruits in worsted1 of your own working4 ,lady ,teazle4--,oh1 yes6 ,i remember it very well1 and a curious life ,i led4 ,my daily occupation to inspect the dairy1 superintend the poultry1 make extracts from the family receipt book1 and comb my aunt ,deborah's lap-dog4 ,sir ,peter4--,yes1 yes1 ma'am1 'twas so indeed4 ,lady ,teazle4--,and then1 you know1 my evening amusements6 ,to draw patterns for ruffles1 which ,i had not materials to make up2 to play ,pope ,joan with the curate2 to read a sermon to my aunt2 or to be stuck down to an old spinet to strum my father to sleep after a fox chase4 ,sir ,peter4--,i am glad you have so good a memory4 ,yes1 madam1 these were the recreations ,i took you from2 but now you must have your coach--vis-a-vis--and three powdered footmen before your chair2 and1 in the summer1 a pair of white cats to draw you to ,kensington ,gardens4 ,no recollection1 ,i suppose1 when you were content to ride double1 behind the butler1 on a docked coach horse4 ,lady ,teazle4--,no--,i swear ,i never did that3 ,i deny the butler and the coach horse4 ,sir ,peter4--,this1 madam1 was your situation2 and what have ,i done for you8 ,i have made you a woman of fashion1 of fortune1 of rank1--in short1 ,i have made you my wife4 ,lady ,teazle4--,well1 then1 and there is but one thing more you can make me to add to the obligation1 that is-- ,sir ,peter4--,my widow1 ,i suppose8 ,lady ,teazle4--,hem6 hem6 ,sir ,peter4--,i thank you1 madam--but don't flatter yourself1 for1 though your ill conduct may disturb my peace of mind1 it shall never break my heart1 ,i promise you3 however1 ,i am equally obliged to you for the hint4 ,lady ,teazle4--,then why will you endeavour to make yourself so disagreeable to me1 and thwart me in every little elegant expense4 ,sir ,peter4--,oons6 madam1 ,i say1 had you any of these little elegant expenses when you married me8 ,lady ,teazle4--,lud1 ,sir ,peter6 would you have me be out of the fashion8 ,sir ,peter4--,the fashion1 indeed6 what had you to do with the fashion before you married me8 ,lady ,teazle4--,for my part1 ,i should think you would like to have your wife thought a woman of taste4 ,sir ,peter4--,ay--there again--taste6 ,zounds6 madam1 you had no taste when you married me6 ,lady ,teazle4--,that's very true1 indeed1 ,sir ,peter6 and1 after having married you1 ,i should never pretend to taste again1 ,i allow4 ,but now1 ,sir ,peter1 since we have finished our daily jangle1 ,i presume ,i may go to my engagement at ,lady ,sneerwell's4 ,sir ,peter4--,ay1 there's another precious circumstance--a charming set of acquaintance you have made there4 ,lady ,teazle4--,nay1 ,sir ,peter1 they are all people of rank and fortune1 and remarkably tenacious of reputation4 ,sir ,peter4--,yes1 they are tenacious of reputation with a vengeance2 for they don't choose anybody should have a character but themselves6 ,such a crew6 ,ah6 many a wretch has rid on a hurdle who has done less mischief than these utterers of forged tales1 coiners of scandal1 and clippers of reputation4 ,lady ,teazle4--,what6 would you restrain the freedom of speech8 ,sir ,peter4--,ah6 they have made you just as bad as any one of the society4 ,lady ,teazle4--,why1 ,i believe ,i do bear a part with a tolerable grace4 ,sir ,peter4--,grace indeed6 ,lady ,teazle4--,but ,i vow ,i bear no malice against the people ,i abuse3 when ,i say an ill-natured thing1 'tis out of pure good humour3 and ,i take it for granted they deal exactly the same with me4 ,but1 ,sir ,peter1 you know you promised to come to ,lady ,sneerwell's too4 ,sir ,peter4--,well1 well1 ,i'll call in1 just to look after my own character4 ,lady ,teazle4--,then1 indeed1 you must make haste after me1 or you'll be too late4 ,so good-bye to ye4 7,exit7 ,sir ,peter4--,so--,i have gained much by my intended expostulation6 ,yet with what a charming air she contradicts everything ,i say1 and how pleasantly she shows her contempt for my authority6 ,well1 though ,i can't make her love me1 there is great satisfaction in quarrelling with her2 and ,i think she never appears to such advantage as when she is doing everything in her power to plague me4 7,exit7 --,richard ,brinsley ,sheridan ,select the passages where ,lady ,teazle tries to enforce her opinion by 7a7 strong assertion1 7b7 peevishness and whining4 ,in what passages does her desire to taunt and ridicule ,sir ,peter predominate8 ,in what passages does she address ,sir ,peter in the tone of ordinary conversation8 ,what ,stress is used in each case8 7,introduction1 pp4 #bh-cj47 ,,had ,,you ,,any ,,of ,,these ,,little ,,elegant ,,expenses8 ,what ,stress is placed on the last four words8 99 99 99 99 99 ,,the ,,parting ,,of ,,marmion ,,and ,,douglas ,from ,marmion ,not far advanced was morning day1 ,when ,marmion did his troop array ,to ,surrey's camp to ride2 ,he had safe-conduct for his band1 ,beneath the royal seal and hand1 #e ,and ,douglas gave a guide4 ,the ancient ,earl1 with stately grace1 ,would ,clara on her palfrey place1 ,and whispered in an undertone1 ,let the hawk stoop1 his prey is flown4 #aj ,the train from out the castle drew1 ,but ,marmion stopped to bid adieu3 ,though something ,i might plain1 he said1 ,of cold respect to stranger guest1 ,sent hither by your ,king's behest1 #ae ,while in ,tantallon's towers ,i stayed2 ,part we in friendship from your land1 ,and1 noble earl1 receive my hand4 ,but ,douglas round him drew his cloak1 ,folded his arms1 and thus he spoke3 #bj ,my manors1 halls1 and bowers1 shall still ,be open1 at my ,sovereign's will1 ,to each one whom he lists1 howe'er ,unmeet to be the owner's peer4 ,my castles are my ,king's alone1 #be ,from turret to foundation-stone3 ,the hand of ,douglas is his own2 ,and never shall1 in friendly grasp1 ,the hand of such as ,marmion clasp4 ,burned ,marmion's swarthy cheek like fire1 #cj ,and shook his very frame for ire2 ,and--,this to me1 he said1 ,an't were not for thy hoary beard1 ,such hand as ,marmion's had not spared ,to cleave the ,douglas' head6 #ce ,and1 first1 ,i tell thee1 haughty peer1 ,he who does ,england's message here1 ,although the meanest in her state1 ,may well1 proud ,angus1 be thy mate3 ,and1 ,douglas1 more ,i tell thee here1 #dj ,even in thy pitch of pride ,here in thy hold1 thy vassals near 7,nay1 never look upon your lord1 ,and lay your hands upon your sword17 ,i tell thee1 thou'rt defied6 #de ,and if thou saidst1 ,i am not peer ,to any lord in ,scotland here1 ,lowland or ,highland1 far or near1 ,lord ,angus1 thou hast lied6 ,on the ,earl's cheek the flush of rage #ej ,o'ercame the ashen hue of age3 ,fierce he broke forth3 ,and darest thou1 then1 ,to beard the lion in his den1 ,the ,douglas in his hall8 ,and hopest thou hence unscathed to go8-- #ee ,no1 by ,saint ,bride of ,bothwell1 no6-- ,up drawbridge1 grooms6--what1 ,warder1 ho6 ,let the portcullis fall4 ,lord ,marmion turned1--well was his need1-- ,and dashed the rowels in his steed1 #fj ,like arrow through the archway sprung1 ,the ponderous grate behind him rung3 ,to pass there was such scanty room1 ,the bars1 descending1 grazed his plume4 ,the steed along the drawbridge flies1 #fe ,just as it trembles on the rise2 ,nor lighter does the swallow skim ,along the smooth lake's level brim3 ,and when ,lord ,marmion reached his band1 ,he halts1 and turns with clenched hand1 #gj ,and shout of loud defiance pours1 ,and shook his gauntlet at the towers4 ,horse6 horse6 the ,douglas cried1 and chase6 ,but soon he reined his fury's pace3 ,a royal messenger he came1 #ge ,though most unworthy of the name4 ,a letter forged6 ,saint ,jude to speed6 ,did ever knight so foul a deed6 ,at first1 in heart1 it liked me ill1 ,when the ,king praised his clerkly skill4 #hj ,thanks to ,saint ,bothan1 son of mine1 ,save ,gawain1 ne'er could pen a line4 ,saint ,mary mend my fiery mood6 ,old age ne'er cools the ,douglas blood2 ,i thought to slay him where he stood4 #he ',tis pity of him1 too1 he cried3 ,bold can he speak1 and fairly ride3 ,i warrant him a warrior tried4-- ,with this his mandate he recalls1 ,and slowly seeks his castle halls4 #ij --,sir ,walter ,scott ,in what ,quality of voice should the following passages of this poem be read3 7a7 the descriptive parts2 7b7 l4 #aj2 7c7 the first speeches of ,marmion and ,douglas1 ll4 #ad-ah1 and ll4 #ba-bi2 7d7 the second speeches of ,marmion and ,douglas1 ll4 #cb-di1 and ll4 #eb-ef2 7e7 ll4 #eg-eh1 and ll4 #ge-hh8 99 99 99 99 99 ,,columbus ,behind him lay the gray ,azores4 ,behind him the gates of ,hercules2 ,before him not the ghost of shores1 ,before him only shoreless seas4 ,the good mate said3 ,now we must pray1 #e ,for1 lo6 the very stars are gone4 ,brave ,adm'r'l1 speak2 what shall ,i say8 ,why1 say3 ',sail on6 sail on6 and on6' ,my men grow mutinous day by day2 ,my men grow ghastly wan and weak4 #aj ,the stout mate thought of home2 a spray ,of salt wave washed his swarthy cheek4 ,what shall ,i say1 brave ,adm'r'l1 say1 ,if we sight naught but seas at dawn8 ,why1 you shall say1 at break of day3 #ae ',sail on6 sail on6 sail on6 and on6' ,they sailed and sailed as winds might blow1 ,until at last the blanched mate said3 ,why1 now not even ,god would know ,should ,i and all my men fall dead4 #bj ,these very winds forget the way1 ,for ,god from these dread seas is gone4 ,now speak1 brave ,adm'r'l1 speak and say-- ,he said3 ,sail on6 sail on6 and on6 ,they sailed4 ,they sailed4 ,then spake the mate3 #be ,this mad sea shows his teeth to-night2 ,he curls his lip1 he lies in wait1 ,with lifted teeth as if to bite3 ,brave ,adm'r'l1 say but one good word2 ,what shall we do when hope is gone8 #cj ,the words leapt as a leaping sword3 ,sail on6 sail on6 sail on6 and on6 ,then1 pale and worn1 he kept his deck ,and peered through darkness4 ,ah1 that night ,of all dark nights6 ,and then1 a speck-- #ce ,a light6 a light6 a light6 a light6 ,it grew1 a starlit flag unfurled6 ,it grew to be ,time's burst of dawn4 ,he gained a world2 he gave that world ,its greatest lesson2 ,on6 sail on6 #dj --,joaquin ,miller --,by permission of the publishers1 ,whitaker ,ray-,wiggin ,co4 ,,what1 ,,shall1 ,,why4 7,appendix ,a1 #g and #h47 ,give examples of words or phrases which when repeated become 7#a7 unemphatic1 7#b7 more emphatic1 7#c7 equivalent to a climax4 7,introduction1 pp4 #ca and #cb47 ,compare the mate's attitude of mind with that of the ,admiral4 ,how is the difference indicated by the ,stress8 99 99 99 99 99 ,,from ,,the ,,apology ,,of ,,socrates ,from ,the ,dialogues of ,plato #a4 ,not much time will be gained1 ,o ,athenians1 in return for the evil name which you will get from the detractors of the city1 who will say that you killed ,socrates1 a wise man2 for they will call me wise1 even although ,i am not wise1 when they want to reproach you4 ,if you had waited a little while1 your desire would have been fulfilled in the course of nature4 ,for ,i am far advanced in years1 as you may perceive1 and not far from death4 ,i am speaking now only to those of you who have condemned me to death4 ,and ,i have another thing to say to them3 ,you think that ,i was convicted through deficiency of words--,i mean1 that if ,i had thought fit to leave nothing undone1 nothing unsaid1 ,i might have gained an acquittal4 ,not so2 the deficiency which led to my conviction was not of words--certainly not4 ,but ,i had not the boldness or impudence or inclination to address you as you would have liked me to address you1 weeping and wailing and lamenting1 and saying and doing many things which you have been accustomed to hear from others1 and which1 as ,i say1 are unworthy of me4 ,but ,i thought that ,i ought not to do anything common or mean in the hour of danger2 nor do ,i now repent of the manner of my defence1 and ,i would rather die having spoken after my manner1 than speak in your manner and live4 ,for neither in war nor yet at law ought any man to use every way of escaping death4 ,for often in battle there is no doubt that if a man will throw away his arms1 and fall on his knees before his pursuers1 he may escape death2 and in other dangers there are other ways of escaping death1 if a man is willing to say and do anything4 ,the difficulty1 my friends1 is not in avoiding death1 but in avoiding unrighteousness2 for that runs faster than death4 ,i am old and move slowly1 and the slower runner has overtaken me1 and my accusers are keen and quick1 and the faster runner1 who is unrighteousness1 has overtaken them4 ,and now ,i depart hence1 condemned by you to suffer the penalty of death1 and they too go their ways1 condemned by the truth to suffer the penalty of villainy and wrong2 and ,i must abide by my reward--let them abide by theirs4 ,i suppose that these things may be regarded as fated1--and ,i think that they are well4 #b4 ,and now1 ,o men who have condemned me1 ,i would fain prophesy to you2 for ,i am about to die1 and that is the hour in which men are gifted with prophetic power4 ,and ,i prophesy to you who are my murderers1 that immediately after my death punishment far heavier than you have inflicted on me will surely await you4 ,me you have killed because you wanted to escape the accuser1 and not to give an account of your lives4 ,but that will not be as you suppose3 far otherwise4 ,for ,i say that there will be more accusers of you than there are now2 accusers whom hitherto ,i have restrained3 and as they are younger they will be more severe with you1 and you will be more offended at them4 ,for if you think that by killing men you can avoid the accuser censuring your lives1 you are mistaken2 that is not a way of escape which is either possible or honourable2 the easiest and the noblest way is not to be crushing others1 but to be improving yourselves4 ,this is the prophecy which ,i utter before my departure to the judges who have condemned me4 #c4 ,friends1 who would have acquitted me1 ,i would like also to talk with you about this thing which has happened1 while the magistrates are busy1 and before ,i go to the place at which ,i must die4 ,stay then a while1 for we may as well talk with one another while there is time4 ,you are my friends1 and ,i should like to show you the meaning of this event which has happened to me4 ,o my judges--for you ,i may truly call judges--,i should like to tell you of a wonderful circumstance4 ,hitherto the familiar oracle within me has constantly been in the habit of opposing me even about trifles1 if ,i was going to make a slip or error about anything2 and now1 as you see1 there has come upon me that which may be thought1 and is generally believed to be1 the last and worst evil4 ,but the oracle made no sign of opposition1 either as ,i was leaving my house and going out in the morning1 or when ,i was going up into this court1 or while ,i was speaking1 at anything which ,i was going to say2 and yet ,i have often been stopped in the middle of a speech1 but now in nothing ,i either said or did touching this matter has the oracle opposed me4 ,what do ,i take to be the explanation of this8 ,i will tell you4 ,i regard this as a proof that what has happened to me is a good1 and that those of us who think that death is an evil are in error4 ,this is a great proof to me of what ,i am saying1 for the customary sign would surely have opposed me had ,i been going to evil and not to good4 #d4 ,let us reflect in another way1 and we shall see that there is a great reason to hope that death is a good1 for one of two things3 either death is a state of nothingness and utter unconsciousness1 or1 as men say1 there is a change and migration of the soul from this world to another4 ,now if you suppose that there is no consciousness1 but a sleep like the sleep of him who is undisturbed even by the sight of dreams1 death will be an unspeakable gain4 ,for if a person were to select the night in which his sleep was undisturbed even by dreams1 and were to compare with this the other days and nights of his life1 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 one1 ,i think that any man1 ,i will not say a private man1 but even the great king will not find many such days or nights1 when compared with the others4 ,now if death is like this1 ,i say that to die is gain2 for eternity is then only a single night4 ,but if death is the journey to another place1 and there1 as men say1 all the dead are1 what good1 ,o my friends and judges1 can be greater than this8 ,if indeed when the pilgrim arrives in the world below1 he is delivered from the professors of justice in this world1 and finds the true judges who are said to give judgment there1 ,minos and ,rhadamanthus1 and ,aeacus1 and ,triptolemus1 and other sons of ,god who were righteous in their own life1 that pilgrimage will be worth making4 ,what would not a man give if he might converse with ,orpheus and ,musaeus and ,hesiod and ,homer8 ,nay1 if this be true1 let me die again and again4 ,i1 too1 shall have a wonderful interest in a place where ,i can converse with ,palamedes1 and ,ajax the son of ,telamon1 and other heroes of old1 who have suffered death through an unjust judgment2 and there will be no small pleasure1 as ,i think1 in comparing my own sufferings with theirs4 ,above all1 ,i shall be able to continue my search into true and false knowledge2 as in this world1 so also in that2 ,i shall find out who is wise1 and who pretends to be wise and is not4 ,what would not a man give1 ,o judges1 to be able to examine the leader of the great ,trojan expedition2 or ,odysseus1 or ,sisyphus1 or numberless others1 men and women too6 ,what infinite delight would there be in conversing with them and asking them questions6 ,for in that world they do not put a man to death for this2 certainly not4 ,for besides being happier in that world than in this1 they will be immortal1 if what is said is true4 #e4 ,wherefore1 ,o judges1 be of good cheer about death1 and know this of a truth--that no evil can happen to a good man1 either in life or after death4 ,he and his are not neglected by the gods2 nor has my own approaching end happened by mere chance4 ,but ,i see clearly that to die and be released was better for me2 and therefore the oracle gave no sign4 ,for which reason1 also1 ,i am not angry with my accusers or my condemners2 they have done me no harm1 although neither of them meant to do me any good2 and for this ,i may gently blame them4 #f4 ,still ,i have a favour to ask of them4 ,when my sons are grown up1 ,i would ask you1 ,o my friends1 to punish them and ,i would have you trouble them1 as ,i have troubled you1 if they seem to care about riches1 or anything1 more than about virtue2 or if they pretend to be something when they are really nothing1--then reprove them1 as ,i have reproved you1 for not caring about that for which they ought to care1 and thinking that they are something when they are really nothing4 ,and if you do this1 ,i and my sons will have received justice at your hands4 #g4 ,the hour of departure has arrived1 and we go our ways--,i to die1 and you to live4 ,which is better ,god only knows4 --,benjamin ,jowett ,illustrate from this extract the general principle that incompleteness is expressed by means of the ,rising1 and completeness by means of the ,falling ,inflection4 ,par4 #a4 ,,for ,,neither ,,in ,,war ,,nor ,,yet ,,at ,,law 444 ,,death4 ,explain the ,inflection placed on this negative statement4 ,give a similar example from ,par4 #b4 ,i ,,must ,,abide ,,by ,,my ,,award 444 ,,let ,,them ,,abide ,,by ,,theirs4 ,explain the opposite ,inflections on antithetical words and phrases4 ,if one part of the antithesis is a negation1 what is the ,inflection8 7,introduction1 pp4 #ai and #bj47 ,give examples from ,par4 #b4 ,i ,,am ,,old ,,and ,,move ,,slowly 444 ,,wrong4 ,explain the ,emphasis in these sentences4 ,which one of a pair of contrasted words is necessarily emphatic8 ,give examples from this and the following paragraph1 in which both are emphatic1 and explain why4 7,introduction1 pp4 #cj-cb47 ,par4 #d4 ,explain the ,inflection on the questions4 7,introduction1 pp4 #ah and #ai47 ,what clauses in this paragraph are really parenthetical in force8 ,how does the voice subordinate them8 ,give similar examples from other paragraphs4 7,introduction1 pp4 #bd and #be47 99 99 99 99 99 ,,highland ,,hospitality ,from ,the ,lady of the ,lake ,the shades of eve come slowly down1 ,the woods are wrapt in deeper brown1 ,the owl awakens from her dell1 ,the fox is heard upon the fell2 ,enough remains of glimmering light #e ,to guide the wanderer's steps aright1 ,yet not enough from far to show ,his figure to the watchful foe4 ,with cautious step1 and ear awake1 ,he climbs the crag and threads the brake2 #aj ,and not the summer solstice there1 ,tempered the midnight mountain air1 ,but every breeze that swept the wold1 ,benumbed his drenched limbs with cold4 ,in dread1 in danger1 and alone1 #ae ,famished and chilled1 through ways unknown1 ,tangled and steep1 he journeyed on2 ,till1 as a rock's huge point he turned1 ,a watch-fire close before him burned4 ,beside its embers red and clear1 #bj ,basked1 in his plaid1 a mountaineer2 ,and up he sprung with sword in hand1-- ,thy name and purpose6 ,saxon1 stand6-- ,a stranger4--,what dost thou require8-- ,rest and a guide1 and food and fire4 #be ,my life's beset1 my path is lost4 ,the gale has chilled my limbs with frost4-- ,art thou a friend to ,roderick8--,no4-- ,thou darest not call thyself a foe8-- ,i dare6 to him and all the band #cj ,he brings to aid his murderous hand4-- ,bold words6--but1 though the beast of game ,the privilege of chase may claim1 ,though space and law the stag we lend1 ,ere hound we slip1 or bow we bend1 #ce ,who ever recked1 where1 how1 or when1 ,the prowling fox was trapped or slain8 ,thus1 treacherous scouts1--yet sure they lie1 ,who say thou camest a secret spy6-- ,they do1 by ,heaven6--,come ,roderick ,dhu1 #dj ,and of his clan the boldest two1 ,and let me but till morning rest1 ,i write the falsehood on their crest4-- ,if by the blaze ,i mark aright1 ,thou bear'st the belt and spur of ,knight4-- #de ,then1 by these tokens mayest thou know1 ,each proud oppressor's mortal foe4-- ,enough1 enough2 sit down and share ,a soldier's couch1 a soldier's fare4-- ,he gave him of his ,highland cheer1 #ej ,the hardened flesh of mountain deer2 ,dry fuel on the fire he laid1 ,and bade the ,saxon share his plaid4 ,he tended him like welcome guest1 ,then thus his further speech addressed3-- #ee ,stranger1 ,i am to ,roderick ,dhu ,a clansman born1 a kinsman true2 ,each word against his honour spoke1 ,demands of me avenging stroke2 ,yet more1--upon thy fate1 'tis said1 #fj ,a mighty augury is laid4 ,it rests with me to wind my horn1 ,thou art with numbers overborne2 ,it rests with me1 here1 brand to brand1 ,worn as thou art1 to bid thee stand3 #fe ,but not for clan1 nor kindred's cause1 ,will ,i depart from honour's laws2 ,to assail a wearied man were shame1 ,and stranger is a holy name2 ,guidance and rest1 and food and fire1 #gj ,in vain he never must require4 ,then rest thee here till dawn of day2 ,myself will guide thee on the way1 ,o'er stock and stone1 through watch and ward4 ,till past ,clan-,alpine's outmost guard1 #ge ,as far as ,coilantogle's ford2 ,from thence thy warrant is thy sword4-- ,i take thy courtesy1 by ,heaven1 ,as freely as 'tis nobly given6-- ,well1 rest thee2 for the bittern's cry #hj ,sings us the lake's wild lullaby4 ,with that he shook the gathered heath1 ,and spread his plaid upon the wreath2 ,and the brave foemen1 side by side1 ,lay peaceful down1 like brothers tried1 #he ,and slept until the dawning beam ,purpled the mountain and the stream4 --,sir ,walter ,scott ,,preparatory4--,connect this scene with the rest of the poem4 ,give a dramatic form to this extract1 describing definitely the scenery and stage-setting4 ,one reader may render the descriptive parts1 another the speeches of ,roderick ,dhu1 and a third those of ,fitz-,james4 ,,wanderer',s ,,steps1 ,,cautious ,,step1 ,,trecherous ,,scouts1 ,,boldest ,,two4 7,appendix ,a1 #f47 #be and #gj4 7,appendix ,a1 #e47 #a-d4 ,note the word-pictures4 ,how do they affect the ,pause8 7,introduction1 pp4 #g and #h47 #g4 ,,not ,,enough4 ,with what is it contrasted8 ,which word is emphatic8 ,where do the ,pauses occur in this line8 #i4 ,what is the atmosphere of this line8 ,what is the ,quality of voice8 7,introduction1 p4 #cd47 #aj-aa4 ,what ,inflection8 ,why8 ,what is the ,shading when compared with the two following lines8 7,introduction1 p4 #bd47 #af-ag4 ,give an example of ,grouping4 #ah-ai4 ,compare the ,shading of these two lines4 #bb4 ,what feeling and movement are here expressed8 ,how does the voice give expression to them8 7,introduction1 pp4 #e1 #f1 and #bg47 ,describe the mental attitude of each of the speakers4 ,what is the ,stress in each case8 7,introduction1 pp4 #bg-bi47 #ch4 ,,the ,,prowling ,,fox 444 ,,scouts4 ,what is the mental attitude here8 ,what ,stress is the result8 7,introduction1 p4 #bh47 ,how does the rest of the speech differ from the preceding8 ,what is the ,inflection8 7,introduction1 p4 #ah47 ,what is the ,stress of ordinary conversation8 ,illustrate from the above selection4 #cb-ci4 ,,bold ,,words 444 ,,spy4 7,introduction1 p4 #bd47 #dh4 ,why should ,,sit ,,down be kept distinct from ,,share8 ,how is this effected8 #fj4 ',,tis ,,said4 ,how does the voice subordinate this phrase8 7,introduction1 p4 #bd47 #ff-fi4 ,which are the emphatic words and why are they emphatic8 #gg4 ,what feeling is introduced here8 ,how does the voice express it8 99 99 99 99 99 ,,the ,,outlaw ,from ,rokeby ,o1 ,brignall banks are wild and fair1 ,and ,greta woods are green1 ,and you may gather garlands there1 ,would grace a summer queen4 ,and as ,i rode by ,dalton-,hall1 #e ,beneath the turrets high1 ,a ,maiden on the castle wall ,was singing merrily1-- ,o1 ,brignall banks are fresh and fair1 ,and ,greta woods are green2 #aj ,i'd rather rove with ,edmund there ,than reign our ,english queen4-- ,if1 ,maiden1 thou would'st wend with me1 ,to leave both tower and town1 ,thou first must guess what life lead we #ae ,that dwell by dale and down4 ,and if thou canst that riddle read1 ,as read full well you may1 ,then to the greenwood shalt thou speed ,as blithe as ,queen of ,may4-- #bj ,yet sung she1 ,brignall banks are fair1 ,and ,greta woods are green2 ,i'd rather rove with ,edmund there4 ,than reign our ,english queen4 ,i read you by your bugle-horn1 #be ,and by your palfrey good1 ,i read you for a ,ranger sworn1 ,to keep the king's greenwood4-- ,a ,ranger1 lady1 winds his horn1 ,and 'tis at peep of light2 #cj ,his blast is heard at merry morn1 ,and mine at dead of night4-- ,yet sung she1 ,brignall banks are fair1 ,and ,greta woods are gay2 ,i would ,i were with ,edmund there1 #ce ,to reign his ,queen of ,may6 ,with burnish'd brand and musketoon1 ,so gallantly you come1 ,i read you for a bold ,dragoon1 ,that lists the tuck of drum4-- #dj ,i list no more the tuck of drum1 ,no more the trumpet hear2 ,but when the beetle sounds his hum ,my comrades take the spear4 ,and ,o6 though ,brignall banks be fair #de ,and ,greta woods be gay1 ,yet mickle must the maiden dare ,would reign my ,queen of ,may6 ,maiden6 a nameless life ,i lead1 ,a nameless death ,i'll die6 #ej ,the fiend whose lantern lights the mead ,were better mate than ,i6 ,and when ,i'm with my comrades met ,beneath the greenwood bough1 ,what once we were we all forget1 #ee ,nor think what we are now4 ,yet ,brignall banks are fresh and fair1 ,and ,greta woods are green1 ,and you may gather garlands there ,would grace a summer queen4 #fj --,sir ,walter ,scott ,,preparatory4--,the ,life of an ,outlaw4 ,speak on this subject1 illustrating from such characters as ,rob ,roy1 ,robin ,hood1 etc41 and emphasizing the pathos of such a life4 ,for dramatic rendering see preparatory notes on ,highland ,hospitality4 #a-d4 ,what ,stress indicates the state of mind reflected by these lines8 7,introduction1 p4 #bi47 #c1 #aa4 ,what ,inflection is placed on ,,there8 7,introduction1 p4 #af47 #ab4 ,what word may be supplied after ,,reign8 ,how is this indicated in the reading8 7,introduction1 p4 #aj47 #ac-bj4 ,read these lines with a view to ,perspective4 7,introduction1 p4 #cc47 ,give examples of ,grouping throughout the poem and show how the ,pause is affected4 7,introduction1 p4 #aa47 ,what words in stanza iii are emphatic through contrast8 ,in stanza v8 ,what feeling in the last half of stanza v8 7,introduction1 pp4 #aj-ab47 ,in what ,time1 ,pitch1 and ,force are these lines read8 ,give your reasons4 99 99 99 99 99 ,,of ,,studies ,from the ,essays ,studies serve for delight1 for ornament1 and for ability4 ,their chief use for delight1 is in privateness and retiring2 for ornament1 is in discourse2 and for ability1 is in the judgment and disposition of business4 ,for expert men can execute1 and perhaps judge of particulars1 one by one2 but the general counsels1 and the plots1 and marshalling of affairs1 come best from those that are learned4 ,to spend too much time in studies1 is sloth2 to use them too much for ornament1 is affectation2 to make judgment wholly by their rules1 is the humour of a scholar4 ,they perfect nature and are perfected by experience3 for natural abilities are like natural plants1 that need pruning by study2 and studies themselves do give forth directions too much at large1 except they be bounded in by experience4 ,crafty men contemn studies2 simple men admire them2 and wise men use them2 for they teach not their own use2 but that is a wisdom without them1 and above them1 won by observation4 ,read not to contradict and confute2 nor to believe and take for granted2 nor to find talk and discourse2 but to weigh and consider4 ,some books are to be tasted1 others to be swallowed1 and some few to be chewed and digested2 that is1 some books are to be read only in parts2 others to be read1 but not curiously2 and some few to be read wholly1 and with diligence and attention4 ,some books also may be read by deputy1 and extracts made of them by others2 but that would be only in the less important arguments1 and the meaner sort of books2 else distilled books are like common distilled waters1 flashy things4 ,reading maketh a full man2 conference a ready man2 and writing an exact man4 ,and therefore1 if a man write little1 he had need have a good memory1 if he confer little1 he had need have a present wit2 and if he read little1 he had need have much cunning1 to seem to know that he doth not4 ,if a man's wit be wandering1 let him study the mathematics2 for in demonstrations1 if his wit be called away never so little1 he must begin again2 if his wits be not apt to distinguish or find differences1 let him study the schoolmen2 if he be not apt to beat over matters1 and to call up one thing to prove and illustrate another1 let him study the lawyers' cases4 ,so every defect of the mind may have a special receipt4 --,lord ,bacon ,preparatory4--,observe the sentence structure employed throughout this extract1 and make a list of the antithetical words and phrases4 ,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 construction4 7,introduction1 p4 #bj47 99 99 99 99 99 ,,the ,,influence ,,of ,,athens ,from essay ,on ,mitford's ,history of ,greece ,if we consider merely the subtlety of disquisition1 the force of imagination1 the perfect energy and elegance of expression1 which characterize the great works of ,athenian genius1 we must pronounce them intrinsically most valuable4 ,but what shall we say when we reflect that from hence have sprung1 directly or indirectly1 all the noblest creations of the human intellect2 that from hence were the vast accomplishments and the brilliant fancy of ,cicero1 the withering fire of ,juvenal1 the plastic imagination of ,dante1 the humour of ,cervantes1 the comprehension of ,bacon1 the wit of ,butler1 the supreme and universal excellence of ,shakespeare8 ,all the triumphs of truth and genius over prejudice and power1 in every country and in every age1 have been the triumphs of ,athens4 ,wherever a few great minds have made a stand against violence and fraud1 in the cause of liberty and reason1 there has been her spirit in the midst of them2 inspiring1 encouraging1 consoling2--by the lonely lamp of ,erasmus1 by the restless bed of ,pascal1 in the tribune of ,mirabeau1 in the cell of ,galileo1 on the scaffold of ,sidney4 ,but who shall estimate her influence on private happiness8 ,who shall say how many thousands have been made wiser1 happier1 and better1 by those pursuits in which she has taught mankind to engage2 to how many the studies which took their rise from her have been wealth in poverty1 liberty in bondage1 health in sickness1 society in solitude8 ,her power is1 indeed1 manifested at the bar1 in the senate1 in the field of battle1 in the schools of philosophy4 ,but these are not her glory4 ,wherever literature consoles sorrow1 or assuages pain2 wherever it brings gladness to eyes which fail with wakefulness and tears1 and ache for the dark house and the long sleep1--there is exhibited1 in its noblest form1 the immortal influence of ,athens4 ,the dervish1 in the ,arabian tale1 did not hesitate to abandon to his comrade the camels with their loads of jewels and gold1 while he retained the casket of that mysterious juice which enabled him to behold at one glance all the hidden riches of the universe4 ,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 world1 all the hoarded treasures of its primeval dynasties1 all the shapeless ore of its yet unexplored mines4 ,this is the gift of ,athens to man4 ,her freedom and her power have1 for more than twenty centuries1 been annihilated2 her people have degenerated into timid slaves2 her language1 into a barbarous jargon2 her temples have been given up to the successive depredations of ,romans1 ,turks1 and ,scotchmen2 but her intellectual empire is imperishable4 ,and when those who have rivalled her greatness shall have shared her fate2 when civilization and knowledge shall have fixed their abode in distant continents2 when the sceptre shall have passed away from ,england2 when1 perhaps1 travellers from distant regions shall in vain labour to decipher on some mouldering pedestal the name of our proudest chief1 shall hear savage hymns chaunted to some misshapen idol over the ruined dome of our proudest temple1 and shall see a single naked fisherman wash his nets in the river of the ten thousand masts1--her influence and her glory will still survive1--fresh in eternal youth1 exempt from mutability and decay1 immortal as the intellectual principle from which they derived their origin1 and over which they exercise their control4 --,macaulay ,illustrate from this lesson the principle of ,inflection as applied to 7#a7 a series of words parallel in construction2 7#b7 rhetorical questions4 ,how should the principal clause in the last paragraph be made prominent by the voice8 7,introduction1 p4 #cc47 99 99 99 99 99 ,,national ,,morality #a4 ,i believe there is no permanent greatness to a nation except it be based upon morality4 ,i do not care for military greatness or military renown4 ,i care for the condition of the people among whom ,i live4 ,there is no man in ,england who is less likely to speak irreverently of the ,crown and ,monarchy of ,england than ,i am2 but crowns1 coronets1 mitres1 military display1 the pomp of war1 wide colonies1 and a huge empire1 are1 in my view1 all trifles light as air1 and not worth considering1 unless with them you can have a fair share of comfort1 contentment1 and happiness1 among the great body of the people4 ,palaces1 baronial castles1 great halls1 stately mansions1 do not make a nation4 ,the nation in every country dwells in the cottage2 and unless the light of your ,constitution can shine there1 unless the beauty of your legislation and the excellence of your statesmanship are impressed there on the feelings and condition of the people1 rely upon it1 you have yet to learn the duties of government4 #b4 ,i have not pleaded1 as you have observed1 that this country should remain without adequate and scientific means of defence4 ,i acknowledge it to be the duty of your statesmen1 acting upon the known opinions and principles of ninety-nine out of every one hundred persons in the country1 at all times1 with all possible moderation1 but with all possible efficiency1 to take steps which shall preserve order within and on the confines of your kingdom4 ,but ,i shall repudiate and denounce the expenditure of every shilling1 the engagement of every man1 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 ambition1 and ,i fear is much too large for the highest statesmanship to which any man has yet attained4 #c4 ,the most ancient of profane historians has told us that the ,scythians of his time were a very warlike people1 and that they elevated an old scimitar upon a platform as a symbol of ,mars1 for to ,mars alone1 ,i believe1 they built altars and offered sacrifices4 ,to this scimitar they offered sacrifices of horses and cattle1 the main wealth of the country1 and more costly sacrifices than to all the rest of their gods4 ,i often ask myself whether we are at all advanced in one respect beyond those ,scythians4 ,what are our contributions to charity1 to education1 to morality1 to religion1 to justice1 and to civil government1 when compared with the wealth we expend in sacrifices to the old scimitar8 #d4 ,two nights ago ,i addressed in this hall a vast assembly composed to a great extent of your countrymen1 who have no political power1 who are at work from the dawn of the day to the evening1 and who have therefore limited means of informing themselves on these great subjects4 ,now ,i am privileged to speak to a somewhat different audience4 ,you represent those of your great community who have a more complete education1 who have on some points greater intelligence1 and in whose hands reside the power and influence of the district4 ,i am speaking1 too1 within the hearing of those whose gentle nature1 whose finer instincts1 whose purer minds1 have not suffered as some of us have suffered in the turmoil and strife of life4 ,you can mould opinion1 you can create political power1--you cannot think a good thought on this subject and communicate it to your neighbours1--you cannot make these points topics of discussion in your social circles and more general meetings1 without affecting sensibly and speedily the course which the government of your country will pursue4 ,may ,i ask you1 then1 to believe1 as ,i do most devoutly believe1 that the moral law was not written for men alone in their individual character1 but that it was written as well for nations1 and for nations great as this of which we are citizens4 ,if nations reject and deride that moral law1 there is a penalty which will inevitably follow4 ,it may not come at once1 it may not come in our lifetime2 but1 rely upon it1 the great ,italian is not a poet only1 but a prophet1 when he says3 ,the sword of heaven is not in haste to smite1 ,nor yet doth linger4 #e4 ,we have experience1 we have beacons1 we have landmarks enough4 ,we know what the past has cost us1 we know how much and how far we have wandered1 but we are not left without a guide4 ,it is true1 we have not1 as an ancient people had1 ,urim and ,thummin--those oraculous gems in ,aaron's breast--from which to take counsel1 but we have the unchangeable and eternal principles of the moral law to guide us1 and only so far as we walk by that guidance can we be permanently a great nation1 or our people a happy people4 --,the ,right ,honourable ,john ,bright ,,baronial1 ,,castles1 ,,character1 ,,past4 7,appendix ,a1 #a47 ,par4 #a4 ,,military ,,greatness1 ,,military ,,renown4 ,note the transferred ,emphasis4 7,introduction1 pp4 #ca and #cb47 ,,crowns1 ,,coronets1 ,,etc4 ,explain the ,inflection on each member of this series4 ,give similar examples from this paragraph and from ,pars4 #c1 #d1 and #e4 ,,unless ,,with ,,them1 ,,etc4 ,how does the voice prepare the listener for this clause8 ,give a similar example from ,par4 #d4 ,,you ,,have ,,yet ,,to ,,learn1 ,,etc4 ,how is this clause made prominent8 ,par4 #b4 ,give an analysis of the second sentence from the standpoint of ,perspective4 ,,the ,,expenditure 444 ,,ship4 ,how is the ,climax brought out8 ,,for ,,the ,,hightest 444 ,,attained4 ,note the ,grouping4 ,give another example from this sentence4 ,par4 #d4 ,,nations4 ,what ,inflection on this word8 ,with what is it contrasted8 99 99 99 99 99 ,,hamlet',s ,,advice ,,to ,,the ,,players ,act ,,iii4 ,scene #b ,speak the speech1 ,i pray you1 as ,i pronounced it to you1 trippingly on the tongue3 but if you mouth it1 as many of your players do1 ,i had as lief the town-crier spoke my lines4 ,nor do not saw the air too much with your hand1 thus2 but use all gently3 for in the very #e torrent1 tempest1 and1 as ,i may say1 the whirlwind of passion1 you must acquire and beget a temperance that may give it smoothness4 ,o1 it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters1 to very rags1 to split the ears of the groundlings1 #aj who1 for the most part1 are capable of nothing but inexplicable dumb-shows and noise3 ,i would have such a fellow whipped for o'erdoing ,termagant2 it out-herods ,herod3 pray you1 avoid it4 ,be not too tame neither1 but let your own discretion #ae be your tutor3 suit the action to the word1 the word to the action2 with this special observance1 that you o'erstep not the modesty of nature3 for anything so overdone is from the purpose of playing1 whose end1 both at the first and now1 was and is1 to hold1 as 'twere1 the mirror #bj up to nature2 to show virtue her own feature1 scorn her own image1 and the very age and body of the time his form and pressure4 ,now1 this overdone or come tardy off1 though it make the unskilful laugh1 cannot but make the judicious grieve2 the censure of the which one #be must1 in your allowance1 o'erweigh a whole theatre of others4 ,o1 there be players that ,i have seen play1 and heard others praise1 and that highly1 not to speak it profanely1 that neither having the accent of ,christains nor the gait of ,christain1 pagan1 nor man1 have so #cj strutted and bellowed1 that ,i have thought some of nature's journeymen had made men1 and not made them well1 they imitated humanity so abominably4 --,shakespeare ,,mouth1 ,,town-,,crier1 ,,tame1 ,,journeymen4 ,why are these words emphatic8 7,introduction1 p4 #cj47 ,explain ,,from ,,the ,,purpose ,,of ,,playing1 ,,come ,,tardy ,,off1 ,,the ,,censure ,,of ,,the ,,which 444 ,,others4 ,what are the emphatic words in each8 ,,torrent1 ,,tempest1 ,,whirlwind4 ,observe the ,climax4 ,give other examples of ,climax from this selection and show how the ,emphasis is employed4 7,introduction1 p4 #ca47 ,select parenthetical clauses and show how they are subordinated4 7,introduction1 p4 #bd47 ,read the last two sentences with a view to ,perspective4 7,introduction1 p4 #cc47 99 99 99 99 99 ,,rosabelle ,from ,the ,lay of the ,last ,minstrel ,o listen1 listen1 ladies gay6 ,no haughty feat of arms ,i tell2 ,soft is the note1 and sad the lay ,that mourns the lovely ,rosabelle4 ,moor1 moor the barge1 ye gallant crew6 ,and1 gentle ladye1 deign to stay6 ,rest thee in ,castle ,ravensheuch1 ,nor tempt the stormy firth to-day4 ,the blackening wave is edged with white2 ,to inch and rock the sea-mews fly2 ,the fishers have heard the ,water-,sprite1 ,whose screams forebode that wreck is nigh4 ,last night the gifted ,seer did view ,a wet shroud swathed round ladye gay2 ,then stay thee1 ,fair1 in ,ravensheuch2 ,why cross the gloomy firth to-day8-- ',tis not because ,lord ,lindesay's heir ,to-night at ,roslin leads the ball1 ,but that my ladye-mother there ,sits lonely in her castle-hall4 ',tis not because the ring they ride1 ,and ,lindesay at the ring rides well1 ,but that my sire the wine will chide ,if 'tis not fill'd by ,rosabelle4-- ,o'er ,roslin all that dreary night ,a wondrous blaze was seen to gleam2 ',twas broader than the watch-fire's light1 ,and redder than the bright moonbeam4 ,it glared on ,roslin's castled rock1 ,it ruddied all the copse-wood glen2 ',twas seen from ,dryden's groves of oak1 ,and seen from cavern'd ,hawthornden4 ,seem'd all on fire that chapel proud1 ,where ,roslin's chiefs uncoffin'd lie1 ,each ,baron1 for a sable shroud1 ,sheathed in his iron panoply4 ,seem'd all on fire within1 around1 ,deep sacristy and altar's pale2 ,shone every pillar foliage-bound1 ,and glimmer'd all the dead men's mail4 ,blazed battlement and pinnet high1 ,blazed every rose-carved buttress fair-- ,so still they blaze1 when fate is nigh ,the lordly line of high ,saint ,clair4 ,there are twenty of ,roslin's barons bold ,lie buried within that proud chapelle2 ,each one the holy vault doth hold-- ,but the sea holds lovely ,rosabelle6 ,and each ,saint ,clair was buried there ,with candle1 with book1 and with knell2 ,but the sea-caves rung1 and the wild winds sung ,the dirge of lovely ,rosabelle6 --,sir ,walter ,scott ,,preparatory4--,describe the scene suggested by the first stanza4 ,make three scenes of the rest of the poem1 and give a descriptive title to each4 ,articulation4 7,appendix ,a1 #a1 #c1 and #f47 ,stanza i4 ,how is the ellipsis in l4 #c indicated8 ,stanza ii4 ,what is the difference between the way the speaker addresses the crew and that in which he addresses the lady8 ,stanzas iii-iv4 ,how does the reader make prominent the four different arguments of the speaker in ll4 #i-ae1 at the same time showing that each is a stronger warning than the last8 7,introduction1 pp4 #bd1 #be1 and #ca47 ,stanzas v-vi4 ,what is the ,inflection on the negative statements in the first two lines of each stanza8 ,stanzas vii-xi4 ,what feeling pervades the description of the ominous light over ,roslyn8 ,what ,quality of voice is the natural outcome8 7,introduction1 p4 #cd47 ,what are the central ideas in stanzas vii1 ix1 and x8 ,how is the break in the thought after ,,fair1 7stanza xi7 shown8 7,introduction1 pp4 #h1 #i1 and #be47 ,stanzas xii-xiii4 ,what phrases contrast the burial of the ,saint ,clairs with that of ,rosabelle8 ,what contrast of feeling8 99 99 99 99 99 ,,the ,,island ,,of ,,the ,,scots ,december1 #afig ,the ,rhine is running deep and red1 the island lies before1-- ,now is there one of all the host will dare to venture o'er8 ,for not alone the river's sweep might make a brave man quail2 ,the foe are on the further side1 their shot comes fast as hail4 ,god help us1 if the middle isle we may not hope to win2 #e ,now is there any of the host will dare to venture in8 ,the ford is deep1 the banks are steep1 the island-shore lies wide2 ,nor man nor horse could stem its force1 or reach the further side4 ,see there6 amidst the willow-boughs the serried bayonets gleam2 ,they've flung their bridge1--they've won the isle2 the foe have cross'd the stream6 #aj ,their volley flashes sharp and strong1--by all the saints6 ,i trow ,there never yet was soldier born could force that passage now6 ,so spoke the bold ,french ,mareschal with him who led the van1 ,whilst rough and red before their view the turbid river ran4 ,nor bridge nor boat had they to cross the wild and swollen ,rhine1 #ae ,and thundering on the other bank far stretch'd the ,german line4 ,hard by there stood a swarthy man was leaning on his sword1 ,and a sadden'd smile lit up his face as he heard the ,captain's word4 ,i've seen a wilder stream ere now than that which rushes there2 ,i've stemm'd a heavier torrent yet and never thought to dare4 #bj ,if ,german steel be sharp and keen1 is ours not strong and true8 ,there may be danger in the deed1 but there is honour too4 ,the old lord in his saddle turn'd1 and hastily he said1 ,hath bold ,duguesclin's fiery heart awaken'd from the dead8 ,thou art the leader of the ,scots1--now well and sure ,i know1 #be ,that gentle blood in dangerous hour ne'er yet ran cold nor slow1 ,and ,i have seen ye in the fight do all that mortal may3 ,if honour is the boon ye seek1 it may be won this day1-- ,the prize is in the middle isle1 there lies the adventurous way1 ,and armies twain are on the plain1 the daring deed to see1-- #cj ,now ask thy gallant company if they will follow thee6 ,right gladsome look'd the ,captain then1 and nothing did he say1 ,but he turn'd him to his little band1 ,o1 few1 ,i ween1 were they6 ,the relics of the bravest force that ever fought in fray4 ,no one of all that company but bore a gentle name1 #ce ,not one whose fathers had not stood in ,scotland's fields of fame4 ,all they had march'd with great ,dundee to where he fought and fell1 ,and in the deadly battle-strife had venged their leader well2 ,and they had bent the knee to earth when every eye was dim1 ,as o'er their hero's buried corpse they sang the funeral hymn2 #dj ,and they had trod the ,pass once more1 and stoop'd on either side4 ,to pluck the heather from the spot where he had dropp'd and died2 ,and they had bound it next their hearts1 and ta'en a last farewell ,of ,scottish earth and ,scottish sky1 where ,scotland's glory fell4 ,then went they forth to foreign lands like bent and broken men1 #de ,who leave their dearest hope behind1 and may not turn again4 ,the stream1 he said1 is broad and deep1 and stubborn is the foe1-- ,yon island-strength is guarded well1--say1 brothers1 will ye go8 ,from home and kin for many a year our steps have wander'd wide1 ,and never may our bones be laid our fathers' graves beside4 #ej ,no children have we to lament1 no wives to wail our fall2 ,the traitor's and the spoiler's hand have reft our hearths of all4 ,but we have hearts1 and we have arms1 as strong to will and dare ,as when our ancient banners flew within the northern air4 ,come1 brothers6 let me name a spell shall rouse your souls again1 #ee ,and send the old blood bounding free through pulse and heart and vein4 ,call back the days of bygone years1--be young and strong once more2 ,think yonder stream1 so stark and red1 is one we've cross'd before4 ,rise1 hill and glen6 rise1 crag and wood6 rise up on either hand1-- ,again upon the ,garry's banks1 on ,scottish soil we stand6 #fj ,again ,i see the tartans wave1 again the trumpets ring2 ,again ,i hear our leader's call3 ',upon them for the ,king6' ,stay'd we behind that glorious day for roaring flood or linn8 ,the soul of ,graeme is with us still1--now1 brothers1 will ye in8 ,no stay1--no pause4 ,with one accord1 they grasp'd each other's hand1 #fe ,then plunged into the angry flood1 that bold and dauntless band4 ,high flew the spray above their heads1 yet onward still they bore1 ,midst cheer1 and shout1 and answering yell1 and shot1 and cannon-roar1-- ,now1 by the ,holy ,cross6 ,i swear1 since earth and sea began1 ,was never such a daring deed essay'd by mortal man6 #gj ,thick blew the smoke across the stream1 and faster flash'd the flame3 ,the water plash'd in hissing jets as ball and bullet came4 ,yet onward push'd the ,cavaliers all stern and undismay'd1 ,with thousand armed foes before1 and none behind to aid ,once1 as they near'd the middle stream1 so strong the torrent swept1 #ge ,that scarce that long and living wall their dangerous footing kept4 ,then rose a warning cry behind1 a joyous shout before3 ,the current's strong1--the way is long1--they'll never reach the shore6 ,see1 see6 they stagger in the midst1 they waver in their line6 ,fire on the madmen6 break their ranks1 and whelm them in the ,rhine6 #hj ,have you seen the tall trees swaying when the blast is sounding shrill1 ,and the whirlwind reels in fury down the gorges of the hill8 ,how they toss their mighty branches struggling with the tempest's shock2 ,how they keep their place of vantage1 cleaving firmly to the rock8 ,even so the ,scottish warriors held their own against the river2 #he ,though the water flashed around them1 not an eye was seen to quiver2 ,though the shot flew sharp and deadly1 not a man relax'd his hold2 ,for their hearts were big and thrilling with the mighty thoughts of old4 ,one word was spoken among them1 and through the ranks it spread1-- ,remember our dead ,claverhouse6 was all the ,captain said4 #ij ,then1 sternly bending forward1 they wrestled on a while1 ,until they clear'd the heavy stream1 then rush'd toward the isle4 ,the ,german heart is stout and true1 the ,german arm is strong2 ,the ,german foot goes seldom back where armed foemen throng4 ,but never had they faced in field so stern a charge before1 #ie ,and never had they felt the sweep of ,scotland's broad claymore4 ,not fiercer pours the avalanche adown the steep incline1 ,that rises o'er the parent springs of rough and rapid ,rhine1-- ,scarce swifter shoots the bolt from heaven than came the ,scottish band ,right up against the guarded trench1 and o'er it sword in hand4 #ajj ,in vain their leaders forward press1--they meet the deadly brand6 ,o lonely island of the ,rhine1--where seed was never sown1 ,what harvest lay upon thy sands1 by those strong reapers thrown8 ,what saw the winter moon that night1 as1 struggling through the rain1 ,she pour'd a wan and fitful light on marsh1 and stream1 and plain8 #aje ,a dreary spot with corpses strewn1 and bayonets glistening round2 ,a broken bridge1 a stranded boat1 a bare and batter'd mound2 ,and one huge watch-fire's kindled pile1 that sent its quivering glare ,to tell the leaders of the host the conquering ,scots were there4 ,and did they twine the laurel-wreath1 for those who fought so well8 #aaj ,and did they honour those who liv'd1 and weep for those who fell8 ,what meed of thanks was given to them let aged annals tell4 ,why should they bring the laurel-wreath1--why crown the cup with wine8 ,it was not ,frenchmen's blood that flow'd so freely on the ,rhine1-- ,a stranger band of beggar'd men had done the venturous deed3 #aae ,the glory was to ,france alone1 the danger was their meed4 ,and what cared they for idle thanks from foreign prince and peer8 ,what virtue had such honey'd words the exiled heart to cheer8 ,what matter'd it that men should vaunt and loud and fondly swear1 ,that higher feat of chivalry was never wrought elsewhere8 #abj ,they bore within their breasts the grief that fame can never heal1-- ,the deep1 unutterable woe which none save exiles feel4 ,their hearts were yearning for the land they ne'er might see again1-- ,for ,scotland's high and heather'd hills1 for mountains1 loch and glen-- ,for those who haply lay at rest beyond the distant sea1 #abe ,beneath the green and daisied turf where they would gladly be6 ,long years went by4 ,the lonely isle in ,rhine's tempestuous flood ,has ta'en another name from those who bought it with their blood3 ,and1 though the legend does not live1--for legends lightly die-- ,the peasant1 as he sees the stream in winter rolling by1 #acj ,and foaming o'er its channel-bed between him and the spot ,won by the warriors of the sword1 still calls that deep and dangerous ford ,the ,passage of the ,scot4 --,william ,edmondstoune ,aytoun ,,preparatory4--,narrate briefly the events of this poem1 and show by a blackboard diagram the situation of the island1 the position of the armies1 etc4 ,into how many dramatic scenes can the poem be divided8 ,describe each one1 showing what part of the poem it covers4 ,for exercise in dramatic rendering1 see notes on ,highland ,hospitality1 pp4 #aec and #aed4 ,in what state of mind are the first two speakers8 ,compare their speeches in this respect with the first speech of the ,scottish ,captain--,i',,ve ,,seen ,a ,,wilder1 ,,etc4 ,what is the difference in ,time1 ,pitch1 and ,stress8 #c4 ,,river',s ,,sweep1 ,,foe4 ,which is more emphatic8 ,compare ,,man and ,,horse1 l4 #h4 #aj-ab4 ,give some examples of ,climax in the second stanza and show how the ,force and the ,pitch are affected4 #bd4 ,,hath ,,bold ,,duguesclin',s1 ,,etc4 ,supply the undercurrent of thought between the first line of this speech and the second4 ,how is this suggested in reading8 7,introduction1 p4 #ad47 #cc4 ,,he ,,turned ,,him ,,to ,,his ,,little ,,band--,o ,,few1 ,,etc4 ,how can the break in the thought be indicated8 7,introduction1 pp4 #h1 #i1 and #be47 #cc-df4 ,o ,,few ,i ,,ween 444 ,,not ,,turn ,,again4 ,what two feelings predominate8 ,compare the first part of the ,captain's speech with the second part from the standpoint of energy4 ,what is the difference in ,force and ,pitch8 7,introduction1 pp4 #bc and #bf47 #fe4 ,,no ,,stay1--,,no ,,pause1 ,,etc4 ,what part does spontaneous ,imitation play here1 and in the following stanza8 7,introduction1 pp4 #d and #e47 #fi4 ,,now1 ,,by ,,the ,,holy ,,cross6 ,,etc4 ,where should the longest ,pause be made in this line8 #gh4 ,,the ,,current',s ,,strong1 ,,etc4 ,what are the ,pitch1 ,force1 and ,stress8 7,introduction1 pp4 #bb1 #bf1 and #bi47 #ic4 ,,the ,,german ,,heart1 ,,etc4 ,emphasis4 7,introduction1 p4 #ca47 #if4 ,,and ,,never ,,had ,,they ,,felt1 ,,etc4 ,note ,grouping and ,pause4 #ii4 ,,scarce ,,swifter1 ,,etc4 ,what is the ,stress8 ,why8 7,introduction1 p4 #bh47 #aja4 ,,in ,,vain4 ,note the transition at this line4 7,introduction1 pp4 #h1 #i1 and #be47 #aac4 ,,why ,,should ,,they ,,bring1 ,,etc4 ,how does the voice indicate the insincerity of thought in these lines8 7,introduction1 pp4 #ba1 #bb1 and #cj47 ,what ,inflection is used on the various questions in this and the preceding stanzas8 7,introduction1 pp4 #ah and #ai47 #abg-acc4 ,note the ,grouping and the ,shading4 7,introduction1 p4 #cc47 99 99 99 99 99 ,,cranford ,,society ,from ,cranford ,in the first place1 ,cranford is in possession of the ,amazons2 all the holders of houses above a certain rent are women4 ,if a married couple come to settle in the town1 somehow the gentleman disappears2 he is either fairly frightened to death by being the only man in the ,cranford evening parties1 or he is accounted for by being with his regiment1 his ship1 or closely engaged in business all the week in the great neighbouring commercial town of ,drumble1 distant only twenty miles on a railway4 ,in short1 whatever does become of the gentlemen1 they are not at ,cranford4 ,what could they do if they were there8 ,the surgeon has his round of thirty miles1 and sleeps at ,cranford2 but every man cannot be a surgeon4 ,for keeping the trim gardens full of choice flowers without a weed to speck them2 for frightening away little boys who look wistfully at the said flowers through the railings2 for rushing out at the geese that occasionally venture into the gardens if the gates are left open2 for deciding all questions of literature and politics without troubling themselves with unnecessary reasons or arguments2 for obtaining clear and correct knowledge of everybody's affairs in the parish2 for keeping their neat maidservants in admirable order2 for kindness 7somewhat dictatorial7 to the poor1 and real tender good offices to each other whenever they are in distress--the ladies of ,cranford are quite sufficient4 ,a man1 as one of them observed to me once1 is so in the way in the house6 ,although the ladies of ,cranford know all each other's proceedings1 they are exceedingly indifferent to each other's opinions4 ,indeed1 as each has her own individuality1 not to say eccentricity1 pretty strongly developed1 nothing is so easy as verbal retaliation2 but1 somehow1 good-will reigns among them to a considerable degree4 ,then there were rules and regulations for visiting and calls2 and they were announced to any young people who might be staying in the town1 with all the solemnity with which the old ,manx laws were read once a year on the ,tinwald ,mount4 ,our friends have sent to inquire how you are after your journey to-night1 my dear 7fifteen miles in a gentleman's carriage74 ,they will give you some rest to-morrow2 but the next day1 ,i have no doubt1 they will call2 so be at liberty after twelve--from twelve to three are our calling hours4 ,then1 after they had called-- ,it is the third day1 ,i dare say your mamma has told you1 my dear1 never to let more than three days elapse between receiving a call and returning it2 and also1 that you are never to stay longer than a quarter of an hour4 ,but am ,i to look at my watch8 ,how am ,i to find out when a quarter of an hour has passed8 ,you must keep thinking about the time1 my dear1 and not allow yourself to forget it in conversation4 ,as everybody had this rule in their minds1 whether they received or paid a call1 of course no absorbing subject was ever spoken about4 ,we kept ourselves to short sentences of small talk1 and were punctual to our time4 ,i imagine that a few of the gentlefolks of ,cranford were poor1 and had some difficulty in making both ends meet2 but they were like the ,spartans1 and concealed their smart under a smiling face4 ,we none of us spoke of money1 because that subject savoured of commerce and trade2 and though some might be poor1 we were all aristocratic4 ,the ,cranfordians had that kindly esprit de corps which made them overlook all deficiencies in success when some among them tried to conceal their poverty4 ,when ,mrs4 ,forrester1 for instance1 gave a party in her baby-house of a dwelling1 and the little maiden disturbed the ladies on the sofa by a request that she might get the tea-tray out from underneath1 every one took this novel proceeding as the most natural thing in the world1 and talked on about household forms and ceremonies as if we all believed that our hostess had a regular servants' hall1 second table1 with house-keeper and steward1 instead of the one little charity-school maiden1 whose short ruddy arms could never have been strong enough to carry the tray upstairs1 if she had not been assisted in private by her mistress1 who now sat in state1 pretending not to know what cakes were sent up1 though she knew1 and we knew1 and she knew that we knew1 and we knew that she knew that we knew1 she had been busy all morning making tea-bread and sponge-cakes4 ,there were one or two consequences arising from this general but unacknowledged poverty1 and this very much acknowledged gentility1 which were not amiss1 and which might be introduced into many circles of society to their great improvement4 ,for instance1 the inhabitants of ,cranford kept early hours1 and clattered home in their pattens1 under the guidance of a lantern-bearer1 about nine o'clock at night2 and the whole town was abed and asleep by half-past ten4 ,moreover1 it was considered vulgar 7a tremendous word in ,crawford7 to give anything expensive1 in the way of eatable or drinkable1 at the evening entertainments4 ,wafer bread-and-butter and sponge-biscuits were all that the ,honourable ,mrs4 ,jamieson gave2 and she was sister-in-law to the late ,earl of ,glenmire1 although she did practise such elegant economy4 ,elegant economy6 ,how naturally one falls back into the phraseology of ,cranford6 ,there1 economy was always elegant1 and money-spending always vulgar and ostentatious2 a sort of sour-grapeism which made us very peaceful and satisfied4 ,i never shall forget the dismay felt when a certain ,captain ,brown came to live at ,cranford1 and openly spoke about his being poor--not in a whisper to an intimate friend1 the doors and windows being previously closed1 but in the public street1 in a loud military voice1 alleging his poverty as a reason for not taking a particular house4 ,the ladies of ,cranford were already rather moaning over the invasion of their territories by a man and a gentleman4 ,he was a half-pay captain1 and had obtained some situation on a neighbouring railway1 which had been vehemently petitioned against by the little town2 and if1 in addition to his masculine gender1 and his connection with the obnoxious railway1 he was so brazen as to talk of being poor--why1 then1 indeed1 he must be sent to ,coventry4 ,death was as true and as common as poverty2 yet people never spoke about that loud out in the streets4 ,it was a word not to be mentioned to ears polite4 ,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 wished4 ,if we walked to or from a party1 it was because the night was so fine1 or the air so refreshing1 not because sedan-chairs were expensive4 ,if we wore prints instead of summer silks1 it was because we preferred a washing material2 and so on1 till we blinded ourselves to the vulgar fact that we were1 all of us1 people of very moderate means4 ,of course1 then1 we did not know what to make of a man who could speak of poverty as if it was not a disgrace4 ,yet1 somehow1 ,captain ,brown made himself respected in ,cranford1 and was called upon1 in spite of all resolutions to the contrary4 --,mrs4 ,gaskell ,give examples of momentary completeness in the second and sixth sentences of ,par4 #a4 7,introduction1 p4 #af47 ,what ,inflection is placed on the ,interrogative sentence in ,par4 #a8 7,introduction1 p4 #ai47 ,select words throughout the lesson which are emphatic through contrast and tell what ,inflection is placed on them4 7,introduction1 pp4 #bj and #ba47 ,how are the parenthetical clauses kept in the background8 7,introduction1 p4 #bd47 ,,when ,,mrs ,,forrester 444 ,,sponge-,,cakes4 ,account for the ,inflection on the various phrases and clauses of this sentence4 ,,though ,,she ,,knew1 ,,and ,,we ,,knew1 ,,and ,,she ,,knew ,,that ,,we ,,knew4 ,explain the ,emphasis4 7,introduction1 pp4 #cj-cb47 99 99 99 99 99 ,,sir ,,galahad ,my good blade carves the casques of men1 ,my tough lance thrusteth sure1 ,my strength is as the strength of ten1 ,because my heart is pure4 ,the shattering trumpet shrilleth high1 #e ,the hard brands shiver on the steel1 ,the splinter'd spear-shafts crack and fly1 ,the horse and rider reel3 ,they reel1 they roll in clanging lists1 ,and when the tide of combat stands1 #aj ,perfume and flowers fall in showers1 ,that lightly rain from ladies' hands4 ,how sweet are looks that ladies bend ,on whom their favours fall6 ,for them ,i battle till the end1 #ae ,to save from shame and thrall3 ,but all my heart is drawn above1 ,my knees are bow'd in crypt and shrine3 ,i never felt the kiss of love1 ,nor maiden's hand in mine4 #bj ,more bounteous aspects on me beam1 ,me mightier transports move and thrill2 ,so keep ,i fair thro' faith and prayer ,a virgin heart in work and will4 ,when down the stormy crescent goes1 #be ,a light before me swims1 ,between dark stems the forest glows1 ,i hear a noise of hymns3 ,then by some secret shrine ,i ride2 ,i hear a voice but none are there2 #cj ,the stalls are void1 the doors are wide1 ,the tapers burning fair4 ,fair gleams the snowy altar-cloth1 ,the silver vessels sparkle clean1 ,the shrill bell rings1 the censer swings1 #ce ,and solemn chaunts resound between4 ,sometimes on lonely mountain-meres ,i find a magic bark2 ,i leap on board3 no helmsman steers3 ,i float till all is dark4 #dj ,a gentle sound1 an awful light6 ,three angels bear the ,holy ,grail2 ,with folded feet1 in stoles of white1 ,on sleeping wings they sail4 ,ah1 blessed vision6 blood of ,god6 #de ,my spirit beats her mortal bars1 ,as down dark tides the glory slides1 ,and star-like mingles with the stars4 ,when on my goodly charger borne ,thro' dreaming towns ,i go1 #ej ,the cock crows ere the ,christmas morn1 ,the streets are dumb with snow4 ,the tempest crackles on the leads1 ,and1 ringing1 springs from brand and mail2 ,but o'er the dark a glory spreads1 #ee ,and gilds the driving hail4 ,i leave the plain1 ,i climb the height2 ,no branchy thicket shelter yields2 ,but blessed forms in whistling storms ,fly o'er waste fens and windy fields4 #fj ,a maiden knight--to me is given ,such hope1 ,i know not fear2 ,i yearn to breathe the airs of heaven ,that often meet me here4 ,i muse on joy that will not cease4 #fe ,pure spaces clothed in living beams1 ,pure lilies of eternal peace1 ,whose odours haunt my dreams2 ,and1 stricken by an angel's hand1 ,this mortal armour that ,i wear1 #gj ,this weight and size1 this heart and eyes1 ,are touch'd1 are turn'd to finest air4 ,the clouds are broken in the sky1 ,and thro' the mountain-walls ,a rolling organ-harmony #ge ,swells up1 and shakes and falls4 ,then move the trees1 the copses nod1 ,wings flutter1 voices hover clear3 ,o just and faithful knight of ,god6 ,ride on6 the prize is near4 #hj ,so pass ,i hostel1 hall1 and grange2 ,by bridge and ford1 by park and pale1 ,all-arm'd ,i ride1 whate'er betide1 ,until ,i find the ,holy ,grail4 --,alfred ,tennyson ,,preparatory4--,point out the contrast of scene in stanza i4 ,how has the poet obtained contrast of sound8 ,note the difficulties of ,articulation4 ,enumerate the manifestations by means of which ,sir ,galahad apprehends the continual proximity of the ,holy ,grail4 ,select the lines in which the mystical element is most strongly marked4 ,what feeling is aroused in reading these lines8 ,in what ,quality of voice does this feeling find expression8 7,introduction1 p4 #cd47 ,what is the prevailing ,quality of voice8 ,a ,,rolling ,,organ-,,harmony1 ,,etc4 ,what idea predominates8 ,how does it affect the ,quality of voice8 99 99 99 99 99 ,,song ,,for ,,saint ,,cecilia',s ,,day ,november #bb1 #afhg ,from harmony1 from heavenly harmony ,this universal frame began2 ,when ,nature underneath a heap ,of jarring atoms lay1 ,and could not heave her head1 #e ,the tuneful voice was heard from high1 ,arise ye more than dead4 ,then cold1 and hot1 and moist1 and dry1 ,in order to their stations leap1 ,and ,music's power obey4 #aj ,from harmony1 from heavenly harmony1 ,this universal frame began2 ,from harmony to harmony ,through all the compass of the notes it ran1 ,the diapason closing full in ,man4 #ae ,what passion cannot ,music raise and quell8 ,when ,jubal struck the chorded shell1 ,his listening brethren stood around1 ,and1 wondering1 on their faces fell ,to worship that celestial sound2 #bj ,less than a ,god they thought there could not dwell ,within the hollow of that shell1 ,that spoke so sweetly and so well4 ,what passion cannot ,music raise and quell8 ,the trumpet's loud clangour #be ,excites us to arms ,with shrill notes of anger ,and mortal alarms4 ,the double double double beat ,of the thundering drum #cj ,cries1 ,hark6 the foes come2 ,charge1 charge1 'tis too late to retreat6 ,the soft complaining flute ,in dying notes discovers ,the woes of hopeless lovers1 #ce ,whose dirge is whisper'd by the warbling lute4 ,sharp violins proclaim ,their jealous pangs and desperation1 ,fury1 frantic indignation1 ,depth of pains1 and height of passion #dj ,for the fair1 disdainful dame4 ,but oh6 what art can teach1 ,what human voice can reach ,the sacred organ's praise8 ,notes inspiring holy love1 #de ,notes that wing their heavenly ways ,to mend the choirs above4 ,orpheus could lead the savage race1 ,and trees unrooted left their place1 ,sequacious of the lyre3 #ej ,but bright ,cecilia rais'd the wonder higher3 ,when to her organ vocal breath was given ,an angel heard1 and straight appear'd ,mistaking ,earth for ,heaven4 ,,grand ,,chorus ,as from the power of sacred lays #ee ,the spheres began to move1 ,and sung the great ,creator's praise ,to all the blessed above2 ,so when the last and dreadful hour ,this crumbling pageant shall devour1 #fj ,the trumpet shall be heard on high1 ,the dead shall live1 the living die1 ,and ,music shall untune the sky4 --,john ,dryden ,what feeling pervades the first and last stanzas8 ,the second stanza8 ,in what ,quality of voice does each of these feelings find expression8 7,introduction1 pp4 #cc-ce47 ,illustrate by means of the third1 fourth1 and fifth stanzas the extent to which ,imitation enters into reading4 7,introduction1 pp4 #d and #e47 ,account for the gradually increasing ,emphasis in ll4 #aa-ae1 #dh-ed1 and #fj-fc4 7,introduction1 p4 #ca47 #c-f4 ,what is the ,shading and ,inflection8 7,introduction1 pp4 #af and #cc47 ,compare with these ll4 #ee-fa4 #af4 ,what is the ,inflection on this question8 7,introduction1 p4 #ai47 ,compare with this ll4 #db-dd4 #ba4 ,,they ,,thought4 ,how does the reader give to these words the force of a parenthetical clause8 7,introduction1 p4 #cc47 #bb-bc4 ,note the ,grouping4 #ca4 ,how does the voice make the transition to direct discourse8 7,introduction1 p4 #bd47 #db-ed4 ,what is the mental attitude8 ,what is the corresponding ,stress8 7,introduction1 p4 #bi47 #dd4 ,,organ',s4 ,account for the marked ,emphasis on this word4 ,compare ,,bright ,,cecilia1 l4 #ea4 99 99 99 99 99 ,,the ,,day ,,was ,,lingering ,the day was lingering in the pale northwest1 ,and night was hanging o'er my head1-- ,night where a myriad stars were spread2 ,while down in the east1 where the light was least1 ,seem'd the home of the quiet dead4 #e ,and1 as ,i gazed on the field sublime1 ,to watch the bright1 pulsating stars1 ,adown the deep where the angels sleep ,came drawn the golden chime ,of those great spheres that sound the years #aj ,for the horologe of time4 ,millenniums numberless they told1 ,millenniums a million-fold ,from the ancient hour of prime4 --,charles ,heavysege ,,preparatory4--,compare other passages from literature which suggest the music of the spheres1 for example3 ,dryden's ,song for ,saint ,cecilia's ,day1 ,the ,moonlight ,scene from ,the ,merchant of ,venice1 ,milton's ,the ,hymn4 ,what is the atmosphere of ll4 #a-d8 ,of ll4 #e-ad8 ,in what two different ,qualities of voice do the corresponding feelings find expression8 ,read ll4 #f-aa1 with a view to ,perspective4 ,note the ,grouping in ll4 #i-aa4 99 99 99 99 99 ,,on ,,first ,,looking ,,into ,,chapman',s ,,homer ,much have ,i travelled in the realms of gold1 ,and many goodly states and kingdoms seen2 ,round many western islands have ,i been1 ,which bards in fealty to ,apollo hold4 ,oft of one wide expanse had ,i been told #e ,that deep-browed ,homer ruled as his demesne2 ,yet never did ,i breathe its pure serene ,till ,i heard ,chapman speak out loud and bold3 ,then felt ,i like some watcher of the skies ,when a new planet swims into his ken2 #aj ,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-- ,silent1 upon a peak in ,darien4 --,john ,keats ,,preparatory4--,how is the fundamental idea of this sonnet illustrated in ,the ,key to ,human ,happiness8 7p4 #bff47 ,what feeling pervades the last six lines8 ,in which line is this feeling most marked8 ,in what ,quality of voice does it find expression8 7,introduction1 pp4 #cc-ce47 ,select the words which are emphatic through contrast1 expressed or implied4 7,introduction1 p4 #cb47 99 99 99 99 99 ,,great ,,things ,,were ,,ne',,er ,,begotten ,,in ,,an ,,hour ,great things were ne'er begotten in an hour2 ,ephemerons in birth1 are such in life2 ,and he who dareth1 in the noble strife ,of intellects1 to cope for real power1-- ,such as ,god giveth as ,his rarest dower #e ,of mastery1 to the few with greatness rife1-- ,must1 ere the morning mists have ceased to lower ,till the long shadows of the night arrive1 ,stand in the arena4 ,laurels that are won1 ,plucked from green boughs1 soon wither2 those that last #aj ,are gather'd patiently1 when sultry noon ,and summer's fiery glare in vain are past4 ,life is the hour of labour2 on ,earth's breast ,serene and undisturb'd shall be thy rest4 --,sir ,daniel ,wilson 7,by permission7 ,,preparatory4--,what is the essential thought in this sonnet8 ,quote corresponding passages4 ,give illustrations from history and fiction4 ,what words are emphatic because of 7a7 contrast expressed1 7b7 contrast implied8 7,introduction1 pp4 #cj and #cb47 ,read ll4 #c-i1 with a view to ,perspective4 7,introduction1 p4 #cc47 99 99 99 99 99 ,a ,,wood ,,lyric ,into the stilly woods ,i go1 ,where the shades are deep and the wind-flowers blow1 ,and the hours are dreamy and lone and long1 ,and the power of silence is greater than song4 ,into the stilly woods ,i go1 #e ,where the leaves are cool and the wind-flowers blow4 ,when ,i go into the stilly woods1 ,and know all the flowers in their sweet1 shy hoods1 ,the tender leaves in their shimmer and sheen ,of darkling shadow1 diaphanous green1 #aj ,in those haunted halls where my footstep falls1 ,like one who enters cathedral walls1 ,a spirit of beauty floods over me1 ,as over a swimmer the waves of the sea1 ,that strengthens and glories1 refreshens and fills1 #ae ,till all mine inner heart wakens and thrills ,with a new and a glad and a sweet delight1 ,and a sense of the infinite out of sight1 ,of the great unknown that we may not know1 ,but only feel with an inward glow #bj ,when into the great1 glad woods we go4 ,o life-worn brothers1 come with me ,into the wood's hushed sanctity1 ,where the great1 cool branches are heavy with ,june1 ,and the voices of summer are strung in tune2 #be ,come with me1 ,o heart out-worn1 ,or spirit whom life's brute-struggles have torn1 ,come1 tired and broken and wounded feet1 ,where the walls are greening1 the floors are sweet1 ,the roofs are breathing and heaven's airs meet4 #cj ,come1 wash earth's grievings from out of the face1 ,the tear and the sneer and the warfare's trace1 ,come1 where the bells of the forest are ringing1 ,come1 where the oriole's nest is swinging1 ,where the brooks are foaming in amber pools1 #ce ,the mornings are still and the noonday cools4 ,cast off earth's sorrows and know what ,i know1 ,when into the glad1 deep woods ,i go4 --,william ,wilfred ,campbell 7,by permission7 ,,preparatory4--,an ,afternoon alone in the ,woods4 ,tell what one may see1 and think1 and feel4 ,illustrate by quotations from the poets4 ,give numerous examples of momentary completeness throughout the poem4 7,introduction1 p4 #af47 ,how does the reader show that ll4 #g-ab are merely anticipative8 7,introduction1 p4 #ag47 ,what change is made in the ,force in l4 #ac8 7,introduction1 p4 #cc47 ,how is l4 #ae connected with l4 #ac8 ,observe the transition from description to appeal in l4 #bb4 ,what is the change in vocal expression8 99 99 99 99 99 ,,to ,,night ,swiftly walk over the western wave1 ,spirit of ,night6 ,out of the misty eastern cave1 ,where1 all the long and lone daylight1 ,thou wovest dreams of joy and fear1 #e ,which make thee terrible and dear1-- ,swift be thy flight6 ,wrap thy form in a mantle gray1 ,star-inwrought6 ,blind with thine hair the eyes of ,day1 #aj ,kiss her until she be wearied out1 ,then wander o'er city1 and sea1 and land1 ,touching all with thine opiate wand-- ,come1 long-sought6 ,when ,i arose and saw the dawn1 #ae ,i sighed for thee2 ,when light rode high1 and the dew was gone1 ,and noon lay heavy on flower and tree1 ,and the weary ,day turned to his rest1 ,lingering like an unloved guest1 #bj ,i sighed for thee4 ,thy brother ,death came1 and cried1 ,wouldst thou me8 ,thy sweet child ,sleep1 the filmy-eyed1 ,murmured like a noontide bee #be ,shall ,i nestle near thy side8 ,wouldst thou me8--,and ,i replied1 ,no1 not thee6 ,death will come when thou art dead1 ,soon1 too soon-- #cj ,sleep will come when thou art fled2 ,of neither would ,i ask the boon ,i ask of thee1 beloved ,night-- ,swift be thine approaching flight1 ,come soon1 soon6 #ce --,percy ,bysshe ,shelley 99 99 99 99 99 ,,the ,,opening ,,scene ,,at ,,the ,,trial ,,of ,,warren ,,hastings ,from ,essay on ,warren ,hastings ,on the #acth of ,february1 #aghh1 the sittings of the ,court commenced4 ,there have been spectacles more dazzling to the eye1 more gorgeous with jewelry and cloth of gold1 more attractive to grown-up children1 than that which was then exhibited at ,westminster2 but1 perhaps1 there never was a spectacle so well calculated to strike a highly cultivated1 a reflecting1 an imaginative mind4 ,all the various kinds of interest which belong to the near and to the distant1 to the present and to the past1 were collected on one spot and in one hour4 ,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 contrast4 ,every step in the proceedings carried the mind either backward1 through many troubled centuries1 to the days when the foundations of our constitution were laid2 or far away1 over boundless seas and deserts1 to dusky nations living under strange stars1 worshipping strange gods1 and writing strange characters from right to left4 ,the ,high ,court of ,parliament was to sit1 according to forms handed down from the days of the ,plantagenets1 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 ,oude4 ,the place was worthy of such a trial4 ,it was the great hall of ,william ,rufus1 the hall which had resounded with acclamations at the inauguration of thirty kings1 the hall which had witnessed the just sentence of ,bacon and the just absolution of ,somers1 the hall where the eloquence of ,strafford had for a moment awed and melted a victorious party inflamed with just resentment1 the hall where ,charles had confronted the ,high ,court of ,justice with the placid courage which has half redeemed his fame4 ,neither military nor civil pomp was wanting4 ,the avenues were lined with grenadiers4 ,the streets were kept clear by cavalry4 ,the peers1 robed in gold and ermine1 were marshalled by the heralds under ,garter ,king-at-,arms4 ,the judges in their vestments of state attended to give advice on points of law4 ,near a hundred and seventy lords1 three fourths of the ,upper ,house as the ,upper ,house then was1 walked in solemn order from their usual place of assembling to the tribunal4 ,the junior ,baron present led the way1 ,george ,eliott1 ,lord ,heathfield1 recently ennobled for his memorable defence of ,gibraltar against the fleets and armies of ,france and ,spain4 ,the long procession was closed by the ,duke of ,norfolk1 ,earl ,marshal of the realm1 by the great dignitaries1 and by the brothers and sons of the ,king4 ,last of all came the ,prince of ,wales1 conspicuous by his fine person and noble bearing4 ,the gray old walls were hung with scarlet4 ,the long galleries were crowded by an audience such as has rarely excited the fears or the emulation of an orator4 ,there were gathered together1 from all parts of a great1 free1 enlightened and prosperous empire1 grace and female loveliness1 wit and learning1 the representatives of every science and of every art4 ,there were seated round the ,queen1 the fair-haired young daughters of the house of ,brunswick4 ,there the ,ambassadors of great ,kings and ,commonwealths gazed with admiration on a spectacle which no other country in the world could present4 ,there ,siddons1 in the prime of her majestic beauty1 looked with emotion on a scene surpassing all the imitations of the stage4 ,there the historian of the ,roman ,empire thought of the days when ,cicero pleaded the cause of ,sicily against ,verres1 and when1 before a senate which still retained some show of freedom1 ,tacitus thundered against the oppressor of ,africa4 ,there were seen1 side by side1 the greatest painter and the greatest scholar of the age4 ,the spectacle had allured ,reynolds from that easel which has preserved to us the thoughtful foreheads of so many writers and statesmen1 and the sweet smiles of so many noble matrons4 ,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 earth1 too often paraded with injudicious and inelegant ostentation2 but still precious1 massive1 and splendid4 ,there appeared the voluptuous charms of her to whom the heir of the throne had in secret plighted his faith4 ,there too was she1 the beautiful mother of a beautiful race1 the ,saint ,cecilia1 whose delicate features1 lighted up by love and music1 art has rescued from the common decay4 ,there were the members of that brilliant society which quoted1 criticised1 and exchanged repartees under the rich peacock hangings of ,mrs4 ,montague4 ,and there the ladies1 whose lips1 more persuasive than those of ,fox himself1 had carried the ,westminster election against palace and treasury1 shone round ,georgiana1 ,duchess of ,devonshire4 ,the ,serjeants made proclamation4 ,hastings advanced to the bar and bent his knee4 ,the culprit was indeed not unworthy of that great presence4 ,he had ruled an extensive and populous country1 had made laws and treaties1 had sent forth armies1 had set up and pulled down princes4 ,and in his high place he had so borne himself that all had feared him1 that most had loved him1 and that hatred itself could deny him no title to glory except virtue4 ,he looked like a great man and not like a bad man4 ,a person small and emaciated1 yet deriving dignity from a carriage which1 while it indicated deference to the court1 indicated also habitual self-possession and self-respect2 a high and intellectual forehead2 a brow pensive1 but not gloomy2 a mouth of inflexible decision2 a face pale and worn1 but serene1 on which was written1 as legibly as under the picture in the council-chamber at ,calcutta1 ,mens aequa in arduis2 such was the aspect with which the great ,proconsul presented himself to his judges4 ,his counsel accompanied him1 men all of whom were afterwards raised by their talents and learning to the highest posts in their profession--the bold and strong-minded ,law1 afterwards ,chief-,justice of the ,king's ,bench2 the more humane and eloquent ,dallas1 afterwards1 ,chief-,justice of the ,common ,pleas2 and ,plomer1 who1 near twenty years later1 successfully conducted in the same high court the defence of ,lord ,melville1 and subsequently became ,vice-chancellor and ,master of the ,rolls4 ,but neither the culprit nor his advocates attracted so much notice as the accusers4 ,in the midst of the blaze of red drapery1 a space had been fitted up with green benches and tables for the ,commons4 ,the managers1 with ,burke at their head1 appeared in full dress4 ,the collectors of gossip did not fail to remark that even ,fox1 generally so regardless of his appearance1 had paid to the illustrious tribunal the compliment of wearing a bag and sword4 ,pitt had refused to be one of the conductors of the impeachment2 and his commanding1 copious1 and sonorous eloquence was wanting to that great muster of various talents4 ,age and blindness had unfitted ,lord ,north for the duties of a public prosecutor2 and his friends were left without the help of his excellent sense1 his tact1 and his urbanity4 ,but in spite of the absence of these two distinguished members of the ,lower ,house1 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 eloquence4 ,there were ,fox and ,sheridan1 the ,english ,demosthenes and the ,english ,hyperides4 ,there was ,burke1 ignorant1 indeed1 or negligent of the art of adapting his reasonings and his style to the capacity and taste of his hearers1 but in amplitude of comprehension and richness of imagination superior to every orator1 ancient or modern4 ,there1 with eyes reverentially fixed on ,burke1 appeared the finest gentleman of the age--his form developed by every manly exercise1 his face beaming with intelligence and spirit--the ingenious1 the chivalrous1 the high-souled ,windham4 ,nor1 though surrounded by such men1 did the youngest manager pass unnoticed4 ,at an age when most of those who distinguish themselves in life are still contending for prizes and fellowships at college1 he had won for himself a conspicuous place in ,parliament4 ,no advantage of fortune or connection was wanting that could set off to the height his splendid talents and his unblemished honour4 ,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 nobility4 ,all who stood at the bar1 save him alone1 are gone--culprit1 advocates1 accusers4 ,to the generation which is now in the vigour of life1 he is the sole representative of a great age which has passed away4 ,but those who1 within the last ten years1 have listened with delight till the morning sun shone on the tapestries of the ,house of ,lords1 to the lofty and animated eloquence of ,charles1 ,earl ,grey1 are able to form some estimate of the powers of a race of men among whom he was not the foremost4 ,the charges1 and the answers of ,hastings1 were first read4 ,the ceremony occupied two whole days1 and was rendered less tedious than it would otherwise have been by the silver voice and just emphasis of ,cowper1 the clerk of the court1 near relation of the amiable poet4 ,on the third day ,burke rose4 ,four sittings were occupied by his opening speech1 which was intended to be a general introduction to all the charges4 ,with an exuberance of thought and splendour of diction which more than satisfied the highly raised expectations of the audience1 he described the character and institutions of the natives of ,india2 recounted the circumstances in which the ,asiatic empire of ,britain had originated2 and set forth the constitution of the ,company and of the ,english ,presidencies4 ,having thus attempted to communicate to his hearers an idea of ,eastern society1 as vivid as that which existed in his own mind1 he proceeded to arraign the administration of ,hastings1 as systematically conducted in defiance of morality and public law4 ,the energy and pathos of the great orator extorted expressions of unwonted admiration from the stern and hostile ,chancellor1 and1 for a moment1 seemed to pierce even the resolute heart of the defendant4 ,the ladies in the galleries1 unaccustomed to such displays of eloquence1 excited by the solemnity of the occasion1 and perhaps not unwilling to display their taste and sensibility1 were in a state of uncontrollable emotion4 ,handkerchiefs were pulled out1 smelling-bottles were handed round2 hysterical sobs and screams were heard2 and ,mrs4 ,sheridan was carried out in a fit4 ,at length the orator concluded4 ,raising his voice till the old arches of ,irish oak resounded3 ,therefore1 said he1 hath it with all confidence been ordered by the ,commons of ,great ,britain1 that ,i impeach ,warren ,hastings of high crimes and misdemeanours4 ,i impeach him in the name of the ,commons' ,house of ,parliament1 whose trust he has betrayed4 ,i impeach him in the name of the ,english nation1 whose ancient honour he has sullied4 ,i impeach him in the name of the people of ,india1 whose rights he has trodden under foot and whose country he has turned into a desert4 ,lastly in the name of human nature itself1 in the name of both sexes1 in the name of every age1 in the name of every rank1 ,i impeach the common enemy and oppressor of all4 --,macaulay ,this lesson is an exercise on ,inflection1 especially as it occurs on antithetical words or phrases and on series of words or phrases parallel in construction4 7,introduction1 pp4 #ai and #bj47 99 99 99 99 99 ,,peroration ,,of ,,opening ,,speech ,,against ,,warren ,,hastings #a4 ,in the name of the ,commons of ,england1 ,i charge all this villainy upon ,warren ,hastings1 in this last moment of my application to you4 #b4 ,my ,lords1 what is it that we want here to a great act of national justice4 ,do we want a cause1 my ,lords8 ,you have the cause of oppressed princes1 of undone women of the first rank1 of desolated provinces1 and of wasted kingdoms4 #c4 ,do you want a criminal1 my ,lords8 ,when was there so much iniquity ever laid to the charge of any one8 ,no1 my ,lords1 you must not look to punish any other such delinquent from ,india4 ,warren ,hastings has not left substance enough in ,india to nourish such another delinquent4 #d4 ,my ,lords1 is it a prosecutor you want8 ,you have before you the ,commons of ,great ,britain as prosecutors2 and ,i believe1 my ,lords1 that the sun1 in his beneficent progress round the world1 does not behold a more glorious sight than that of men1 separated from a remote people by the material bounds and barriers of nature1 united by the bond of a social and moral community--all the ,commons of ,england resenting1 as their own1 the indignities and cruelties that are offered to all the people of ,india4 #e4 ,do we want a tribunal8 ,my ,lords1 no example of antiquity1 nothing in the modern world1 nothing in the range of human imagination1 can supply us with a tribunal like this4 ,my ,lords1 here we see virtually1 in the mind's eye1 that sacred majesty of the ,crown1 under whose authority you sit and whose power you exercise4 ,we have here all the branches of the royal family1 in a situation between majesty and subjection1 between the sovereign and the subject--offering a pledge in that situation1 for the support of the rights of the ,crown and the liberties of the people1 both which extremities they touch4 #f4 ,my ,lords1 we have a great hereditary peerage here2 those who have their own honour1 the honour of their ancestors1 and of their posterity1 to guard1 and who will justify1 as they always have justified1 that precision in the ,constitution by which justice is made an hereditary office4 ,my ,lords1 we have here a new nobility1 who have risen and exalted themselves by various merits1 by great civil and military services1 which have extended the fame of this country from the rising to the setting sun4 ,my ,lords1 you have here1 also1 the lights of our religion2 you have the bishops of ,england4 ,my ,lords1 you have that true image of the primitive church in its ancient form1 in its ancient ordinances1 purified from the superstitions and vices which a long succession of ages will bring upon the best institutions4 #g4 ,my ,lords1 these are the securities which we have in all the constituent parts of the body of this ,house4 ,we know them1 we reckon1 we rest upon them1 and commit safely the interests of ,india and of humanity into your hands4 ,therefore1 it is with confidence that1 ordered by the ,commons1 ,i impeach ,warren ,hastings1 ,esquire1 of high crimes and misdemeanours4 ,i impeach him in the name of the ,commons of ,great ,britain in ,parliament assembled1 whose parliamentary trust he has betrayed4 ,i impeach him in the name of all the ,commons of ,great ,britain1 whose national character he has dishonoured4 ,i impeach him in the name of the people of ,india1 whose laws1 rights1 and liberties he has subverted1 whose property he has destroyed1 whose country he has laid waste and desolate4 ,i impeach him in the name and by virtue of those eternal laws of justice which he has violated4 ,i impeach him in the name of human nature itself1 which he has cruelly outraged1 injured and oppressed1 in both sexes1 in every age1 rank1 situation1 and condition of life4 --,edmund ,burke ,what effect would the solemnity of the occasion and the gravity of the accusation have on the ,quality of the speaker's voice8 7,introduction1 p4 #cd47 ,par4 #b4 ,,cause4 ,what words in ,pars4 #c1 #d1 and #e are emphatic through contrast with this word8 ,point out similar contrasts in ,par4 #f4 ,account for the ,inflection on the various questions4 ,how are the ,climaxes in ,pars4 #b1 #e1 and #g interpreted vocally8 7,introduction1 p4 #ca47 99 99 99 99 99 ,,the ,,song ,,my ,,paddle ,,sings ,west wind1 blow from your prairie nest1 ,blow from the mountains1 blow from the west4 ,the sail is idle1 the sailor too2 ,o6 wind of the west1 we wait for you4 ,blow1 blow6 #e ,i have wooed you so1 ,but never a favour you bestow4 ,you rock your cradle the hills between1 ,but scorn to notice my white lateen4 ,i stow the sail1 unship the mast3 #aj ,i wooed you long1 but my wooing's past2 ,my paddle will lull you into rest4 ,o6 drowsy wind of the drowsy west1 ,sleep1 sleep1 ,by your mountain steep1 #ae ,or down where the prairie grasses sweep6 ,now fold in slumber your laggard wings1 ,for soft is the song my paddle sings4 ,august is laughing across the sky1 ,laughing while paddle1 canoe1 and ,i1 #bj ,drift1 drift1 ,where the hills uplift ,on either side of the current swift4 ,the river rolls in its rocky bed2 ,my paddle is plying its way ahead #be ,dip1 dip1 ,while the waters flip ,in foam as over their breast we slip4 ,and oh1 the river runs swifter now2 ,the eddies circle about my bow4 #cj ,swirl1 swirl6 ,how the ripples curl ,in many a dangerous pool awhirl6 ,and forward far the rapids roar1 ,fretting their margin for evermore4 #ce ,dash1 dash1 ,with a mighty crash1 ,they seethe1 and boil1 and bound1 and splash4 ,be strong1 ,o paddle6 be brave1 canoe6 ,the reckless waves you must plunge into4 #dj ,reel1 reel1 ,on your trembling keel1 ,but never a fear my craft will feel4 ,we've raced the rapid1 we're far ahead6 ,the river slips through its silent bed4 #de ,sway1 sway1 ,as the bubbles spray ,and fall in tinkling tunes away4 ,and up on the hills against the sky1 ,a fir-tree rocking its lullaby1 #ej ,swings1 swings1 ,its emerald wings1 ,swelling the song that my paddle sings4 --,e4 ,pauline ,johnson 7,tekahionwake7 7,by arrangement with the ,author7 ,by examples from the above poem show to what extent ,imitation enters into vocal expression4 7,introduction1 pp4 #d-f47 99 99 99 99 99 ,,the ,,defence ,,of ,,the ,,bridge ,from ,horatius 444 ,the ,consul's brow was sad1 ,and the ,consul's speech was low1 ,and darkly looked he at the wall ,and darkly at the foe4 ,their van will be upon us #e ,before the bridge goes down2 ,and if they once may win the bridge1 ,what hope to save the town8 ,then out spake brave ,horatius1 ,the ,captain of the ,gate3 #aj ,to every man upon this earth ,death cometh soon or late4 ,and how can man die better ,than facing fearful odds1 ,for the ashes of his fathers1 #ae ,and the temples of his gods8 ,hew down the bridge1 ,sir ,consul1 ,with all the speed ye may2 ,i1 with two more to help me1 ,will hold the foe in play4 #bj ,in yon straight path a thousand ,may well be stopped by three4 ,now who will stand on either hand1 ,and keep the bridge with me8 ,then out spake ,spurius ,lartius1-- #be ,a ,ramnian proud was he1-- ,lo1 ,i will stand at thy right hand1 ,and keep the bridge with thee4 ,and out spake strong ,herminius1-- ,of ,titian blood was he1-- #cj ,i will abide on thy left side1 ,and keep the bridge with thee4 ,horatius1 quoth the ,consul1 ,as thou sayest1 so let it be4 ,and straight against that great array #ce ,forth went the dauntless ,three4 ,for ,romans in ,rome's quarrel ,spared neither land nor gold1 ,nor son nor wife1 nor limb nor life1 ,in the brave days of old4 #dj ,then none was for a party2 ,then all were for the state2 ,then the great man helped the poor1 ,and the poor man loved the great3 ,then lands were fairly portioned2 #de ,then spoils were fairly sold3 ,the ,romans were like brothers ,in the brave days of old4 ,now1 ,roman is to ,roman ,more hateful than a foe1 #ej ,and the ,tribunes beard the high1 ,and the ,fathers grind the low4 ,as we wax hot in faction1 ,in battle we wax cold3 ,wherefore men fight not as they fought #ee ,in the brave days of old4 ,now while the ,three were tightening ,their harness on their backs1 ,the ,consul was the foremost man ,to take in hand an axe3 #fj ,and ,fathers mixed with ,commons ,seized hatchet1 bar1 and crow1 ,and smote upon the planks above1 ,and loosed the props below4 ,meanwhile the ,tuscan army1 #fe ,right glorious to behold1 ,came flashing back the noonday light1 ,rank behind rank1 like surges bright ,of a broad sea of gold4 ,four hundred trumpets sounded #gj ,a peal of warlike glee1 ,as that great host with measured tread1 ,and spears advanced1 and ensigns spread1 ,rolled slowly towards the bridge's head1 ,where stood the dauntless ,three4 #ge ,the ,three stood calm and silent1 ,and looked upon the foes1 ,and a great shout of laughter ,from all the vanguard rose3 ,and forth three chiefs came spurring #hj ,before that deep array2 ,to earth they sprang1 their swords they drew1 ,and lifted high their shields1 and flew ,to win the narrow way2 ,aunus from green ,tifernum1 #he ,lord of the ,hill of ,vines2 ,and ,seius1 whose eight hundred slaves ,sicken in ,ilva's mines2 ,and ,picus1 long to ,clusium ,vassal in peace and war1 #ij ,who led to fight his ,umbrian powers ,from that gray crag where1 girt with towers1 ,the fortress of ,nequinum lowers ,o'er the pale waves of ,nar4 ,stout ,lartius hurled down ,aunus #ie ,into the stream beneath2 ,herminius struck at ,seius1 ,and clove him to the teeth2 ,at ,picus brave ,horatius ,darted one fiery thrust2 #ajj ,and the proud ,umbrian's gilded arms ,clashed in the bloody dust4 ,then ,ocnus of ,falerii ,rushed on the ,roman ,three2 ,and ,lausulus of ,urgo1 #aje ,the rover of the sea2 ,and ,aruns of ,volsinium1 ,who slew the great wild boar1 ,the great wild boar that had his den ,amidst the reeds of ,cosa's fen1 #aaj ,and wasted fields1 and slaughtered men1 ,along ,albinia's shore4 ,herminius smote down ,aruns2 ,lartius laid ,ocnus low2 ,right to the heart of ,lausulus #aae ,horatius sent a blow4 ,lie there1 he cried1 fell pirate6 ,no more1 aghast and pale1 ,from ,ostia's walls the crowd shall mark ,the track of thy destroying bark4 #abj ,no more ,campania's hinds shall fly ,to woods and caverns when they spy ,thy thrice accursed sail4 ,but now no sound of laughter ,was heard among the foes4 #abe ,a wild and wrathful clamour ,from all the vanguard rose4 ,six spears' lengths from the entrance ,halted that deep array1 ,and for a space no man came forth #acj ,to win the narrow way4 ,but hark6 the cry is ,astur3 ,and lo6 the ranks divide1 ,and the great ,lord of ,luna ,comes with his stately stride4 #ace ,upon his ample shoulders ,clangs loud the fourfold shield1 ,and in his hand he shakes the brand ,which none but he can wield4 ,he smiled on those bold ,romans #adj ,a smile serene and high2 ,he eyed the flinching ,tuscans1 ,and scorn was in his eye4 ,quoth he3 ,the she-wolf's litter ,stand savagely at bay2 #ade ,but will ye dare to follow ,if ,astur clears the way8 ,then1 whirling up his broadsword ,with both hands to the height1 ,he rushed against ,horatius1 #aej ,and smote with all his might4 ,with shield and blade ,horatius ,right deftly turned the blow4 ,the blow1 though turned1 came yet too nigh2 ,it missed his helm1 but gashed his thigh3 #aee ,the ,tuscans raised a joyful cry ,to see the red blood flow4 ,he reeled1 and on ,herminius ,he leaned one breathing-space2 ,then1 like a wild cat mad with wounds1 #afj ,sprang right at ,astur's face4 ,through teeth1 and skull1 and helmet1 ,so fierce a thrust he sped1 ,the good sword stood a hand-breadth out ,behind the ,tuscan's head4 #afe ,and the great ,lord of ,luna ,fell at that deadly stroke1 ,as falls on ,mount ,alvernus ,a thunder-smitten oak4 ,far o'er the crashing forest #agj ,the giant arms lie spread2 ,and the pale augurs1 muttering low1 ,gaze on the blasted head4 ,on ,astur's throat ,horatius ,right firmly pressed his heel1 #age ,and thrice and four times tugged amain1 ,ere he wrenched out the steel4 ,and see1 he cried1 the welcome1 ,fair guests1 that waits you here6 ,what noble ,lucumo comes next1 #ahj ,to taste our ,roman cheer8 ,but at his haughty challenge ,a sullen murmur ran1 ,mingled of wrath1 and shame1 and dread1 ,along that glittering van4 #ahe ,there lacked not men of prowess1 ,nor men of lordly race2 ,for all ,etruria's noblest ,were round the fatal place4 ,but all ,etruria's noblest #aij ,felt their hearts sink to see ,on the earth the bloody corpses1 ,in the path the dauntless ,three4 ,yet one man for one moment ,strode out before the crowd2 #aie ,well known was he to all the ,three1 ,and they gave him greeting loud4 ,now welcome1 welcome1 ,sextus6 ,now welcome to thy home6 ,why dost thou stay1 and turn away8 #bjj ,here lies the road to ,rome4 ,thrice looked he at the city2 ,thrice looked he at the dead2 ,and thrice came on in fury1 ,and thrice turned back in dread2 #bje ,and1 white with fear and hatred1 ,scowled at the narrow way ,where1 wallowing in a pool of blood1 ,the bravest ,tuscans lay4 ,but meanwhile axe and lever #baj ,have manfully been plied2 ,and now the bridge hangs tottering ,above the boiling tide4 ,come back1 come back1 ,horatius6 ,loud cried the ,fathers all4 #bae ,back ,lartius6 back ,herminius6 ,back1 ere the ruin fall6 ,back darted ,spurius ,lartius2 ,herminius darted back3 ,and1 as they passed beneath their feet #bbj ,they felt the timbers crack4 ,but when they turned their faces4 ,and on the farther shore ,saw brave ,horatius stand alone1 ,they would have crossed once more4 #bbe ,but with a crash like thunder ,fell every loosened beam1 ,and1 like a dam1 the mighty wreck ,lay right athwart the stream3 ,and a long shout of triumph #bcj ,rose from the walls of ,rome1 ,as to the highest turret-tops ,was splashed the yellow foam4 ,alone stood brave ,horatius1 ,but constant still in mind2 #bce ,thrice thirty thousand foes before1 ,and the broad flood behind4 ,down with him6 cried false ,sextus1 ,with a smile on his pale face1 ,now yield thee1 cried ,lars ,porsena1 #bdj ,now yield thee to our grace4 ,round turned he1 as not deigning ,those craven ranks to see2 ,naught spake he to ,lars ,porsena1 ,to ,sextus naught spake he3 #bde ,but he saw on ,palatinus ,the white porch of his home2 ,and he spake to the noble river ,that rolls by the towers of ,rome3 ,oh1 ,tiber6 ,father ,tiber6 #bej ,to whom the ,romans pray1 ,a ,roman's life1 a ,roman's arms1 ,take thou in charge this day6 ,so he spake1 and speaking sheathed ,the good sword by his side1 #bee ,and with his harness on his back1 ,plunged headlong in the tide4 ,no sound of joy or sorrow ,was heard from either bank2 ,but friends and foes in dumb surprise1 #bfj ,with parted lips and straining eyes1 ,stood gazing where he sank2 ,and when above the surges ,they saw his crest appear1 ,all ,rome sent forth a rapturous cry1 #bfe ,and even the ranks of ,tuscany ,could scarce forbear to cheer4 ,but fiercely ran the current1 ,swollen high by months of rain3 ,and fast his blood was flowing1 #bgj ,and he was sore in pain1 ,and heavy with his armour1 ,and spent with changing blows3 ,and oft they thought him sinking1 ,but still again he rose4 #bge ,never1 ,i ween1 did swimmer1 ,in such an evil case ,struggle through such a raging flood ,safe to the landing-place3 ,but his limbs were borne up bravely #bhj ,by the brave heart within1 ,and our good ,father ,tiber ,bore bravely up his chin4 ,curse on him6 quoth false ,sextus3 ,will not the villain drown8 #bhe ,but for this stay1 ere close of day ,we should have sacked the town6 ,heaven help him6 quoth ,lars ,porsena1 ,and bring him safe to shore2 ,for such a gallant feat of arms #bij ,was never seen before4 ,and now he feels the bottom2 ,now on dry earth he stands2 ,now round him throng the ,fathers ,to press his gory hands2 #bie ,and now1 with shouts and clapping1 ,and noise of weeping loud1 ,he enters through the ,river-,gate1 ,borne by the joyous crowd4 --,macaulay ,,preparatory4--,what is the historic back-ground of the ballad from which this selection is taken8 ,narrate briefly the events as told by ,macaulay in ,horatius4 ,where is the scene of the dramatic events here portrayed8 ,who are the chief actors8 ,who are the speakers8 ,show whether the words and phrases repeated in the following lines are accompanied by increased ,emphasis or whether the ,emphasis is transferred3 ll4 #a-d1 #da-df1 #ajh-aji1 #aah-aba1 #ahh-aij1 #aih-aii1 #bjb-bje1 #bad-bag1 #bdj-bda1 #bdd-bde1 #beb1 #bib-bie4 7,introduction1 pp4 #cj-cb47 ,give examples of ,emphasis through contrast1 throughout the selection4 ,what ,inflection is placed on the questions in ll4 #h1 #ac-af1 #bc-bd8 ,give reasons4 ,compare the mental attitude of ,horatius in ll4 #aa-af1 and ll4 #ag-bd4 ,what is the difference in ,stress8 ll4 #ch-ci4 ,what ,inflection and ,emphasis on the series of words8 7,introduction1 pp4 #bj and #ca47 ,in what way does ,imitation enter into the reading of ll4 #gb-ge1 #hb-hd1 #ie-ajj1 #afj-afc1 #bah-bba1 #bib-bii8 ,how are the ,time and ,stress affected8 ,how does ,imitation affect the ,pitch in ll4 #bcj-bcc1 #aef-aeg1 #agb-agc1 #bch-bda1 #bfe-bfg1 #bhd-bia8 ll4 #add-adg4 ,in what ,quality of voice should ,astur's speech be read8 l4 #aec4 ,what is the most important word8 ll4 #agh-aha1 #aif-bja4 ,how does the derision affect the ,stress and the ,inflection8 7,introduction1 pp4 #ba1 #bb1 and #cj47 ll4 #ahf-ahg4 ,explain the ,inflection on this negative statement4 ll4 #bch-bda1 #bhd-bia4 ,compare the feelings of ,sextus with those of ,lars ,porsena4 ,how is the difference shown in the ,quality of voice8 7,introduction1 pp4 #cc-ce47 99 99 99 99 99 ,,on ,,the ,,death ,,of ,,king ,,edward ,,vii ,delivered in the ,british ,house of ,commons1 ,may #abth1 #aiaj ,the late ,king1 who has been suddenly taken away from us1 had1 at the time of his death1 not yet completed the tenth year of his reign4 ,those years were crowded with moving and stirring events1 both abroad1 in the ,empire1 and here at home4 ,in our relations with foreign countries they have been years of growing friendships1 of new understandings1 of stronger and surer safeguards for the peace of mankind4 ,within the ,empire during the same time the sense of interdependence1 the consciousness of common interests and common risks1 the ever-tightening bonds of corporate unity have been developed and vivified as they had never been before4 ,here at home1 as though it were by way of contrast1 controversial issues of the gravest kind--economic1 social1 and constitutional--have ripened into a rapid maturity4 ,sir1 in all these multiform manifestations of our national and imperial life1 history will assign a part of singular dignity and authority to the great ,ruler whom we have lost4 ,in external affairs his powerful personal influence was steadily and zealously directed to the avoidance not only of war1 but of the causes and pretexts of war1 and he well earned the title by which he will always be remembered1 the ,peacemaker of the ,world4 ,within the boundaries of his own ,empire1 by his intimate knowledge of its component parts1 by his broad and elastic sympathy not only with ambitions1 and aspirations1 but with the sufferings and the hardships of his people1 by his response to any and every appeal whether to the sense of justice or the spirit of compassion1 he won a degree of loyalty1 affection1 and confidence which few ,sovereigns have ever enjoyed4 ,at home1 we all recognize that1 above the din and dust of our hard-fought controversies1 detached from party and attached only to the common interests1 we had in him an arbiter ripe in experience1 judicial in temper1 at once a reverent worshipper of our traditions and a watchful guardian of our constitutional liberties4 ,one is tempted1 indeed constrained1 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 task1 and have given him an enduring and illustrious record among the rulers and governors of the nations8 ,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 strong1 abiding1 dominating sense of public duty4 ,king ,edward1 be it remembered1 was a man of many and varied interests4 ,he was a sportsman in the best sense1 an ardent and discriminating patron of the ,arts1 and as well equipped as any man of his time for the give-and-take of social intercourse2 wholly free from the prejudices and narrowing rules of caste2 at home in all companies2 an enfranchised citizen of the world4 ,to such a man1 endowed as he was by nature1 placed where he was by fortune and by circumstances1 there was open1 if he had chosen to enter it1 an unlimited field for self-indulgence4 ,but1 ,sir1 as every one will acknowledge who was brought into daily contact with him in the sphere of affairs1 his duty to the ,state always came first4 ,in this great business community there was no better man of business1 no man by whom the humdrum obligations--punctuality1 method1 preciseness1 and economy of time and speech--were more keenly recognized or more severely practised4 ,i speak with the privilege of close experience when ,i say that wherever he was1 whatever may have been his apparent preoccupations1 in the transactions of the business of the ,state there were never any arrears1 there was never any trace of confusion1 there was never any moment of avoidable delay4 ,next to these1 ,sir--,i am still in the domain of practice and administration--,i should put his singular1 perhaps an unrivalled1 tact in the management of men1 and a judgment of intuitive shrewdness as to the best outlet from perplexed and often baffling situations4 ,he had1 in its highest and best development1 the genius of common sense4 ,these rare gifts of practical efficiency were1 during the whole of his ,kingship1 yoked to the service of a great ideal4 ,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 ,empire4 ,he recognized in the fullest degree both the powers and the limitations of a ,constitutional ,monarch4 ,here1 at home1 he was1 though no politician1 as every one knows1 a keen ,social ,reformer4 ,he loved his people at home and over the seas4 ,their interests were his interests2 their fame was his fame4 ,he had no self apart from them4 ,i will not touch for more than a moment on more delicate and sacred ground--on his personal charm1 the warmth and wealth of his humanity2 his unfailing considerateness for all who in any capacity were permitted to work for him4 ,i will only say1 in this connection that no man in our time has been more justly beloved by his family and his friends1 and no ,ruler in our or in any time has been more sincerely true1 more unswervingly loyal1 more uniformly kind to his advisers and his servants4 ,by the unsearchable counsels of the ,disposer of ,events he has been called suddenly1 and without warning1 to his account4 ,we are still dazed under the blow which has befallen us4 ,it is too soon1 as yet1 even to attempt to realize its full meaning1 but this1 at least1 we may say at once and with full assurance1 that he has left to his people a memory and an example which they will never forget1 a memory of great opportunities greatly employed1 and an example which the humblest of his subjects may treasure and strive to follow1 of simplicity1 courage1 self-denial1 tenacious devotion up to the last moment of conscious life to work1 to duty1 and to service4 --,the ,right ,honourable ,herbert ,henry ,asquith ,,within ,,the ,,boundaries 444 ,,enjoyed4 ,make an analysis of this sentence with a view to ,perspective4 7,introduction1 p4 #cc47 ,,detached 444 ,,interests4 ,note the contrasts and indicate the ,inflection on each4 ,,tempted1 444 ,,constrained4 ,what difference in ,emphasis8 7,introduction1 p4 #ca47 ,compare ,,singular1 ,,perhaps ,,unrivalled2 ,,in ,,our ,,or ,,in ,,any ,,time4 99 99 99 99 99 ,,the ,,heroes ,,of ,,magersfontein ,dec4 #aa1 #ahii #a4 ,during the night it was considered expedient that the ,highland ,brigade1 #d1jjj strong1 under ,general ,wauchope1 should get close enough to the lines of the foe to make it possible to charge the heights4 ,at midnight the gallant but ill-fated men moved cautiously through the darkness toward the kopje where the ,boers were most strongly intrenched4 ,they were led by a guide who was supposed to know every inch of the country1 out into the darkness of an ,african night4 #b4 ,so onward until three of the clock on the ,monday4 ,then out of the darkness a rifle rang sharp and clear1 a herald of disaster--a soldier had tripped in the dark over the hidden wires laid down by the enemy4 ,in a second1 in the twinkling of an eye1 the searchlights of the ,boers fell broad and clear as the noonday sun on the ranks of the doomed ,highlanders1 though it left the enemy concealed in the shadows of the frowning mass of hills behind them4 ,for one brief moment the ,scots seemed paralysed by the suddenness of their discovery1 for they knew that they were huddled together like sheep within fifty yards of the trenches of the foes4 #c4 ,then clear above the confusion rolled the voice of the ,general3 ,steady1 men1 steady6--and like an echo to the veterans out came the crash of nearly a thousand rifles not fifty paces from them4 ,the ,highlanders reeled before the shock like trees before the tempest2 their best1 their bravest1 fell in that wild hail of lead4 ,general ,wauchope was down1 riddled with bullets2 yet gasping1 dying1 bleeding from every vein1 the ,highland chief raised himself on his hands and knees and cheered his men forward4 ,men and officers fell in heaps together4 #d4 ,the ,black ,watch charged1 and the ,gordons and the ,seaforths1 with a yell that stirred the ,british camp below1 rushed onward to death or disaster4 ,the accursed wires caught them around the legs until they floundered like trapped wolves1 and all the time the rifles of the foe sang the song of death in their ears4 ,they fell back broken and beaten1 leaving nearly #a1cjj dead and wounded1 just where the broad breast of the grassy veldt melts into the embrace of the rugged ,african hills2 and an hour later1 the dawning came of the dreariest day that ,scotland has known for a generation past4 #e4 ,of her officers1 the flower of her chivalry1 the pride of her breeding1 but few remained to tell the tale--a sad tale truly1 but one untinted with dishonour nor smirched with disgrace1 for up these heights under similar circumstances1 even a brigade of devils could scarce have hoped to pass4 ,all that mortal man could do the ,scots did2 they tried1 they failed1 they fell1 and there is nothing left us now but to revere their memory and give them a place of honour in the pages of history4 #f4 ,three hundred yards to the rear of the little township of ,modder ,river1 just as the sun was sinking in a blaze of ,african splendour1 on the evening of ,tuesday1 the #abth of ,december1 a long shallow grave lay exposed in the breast of the veldt4 ,to the westward1 the broad river fringed with trees runs murmuringly2 to the eastward1 the heights still held by the enemy1 scowled menacingly2 north and south the veldt undulated peacefully2 a few paces to the northward of that grave1 fifty dead ,highlanders lay dressed as they had fallen on the field of battle3 they had followed their chief to the field1 and they were to follow him to the grave4 #g4 ,how grim and stern these men looked as they lay face upward to the sky1 with great hands clutched in the last agony1 and brows still knit with the stern lust of the strife in which they had fallen4 ,the plaids1 dear to every ,highland clan1 were represented there1 and out of the distance came the sound of pipes4 ,it was the ,general coming to join his men4 ,there1 right under the eyes of the enemy1 moved with slow and solemn tread all that remained of the ,highland ,brigade4 ,in front of them walked the chaplain1 with bared head1 dressed in his robes of office2 then came the pipers with their pipes1 sixteen in all1 and behind them1 with arms reversed1 moved the ,highlanders1 dressed in all the regalia of their regiments1 and in the midst the dead ,general1 borne by four of his comrades4 ,out swelled the pipes to the strains of ,the ,flowers of the ,forest1 now ringing proud and high until the soldier's head went back in haughty defiance--and eyes flashed through tears like sunlight on steel1 now sinking to moaning wail like a woman mourning for her first-born1 until the proud heads drooped forward till they rested on heaving chests1 and tears rolled down the wan and scarred faces1 and the choking sobs broke through the solemn rhythm of the march of death4 #h4 ,right up to the grave they marched1 then broke away in companies1 until the ,general lay in the shallow grave with a ,scottish square of armed men around him4 ,only the dead man's son and a small remnant of his officers stood with the chaplain and the pipers1 while the solemn service of the church was spoken4 #i4 ,then once again the pipes pealed out1 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 more4 #aj4 ,then1 as if touched with the magic of one thought1 the soldiers turned their tear-damped eyes from the still form in the shallow grave toward the height where ,cronje1 the ,lion of ,africa1 and his soldiers stood4 ,then every cheek flushed crimson1 and strong jaws set like steel1 and the veins on the hands that clasped the rifle handles swelled almost to bursting with the fervour of the grip1 and that look from those silent1 armed men spoke more eloquently than ever spoke the tongues of orators4 ,for on each frowning face the spirit of vengeance sat1 and each sparkling eye asked silently for blood4 #aa4 ,at the head of the grave1 at the point nearest the enemy1 the ,general was laid to sleep1 his officers grouped around him1 while in line behind him1 his soldiers were laid in a double row wrapped in their blankets4 ,no shots were fired over the dead men resting so peacefully1 only the salute was given1 and then the men marched campwards as the darkness of an ,african night rolled over the far-stretching breadth of the veldt4 --,from ,the ,london ,daily ,news 7,by permission7 ,par4 #a4 ,note the ,grouping1 ,pause1 and ,shading in the last sentence4 ,compare the ,grouping in the preceding sentence1 in the last sentence of ,par4 #d1 in the first sentence of ,par4 #g1 and in the second sentence of ,par4 #aj4 ,explain the ,inflection and ,emphasis on the phrases parallel in construction1 in the fifth and sixth sentences of ,par4 #g1 and the second sentence of ,par4 #aj4 99 99 99 99 99 ,,the ,,funeral ,,of ,,julius ,,caesar ,from ,julius ,caesar1 ,act ,,iii4 ,scene ii4 ,the ,forum4 ,enter ,brutus1 ,cassius1 and a throng of ,citizens4 ,all4 ,we will be satisfied2 let us be satisfied4 ,bru4 ,then follow me1 and give me audience1 friends4-- ,cassius1 go you into the other street1 ,and part the numbers4-- ,those that will hear me speak1 let them stay here2 ,those that will follow ,cassius1 go with him2 ,and public reasons shall be rendered ,of ,caesar's death4 #a ,cit4 ,i will hear ,brutus speak4 #b ,cit4 ,i will hear ,cassius2 and compare their reasons1 ,when severally we hear them rendered4 #aj ,exit ,cassius1 with some of the ,citizens4 ,brutus goes into the rostrum4 #c ,cit4 ,the noble ,brutus is ascended3 silence6 ,bru4 ,be patient till the last4 ,romans1 countrymen1 and lovers6 hear me for my cause2 and be silent1 that you may hear3 believe me for mine honour2 and have respect to mine honour1 that you may believe3 censure me in your wisdom2 and awake your senses1 that you may the better judge4 ,if there be any in this assembly1 any dear friend of ,caesar's1 to him ,i say1 that ,brutus' love to ,caesar was no less than his4 ,if then that friend demand why ,brutus rose against ,caesar1 #bj this is my answer4--,not that ,i loved ,caesar less1 but that ,i loved ,rome more4 ,had you rather ,caesar were living1 and die all slaves1 than that ,caesar were dead1 to live all free men8 ,as ,caesar loved me1 ,i weep for him2 as he was fortunate1 ,i rejoice at it2 as he was valiant1 ,i honour him3 but1 as he was ambitious1 ,i slew him4 ,there is tears for his love2 joy for his fortune2 honour for his valour2 and death for his ambition4 ,who is here so base that would be a bondman8 ,if any1 speak2 for him have ,i offended4 ,who is here so rude that would #cj not be a ,roman8 ,if any1 speak2 for him have ,i offended4 ,who is here so vile that will not love his country8 ,if any1 speak2 for him have ,i offended4 ,i pause for a reply4 ,all4 ,none1 ,brutus1 none4 ,bru4 ,then none have ,i offended4 ,i have done no more to ,caesar than you shall do to ,brutus4 ,the question of his death is enrolled in the ,capitol2 his glory not extenuated1 wherein he was worthy2 nor his offences enforced1 for which he suffered death4 #dj ,enter ,antony and others1 with ,caesar's body4 ,here comes his body1 mourned by ,mark ,antony3 who1 though he had no hand in his death1 shall receive the benefit of his dying1 a place in the commonwealth2 as which of you shall not8 ,with this ,i depart1--that1 as ,i slew my best lover for the good of ,rome1 ,i have the same dagger for myself1 when it shall please my country to need my death4 ,all4 ,live1 ,brutus1 live6 live6 #a ,cit4 ,bring him with triumph home unto his house4 #b ,cit4 ,give him a statue with his ancestors4 #ej #c ,cit4 ,let him be ,caesar4 #d ,cit4 ,caesar's better parts ,shall now be crown'd in ,brutus4 #a ,cit4 ,we'll bring him to his house with shouts and clamours4 ,bru4 ,my countrymen1-- #b ,cit4 ,peace6 silence6 ,brutus speaks4 #a ,cit4 ,peace1 ho6 ,bru4 ,good countrymen1 let me depart alone1 ,and1 for my sake1 stay here with ,antony3 ,do grace to ,caesar's corpse1 and grace his speech #fj ,tending to ,caesar 's glories2 which ,mark ,antony1 ,by our permission1 is allow'd to make4 ,i do entreat you1 not a man depart1 ,save ,i alone1 till ,antony have spoke4 ,exit #a ,cit4 ,stay1 ho6 and let us hear ,mark ,antony4 #c ,cit4 ,let him go up into the public chair2 ,we'll hear him4--,noble ,antony1 go up4 ,ant4 ,for ,brutus' sake1 ,i am beholding to you4 ,he goes up into the rostrum4 #d ,cit4 ,what does he say of ,brutus8 #c ,cit4 ,he says1 for ,brutus' sake1 #gj ,he finds himself beholding to us all4 #d ,cit4 ',t were best to speak no harm of ,brutus here4 #a ,cit4 ,this ,caesar was a tyrant4 #c ,cit4 ,nay1 that's certain3 ,we are blest that ,rome is rid of him4 #b ,cit4 ,peace6 let us hear what ,antony can say4 ,ant4 ,you gentle ,romans1-- ,all4 ,peace1 ho6 let us hear him4 ,ant4 ,friends1 ,romans1 countrymen1 lend me your ears2 ,i come to bury ,caesar1 not to praise him4 #hj ,the evil that men do lives after them2 ,the good is oft interred with their bones2 ,so let it be with ,caesar4 ,the noble ,brutus ,hath told you1 ,caesar was ambitious3 ,if it were so1 it was a grievous fault1 ,and grievously hath ,caesar answer'd it4 ,here1 under leave of ,brutus and the rest1-- ,for ,brutus is an honourable man2 ,so are they all1 all honourable men4-- ,come ,i to speak in ,caesar's funeral4 #ij ,he was my friend1 faithful and just to me3 ,but ,brutus says he was ambitious2 ,and ,brutus is an honourable man4 ,he hath brought many captives home to ,rome1 ,whose ransoms did the general coffers fill3 ,did this in ,caesar seem ambitious8 ,when that the poor have cried1 ,caesar hath wept3 ,ambition should be made of sterner stuff3 ,yet ,brutus says he was ambitious2 ,and ,brutus is an honourable man4 #ajj ,you all did see that on the ,lupercal ,i thrice presented him a kingly crown1 ,which he did thrice refuse3 was this ambition8 ,yet ,brutus says he was ambitious2 ,and1 sure1 he is an honourable man4 ,i speak not to disprove what ,brutus spoke1 ,but here ,i am to speak what ,i do know4 ,you all did love him once1 not without cause3 ,what cause withholds you then to mourn for him8 ,o judgment1 thou art fled to brutish beasts1 #aaj ,and men have lost their reason6--,bear with me2 ,my heart is in the coffin there with ,caesar1 ,and ,i must pause till it come back to me4 #a ,cit4 ,methinks there is much reason in his sayings4 #b ,cit4 ,if thou consider rightly of the matter1 ,caesar has had great wrong4 #c ,cit4 ,has he1 masters8 ,i fear there will a worse come in his place4 #d ,cit4 ,mark'd ye his words8 ,he would not take the crown2 ,therefore 't is certain he was not ambitious4 #abj #a ,cit4 ,if it be found so1 some will dear abide it4 #b ,cit4 ,poor soul6 his eyes are red as fire with weeping4 #c ,cit4 ,there's not a nobler man in ,rome than ,antony4 #d ,cit4 ,now mark him1 he begins again to speak4 ,ant4 ,but yesterday the word of ,caesar might ,have stood against the world3 now lies he there1 ,and none so poor to do him reverence4 ,o masters6 if ,i were dispos'd to stir ,your hearts and minds to mutiny and rage1 ,i should do ,brutus wrong1 and ,cassius wrong1 #acj ,who1 you all know1 are honourable men2 ,i will not do them wrong2 ,i rather choose ,to wrong the dead1 to wrong myself1 and you1 ,than ,i will wrong such honourable men4 ,but here's a parchment1 with the seal of ,caesar2 ,i found it in his closet1 'tis his will3 ,let but the commons hear this testament1-- ,which1 pardon me1 ,i do not mean to read1-- ,and they would go and kiss dead ,caesar's wounds1 ,and dip their napkins in his sacred blood4 #adj ,yea1 beg a hair of him for memory1 ,and1 dying1 mention it within their wills1 ,bequeathing it as a rich legacy ,unto their issue4 #d ,cit4 ,we'll hear the will3 read it1 ,mark ,antony4 ,all4 ,the will1 the will6 we will hear ,caesar's will4 ,ant4 ,have patience1 gentle friends1 ,i must not read it2 ,it is not meet you know how ,caesar lov'd you4 ,you are not wood1 you are not stones1 but men2 ,and1 being men1 hearing the will of ,caesar1 #aej ,it will inflame you1 it will make you mad3 ',tis good you know not that you are his heirs2 ,for1 if you should1 ,o1 what would come of it6 #d ,cit4 ,read the will2 we'll hear it1 ,antony2 ,you shall read us the will1--,caesar's will4 ,ant4 ,will you be patient8 will you stay awhile8 ,i have o'ershot myself to tell you of it4 ,i fear ,i wrong the honourable men ,whose daggers have stabb'd ,caesar-1 ,i do fear it4 #d ,cit4 ,they were traitors3 honourable men6 #afj ,all4 ,the will6 the testament6 #b ,cit4 ,they were villains1 murderers3 the will6 read the will6 ,ant4 ,you will compel me1 then1 to read the will8 ,then make a ring about the corpse of ,caesar1 ,and let me show you him that made the will4 ,shall ,i descend8 and will you give me leave8 ,all4 ,come down4 #b ,cit4 ,descend4 #c ,cit4 ,you shall have leave4 ,he comes down from the rostrum4 #d ,cit4 ,a ring2 stand round4 #agj #a ,cit4 ,stand from the hearse1 stand from the body4 #b ,cit4 ,room for ,antony6--most noble ,antony4 ,ant4 ,nay1 press not so upon me2 stand far off4 ,all4 ,stand back6 room6 bear back6 ,ant4 ,if you have tears1 prepare to shed them now4 ,you all do know this mantle2 ,i remember ,the first time ever ,caesar put it on2 ',t was on a summer's evening1 in his tent1 ,that day he overcame the ,nervii3-- ,look6 in this place ran ,cassius' dagger through3 #ahj ,see1 what a rent the envious ,casca made3 ,through this1 the well-beloved ,brutus stabb'd2 ,and1 as he pluck'd his cursed steel away1 ,mark how the blood of ,caesar follow'd it1 ,as rushing out of doors1 to be resolv'd ,if ,brutus so unkindly knock'd1 or no2 ,for ,brutus1 as you know1 was ,caesar's angel3 ,judge1 ,o you gods1 how dearly ,caesar lov'd him6 ,this was the most unkindest cut of all2 ,for when the noble ,caesar saw him stab1 #aij ,ingratitude1 more strong than traitors' arms1 ,quite vanquish'd him3 then burst his mighty heart2 ,and1 in his mantle muffling up his face1 ,even at the base of ,pompey's statue1 ,which all the while ran blood1 great ,caesar fell4 ,o1 what a fall was there1 my countrymen6 ,then ,i1 and you1 and all of us fell down1 ,whilst bloody treason flourish'd over us4 ,o1 now you weep2 and ,i perceive1 you feel ,the dint of pity3 these are gracious drops4 #bjj ,kind souls1 what1 weep you1 when you but behold ,our ,caesar's vesture wounded8 ,look you here4 ,here is himself1 marr'd1 as you see1 with traitors4 #a ,cit4 ,o piteous spectacle6 #b ,cit4 ,o noble ,caesar6 #c ,cit4 ,o woeful day6 #d ,cit4 ,o traitors1 villains6 #a ,cit4 ,o most bloody sight6 #b ,cit4 ,we will be revenged4 ,all4 ,revenge6 ,about1--seek1--burn1--fire1--kill1--sla y6 #baj ,let not a traitor live6 ,ant4 ,stay1 countrymen4 #a ,cit4 ,peace there6 ,hear the noble ,antony4 #b ,cit4 ,we'll hear him1 we'll follow him1 we'll die with him4 ,ant4 ,good friends1 sweet friends1 let me not stir you up ,to such a sudden flood of mutiny4 ,they that have done this deed are honourable2 ,what private griefs they have1 alas6 ,i know not1 ,that made them do it2 they are wise and honourable1 ,and will1 no doubt1 with reasons answer you4 #bbj ,i come not1 friends1 to steal away your hearts3 ,i am no orator1 as ,brutus is2 ,but as you know me all1 a plain blunt man1 ,that love my friend2 and that they know full well ,that gave me public leave to speak of him4 ,for ,i have neither wit1 nor words1 nor worth1 ,action1 nor utterance1 nor the power of speech1 ,to stir men's blood3 ,i only speak right on2 ,i tell you that which you yourselves do know2 ,show you sweet ,caesar's wounds1 poor1 poor dumb mouths1 #bcj ,and bid them speak for me3 but were ,i ,brutus1 ,and ,brutus ,antony1 there were an ,antony ,would ruffle up your spirits1 and put a tongue ,in every wound of ,caesar1 that should move ,the stones of ,rome to rise and mutiny4 ,all4 ,we'll mutiny6 #a ,cit4 ,we'll burn the house of ,brutus6 #c ,cit4 ,away1 then6 come1 seek the conspirators4 ,ant4 ,yet hear me1 countrymen2 yet hear me speak4 ,all4 ,peace1 ho6 ,hear ,antony1 most noble ,antony4 #bdj ,ant4 ,why1 friends1 you go to do you know not what3 ,wherein hath ,caesar thus deserv'd your loves8 ,alas1 you know not3 ,i must tell you then3 ,you have forgot the will ,i told you of4 ,all4 ,most true2--the will6--let's stay1 and hear the will4 ,ant4 ,here is the will1 and under ,caesar's seal4 ,to every ,roman citizen he gives1 ,to every several man1 seventy-five drachmas4 #b ,cit4 ,most noble ,caesar6--we'll revenge his death4 #c ,cit4 ,o royal ,caesar6 #bej ,ant4 ,hear me with patience4 ,all4 ,peace1 ho6 ,ant4 ,moreover1 he hath left you all his walks1 ,his private arbours1 and new-planted orchards1 ,on this side ,tiber2 he hath left them you1 ,and to your heirs for ever1--common pleasures1 ,to walk abroad1 and recreate yourselves4 ,here was a ,caesar6 when comes such another8 #a ,cit4 ,never1 never6--,come1 away1 away6 ,we'll burn his body in the holy place1 #bfj ,and with the brands fire the traitors' houses4 ,take up the body4 #b ,cit4 ,go1 fetch fire4 #c ,cit4 ,pluck down benches4 #d ,cit4 ,pluck down forms1 windows1 anything4 ,exeunt all1 with the body4 ,ant4 ,now let it work6 ,mischief1 thou art afoot1 ,take thou what course thou wilt6 --,shakespeare ,,preparatory4--,for dramatic rendering see notes on ,highland ,hospitality pp4 #aec and #aed4 ,the long speeches of ,brutus and ,antony may be practised by themselves as exercises in ,emphasis and ,inflection4 #hh-hi4 ,how is the parenthetical clause subordinated8 ,give other examples from the extracts4 #aec-aed4 ,select the emphatic words4 #afj4 ,what ,stress is placed on ,,traitors and ,,honourable respectively8 ,account for the difference4 #baj4 ,,about1 444 ,,slay6 ,what is the ,stress8 ,compare ll4 #bcf-bcg1 and ll4 #bei-bfe4 99 99 99 99 99 ,,the ,,revenge ,a ,ballad of the ,fleet1 #aeia ,at ,flores in the ,azores ,sir ,richard ,grenville lay1 ,and a pinnace1 like a flutter'd bird1 came flying from far away3 ,spanish ships of war at sea6 we have sighted fifty-three6 ,then sware ,lord ,thomas ,howard3 ',fore ,god ,i am no coward2 ,but ,i cannot meet them here1 for my ships are out of gear1 #e ,and the half my men are sick4 ,i must fly1 but follow quick4 ,we are six ships of the line2 can we fight with fifty-three8 ,then spake ,sir ,richard ,grenville3 ,i know you are no coward2 ,you fly them for a moment to fight with them again4 ,but ,i've ninety men and more that are lying sick ashore4 #aj ,i should count myself the coward if ,i left them1 my ,lord ,howard1 ,to these ,inquisition dogs and the devildoms of ,spain4 ,so ,lord ,howard past away with five ships of war that day1 ,till he melted like a cloud in the silent summer heaven2 ,but ,sir ,richard bore in hand all his sick men from the land #ae ,very carefully and slow1 ,men of ,bideford in ,devon1 ,and we laid them on the ballast down below2 ,for we brought them all aboard1 ,and they blest him in their pain1 that they were not left to ,spain1 #bj ,to the thumbscrew and the stake1 for the glory of the ,lord4 ,he had only a hundred seamen to work the ship and to fight1 ,and he sailed away from ,flores till the ,spaniard came in sight1 ,with his huge sea-castles heaving upon the weather bow4 ,shall we fight or shall we fly8 #be ,good ,sir ,richard1 tell us now1 ,for to fight is but to die6 ,there'll be little of us left by the time this sun be set4 ,and ,sir ,richard said again3 ,we be all good ,english men4 ,let us bang these dogs of ,seville1 the children of the devil1 #cj ,for ,i never turn'd my back upon ,don or devil yet4 ,sir ,richard spoke and he laugh'd1 and we roar'd a hurrah1 and so ,the little ,revenge ran on sheer into the heart of the foe1 ,with her hundred fighters on deck1 and her ninety sick below2 ,for half of their fleet to the right and half to the left were seen1 #ce ,and the little ,revenge ran on thro' the long sea-lane between4 ,thousands of their soldiers look'd down from their decks and laugh'd1 ,thousands of their seamen made mock at the mad little craft ,running on and on1 till delay'd ,by their mountain-like ,san ,philip that1 of fifteen hundred tons1 #dj ,and up-shadowing high above us with her yawning tiers of guns1 ,took the breath from our sails1 and we stay'd4 ,and while now the great ,san ,philip hung above us like a cloud ,whence the thunderbolt will fall ,long and loud1 #de ,four galleons drew away ,from the ,spanish fleet that day1 ,and two upon the larboard and two upon the starboard lay1 ,and the battle-thunder broke from them all4 ,but anon the great ,san ,philip she bethought herself and went #ej ,having that within her womb that had left her ill-content2 ,and the rest they came aboard us1 and they fought us hand to hand1 ,for a dozen times they came with their pikes and musqueteers1 ,and a dozen times we shook 'em off as a dog that shakes his ears ,when he leaps from the water to the land4 #ee ,and the sun went down1 and the stars came out far over the summer sea1 ,but never a moment ceased the fight of the one and the fifty-three4 ,ship after ship1 the whole night long1 their high-built galleons came1 ,ship after ship1 the whole night long1 with their battle-thunder and flame2 ,ship after ship1 the whole night long1 drew back with her dead and her shame3 #fj ,for some were sunk and many were shatter'd1 and so could fight us no more-- ,god of battles1 was ever a battle like this in the world before8 ,for he said ,fight on6 fight on6 ,tho' his vessel was all but a wreck2 ,and it chanced that1 when half of the short summer night was gone1 #fe ,with a grisly wound to be drest he had left the deck1 ,but a bullet struck him that was dressing it suddenly dead1 ,and himself he was wounded again in the side and the head1 ,and he said1 ,fight on6 fight on6 ,and the night went down1 and the sun smiled out far over the summer sea1 #gj ,and the ,spanish fleet with broken sides lay round us all in a ring2 ,but they dar'd not touch us again1 for they fear'd that we still could sting1 ,so they watch'd what the end would be4 ,and we had not fought them in vain1 ,but in perilous plight were we1 #ge ,seeing forty of our poor hundred were slain1 ,and half of the rest of us maim'd for life ,in the crash of the cannonades and the desperate strife2 ,and the sick men down in the hold were most of them stark and cold1 ,and the pikes were all broken or bent1 and the powder was all of it spent2 #hj ,and the masts and the rigging were lying over the side2 ,but ,sir ,richard cried in his ,english pride1 ,we have fought such a fight for a day and a night ,as may never be fought again6 ,we have won great glory1 my men6 #he ,and a day less or more ,at sea or ashore1 ,we die--does it matter when8 ,sink me the ship1 ,master ,gunner--sink her1 split her in twain6 ,fall into the hands of ,god1 not into the hands of ,spain6 #ij ,and the gunner said ,ay1 ay1 but the seamen made reply3 ,we have children1 we have wives1 ,and the ,lord hath spared our lives4 ,we will make the ,spaniard promise1 if we yield1 to let us go2 ,we shall live to fight again and to strike another blow4 #ie ,and the lion there lay dying1 and they yielded to the foe4 ,and the stately ,spanish men to their flagship bore him then ,where they laid him by the mast1 old ,sir ,richard caught at last1 ,and they praised him to his face with their courtly foreign grace2 ,but he rose upon their decks1 and he cried3 #ajj ,i have fought for ,queen and ,faith like a valiant man and true2 ,i have only done my duty as a man is bound to do3 ,with a joyful spirit ,i ,sir ,richard ,grenville die6 ,and he fell upon their decks1 and he died4 ,and they stared at the dead that had been so valiant and true1 #aje ,and had holden the power and glory of ,spain so cheap ,that he dared her with one little ship and his ,english few2 ,was he devil or man8 ,he was devil for aught they knew1 ,but they sank his body with honour down into the deep1 ,and they mann'd the ,revenge with a swarthier alien crew1 #aaj ,and away she sail'd with her loss and long'd for her own2 ,when a wind from the lands they had ruin'd awoke from sleep1 ,and the water began to heave and the weather to moan1 ,and or ever that evening ended a great gale blew1 ,and a wave like the wave that is raised by an earthquake grew1 #aae ,till it smote on their hulls and their sails and their masts and their flags1 ,and the whole sea plunged and fell on the shot-shatter'd navy of ,spain1 ,and the little ,revenge herself went down by the island crags ,to be lost evermore in the main4 --,alfred ,tennyson ,,preparatory4--,give a series of titles suggestive of the events narrated in this ballad2 describe the picture that each title calls up1 and tell on what part of the poem it is based4 ,what different ideals of bravery are brought out in this ballad1 and by whom is each presented8 ,compare them with those set forth in ,the ,private of the ,buffs 7,fourth ,reader71 and ,horatius4 #a1 #c1 and #ac4 7,appendix ,a1 #a and #f47 ',,fore ,,god 444 sick4 ,what ,inflection prevails8 7,introduction1 pp4 #ag and #ah47 ,what ,inflection is placed on the questions in ll4 #g1 #be1 #fb1 #hh1 and #ajh8 7,introduction1 pp4 #ah and #ai47 ,,for ,,the ,,glory ,,of ,,the ,,lord4 ,how is the irony brought out by the voice8 7,introduction1 pp4 #ba1 #bb1 and #cj47 #be-bh4 7,introduction1 p4 #ah47 ,compare the speech of the men 7ll4 #be-bh7 with that of ,sir ,richard 7ll4 #bi-ca7 from the standpoint of mental attitude4 ,how is this difference indicated by ,stress8 #cb4 ,which are the emphatic words8 ,give your reasons4 ,select words that are emphatic because of contrast from ll4 #cd1 #ce1 and #ia4 ,what ,inflection is placed on the emphatic words in each case8 ,how does repetition affect the ,emphasis in ll4 #cg-ch1 #ec-ed1 #eh-fj1 #fc1 and #hi8 7,introduction1 pp4 #ca-cc47 #dj4 ,with what word is ,,that connected in sense8 ,how does the voice make the connection8 7,introduction1 p4 #cc47 #dc-dg4 ,analyse these lines from the standpoint of ,perspective4 #ff-fg4 ,where do the ,pauses occur8 ,how does the ,grouping affect them8 #fh4 ,why is ,,himself emphatic8 #ge-ha4 ,give examples of momentary completeness4 #ic4 ,which is the most emphatic word in this line8 ,give your reason4 #aja-ajc4 ,to what extent should ,imitation enter into the reading of this speech8 7,introduction1 pp4 #d and #e47 #aab-aag4 ,how can the effect of this ,climax be brought out by the voice8 7,introduction1 p4 #ca47 #aah4 ,note the transition in thought and feeling4 ,by what change in ,time1 ,pitch1 and ,force is it accompanied8 99 99 99 99 99 ,,herve ,,riel ,on the sea and at the ,hogue1 sixteen hundred ninety-two1 ,did the ,english fight the ,french1--woe to ,france6 ,and the thirty-first of ,may1 helter-skelter through the blue1 ,like a crowd of frightened porpoises a shoal of sharks pursue1 ,came crowding ship on ship to ,st4 ,malo on the ,rance1 #e ,with the ,english fleet in view4 ',twas the squadron that escaped1 with the victor in full chase2 ,first and foremost of the drove1 in his great ship1 ,damfreville3 ,close on him fled1 great and small1 ,twenty-two good ships in all2 #aj ,and they signalled to the place1 ,help the winners of a race6 ,get us guidance1 give us harbour1 take us quick--or1 quicker still1 ,here's the ,english can and will6 ,then the pilots of the place put out brisk and leapt on board2 #ae ,why1 what hope or chance have ships like these to pass8 laughed they3 ,rocks to starboard1 rocks to port1 all the passage scarred and scored1 ,shall the ,formidable here1 with her twelve and eighty guns1 ,think to make the river-mouth by the single narrow way1 ,trust to enter where 'tis ticklish for a craft of twenty tons1 #bj ,and with flow at full beside8 ,now 'tis slackest ebb of tide4 ,reach the mooring8 ,rather say1 ,while rock stands or water runs1 ,not a ship will leave the bay6 #be ,then was called a council straight4 ,brief and bitter the debate3 ,here's the ,english at our heels2 would you have them take in tow ,all that's left us of the fleet1 linked together stern and bow1 ,for a prize to ,plymouth ,sound8 #cj ,better run the ships aground6 7,ended ,damfreville his speech47 ,not a minute more to wait6 ,let the captains all and each ,shove ashore1 then blow up1 burn the vessels on the beach6 #ce ,france must undergo her fate4 ,give the word6 ,but no such word ,was ever spoke or heard2 ,for up stood1 for out stepped1 for in struck amid all these1-- ,a ,captain8 a ,lieutenant8 a ,mate--first1 second1 third8 #dj ,no such man of mark1 and meet ,with his betters to compete6 ,but a simple ,breton sailor pressed by ,tourville for the fleet1 ,a poor coasting-pilot he1 ,herve ,riel the ,croisickese4 ,and1 ,what mockery or malice have we here8 cries ,herve ,riel3 #de ,are you mad1 you ,malouins8 ,are you cowards1 fools1 or rogues8 ,talk to me of rocks and shoals1 me who took the soundings1 tell ,on my fingers every bank1 every shallow1 every swell ',twist the offing here and ,greve1 where the river disembogues8 ,are you bought by ,english gold8 ,is it love the lying's for8 #ej ,morn and eve1 night and day1 ,have ,i piloted your bay1 ,entered free and anchored fast1 at the foot of ,solidor4 ,burn the fleet and ruin ,france8 ,that were worse than fifty ,hogues6 ,sirs1 they know ,i speak the truth6 ,sirs1 believe me there's a way6 #ee ,only let me lead the line1 ,have the biggest ship to steer1 ,get this ,formidable clear1 ,make the others follow mine1 ,and ,i lead them1 most and least1 by a passage ,i know well1 #fj ,right to ,solidor past ,greve1 ,and there lay them safe and sound2 ,and if one ship misbehave-- ,keel so much as grate the ground-- ,why1 ,i've nothing but my life1--here's my head6 cries ,herve ,riel4 #fe ,not a minute more to wait4 ,steer us in1 then1 small and great6 ,take the helm1 lead the line1 save the squadron6 cried its chief4 ,captains1 give the sailor place6 ,he is ,admiral1 in brief4 #gj ,still the north wind1 by ,god's grace6 ,see the noble fellow's face ,as the big ship1 with a bound1 ,clears the entry like a hound4 ,keeps the passage1 as its inch of way were the wide sea's profound6 #ge ,see1 safe through shoal and rock1 ,how they follow in a flock1 ,not a ship that misbehaves1 not a keel that grates the ground1 ,not a spar that comes to grief6 ,the peril1 see1 is past1 #hj ,all are harboured to the last1 ,and just as ,herve ,riel hollas ,anchor6--sure as fate1 ,up the ,english come--too late4 ,so1 the storm subsides to calm3 ,they see the green trees wave #he ,on the heights o'erlooking ,greve4 ,hearts that bled are stanched with balm4 ,just our rapture to enhance1 ,let the ,english rake the bay1 ,gnash their teeth and glare askance #ij ,as they cannonade away6 ',neath rampired ,solidor pleasant riding on the ,rance6 ,how hope succeeds despair on each captain's countenance6 ,out burst all with one accord1 ,this is ,paradise for ,hell6 #ie ,let ,france1 let ,france's ,king1 ,thank the man that did the thing6 ,what a shout1 and all one word1 ,herve ,riel6 ,as he stepped in front once more1 #ajj ,not a symptom of surprise ,in the frank1 blue ,breton eyes1 ,just the same man as before4 ,then said ,damfreville1 ,my friend1 ,i must speak out at the end1 #aje ,though ,i find the speaking hard4 ,praise is deeper than the lips3 ,you have saved the ,king his ships1 ,you must name your own reward4 ',faith1 our sun was near eclipse6 #aaj ,demand whate'er you will1 ,france remains your debtor still4 ,ask to heart's content and have6 or my name's not ,damfreville4 ,then a beam of fun outbroke ,on the bearded mouth that spoke1 #aae ,as the honest heart laughed through ,those frank eyes of ,breton blue3 ,since ,i needs must say my say1 ,since on board the duty's done1 ,and from ,malo ,roads to ,croisic ,point1 what is it but a run8-- #abj ,since 'tis ask and have1 ,i may-- ,since the others go ashore-- ,come6 ,a good whole holiday6 ,leave to go and see my wife1 whom ,i call the ,belle ,aurore6 ,that he asked and that he got1--nothing more4 #abe ,name and deed alike are lost3 ,not a pillar nor a post ,in his ,croisic keeps alive the feat as it befell2 ,not a head in white and black ,on a single fishing-smack1 #acj ,in memory of the man but for whom had gone to wrack ,all that ,france saved from the fight whence ,england bore the bell4 ,go to ,paris3 rank on rank ,search the heroes flung pell-mell ,on the ,louvre1 face and flank6 #ace ,you shall look long enough ere you come to ,herve ,riel4 ,so1 for better and for worse1 ,herve ,riel1 accept my verse6 ,in my verse1 ,herve ,riel1 do thou once more ,save the squadron1 honour ,france1 love thy wife the ,belle ,aurore6 #adj --,robert ,browning 7,by permission of the owner of the copyright and ,smith1 ,elder ,co47 ,,preparatory4--,narrate briefly the events of the poem and describe 7a7 the council1 7b7 the scene after the ships are safely anchored4 ,how does this poem illustrate the truth that the highest motive in life is duty8 ,from this standpoint compare ,herve ,riel with ,sir ,richard ,grenville in ,tennyson's ,the ,revenge4 ,give other examples to show that true nobility does not depend on such externals as rank and position4 #b4 ,,woe ,,to ,,france4 ,how does the voice indicate that this phrase is parenthetical8 #d4 ,what is the subject of ,,pursue8 ,its object8 ,how does the reader make the meaning clear8 #c-e4 ,what is the ,shading8 #h and #ad4 ,supply the ellipsis in each case4 ,how is the reading affected by an ellipsis8 7,introduction1 p4 #aj47 #ab-ad4 ,what is the ,stress8 7,introduction1 pp4 #bg and #bh47 #af-be4 ,what energy characterizes these lines8 ,with what ,stress should they be read8 ,,twelve ,,and ,,eighty ,,guns1 ,,twenty ,,tons4 ,what is the difference in the ,quality of voice8 ,compare ,,man ,,of ,,mark1 ,,simple ,,breton ,,sailor1 ll4 #dj and #db4 #bf4 ,where is the ,pause8 ,why8 ,note the transitions in ll4 #bg1 #ca1 #cb1 and #cc4 ,how is each one indicated8 #ch4 ,,stood1 ,,stepped1 ,,struck4 ,observe the increased ,emphasis4 ,compare ll4 #df and #fi4 #da-dc4 ,note the contrast4 ,what is the ,inflection on each part8 7,introduction1 p4 #bj47 #de-ff4 ,what state of mind does ,herve ,riel's speech indicate throughout8 ,what feelings predominate when he addresses 7a7 the ,malouins1 7b7 the officers8 ,what ,time1 ,pitch1 ,force1 and ,stress are the natural expression8 #df4 ,,cowards1 ,,fools1 ,,rogues4 ,what is the ,inflection on each word8 7,introduction1 p4 #bj47 #fe4 ,,keel ,,so ,,much1 ,,etc4 ,note the ,pause and ,grouping4 #gb1 #gc-gf1 #gg-hd4 ,what is the predominant feeling in each passage8 #ajd-aac4 ,compare the self-control of ,damfreville's speech with the impulsive shout of the preceding stanza4 ,what is the resulting difference in vocal expression8 #aad-aaf4 ,note the ,pause and ,grouping4 #aah-abb4 ,what is the ,inflection8 7,introduction1 p4 #ag47 #abi-acb4 ,observe the ,grouping4 99 99 99 99 99 ,,the ,,handwriting ,,on ,,the ,,wall ,daniel ,v ,belshazzar the king made a great feast to a thousand of his lords1 and drank wine before the thousand4 ,belshazzar1 whiles he tasted the wine1 commanded to bring the golden and silver vessels which his father ,nebuchadnezzar had taken out of the temple which was in ,jerusalem2 that the king1 and his princes1 his wives1 and his concubines1 might drink therein4 ,then they brought the golden vessels that were taken out of the temple of the house of ,god which was in ,jerusalem2 and the king1 and his princes1 his wives1 and his concubines1 drank in them4 ,they drank wine1 and praised the gods of gold1 and of silver1 of brass1 of iron1 of wood1 and of stone4 ,in the same hour came forth fingers of a man's hand1 and wrote over against the candlestick upon the plaister of the wall of the king's palace3 and the king saw the part of the hand that wrote4 ,then the king's countenance was changed1 and his thoughts troubled him1 so that the joints of his loins were loosed1 and his knees smote one against another4 ,the king cried aloud to bring in the astrologers1 the ,chaldeans1 and the soothsayers4 ,and the king spake1 and said to the wise men of ,babylon1 ,whosoever shall read this writing1 and shew me the interpretation thereof1 shall be clothed with scarlet1 and have a chain of gold about his neck1 and shall be the third ruler in the kingdom4 ,then came in all the king's wise men3 but they could not read the writing1 nor make known to the king the interpretation thereof4 ,then was the king ,belshazzar greatly troubled1 and his countenance was changed in him1 and his lords were astonied4 ,now the queen by reason of the words of the king and his lords came into the banquet house3 and the queen spake and said1 ,o king1 live for ever3 let not thy thoughts trouble thee1 nor let thy countenance be changed3 ,there is a man in thy kingdom1 in whom is the spirit of the holy gods2 and in the days of thy father light and understanding and wisdom1 like the wisdom of the gods1 was found in him2 whom the king ,nebuchadnezzar thy father1 the king1 ,i say1 thy father1 made master of the magicians1 astrologers1 ,chaldeans1 and soothsayers2 ,forasmuch as an excellent spirit and knowledge and understanding1 interpreting of dreams1 and shewing of hard sentences1 and dissolving of doubts1 were found in the same ,daniel1 whom the king named ,belteshazzar3 now let ,daniel be called1 and he will shew the interpretation4 ,then was ,daniel brought in before the king4 ,and the king spake and said unto ,daniel1 ,art thou that ,daniel1 which art of the children of the captivity of ,judah1 whom the king my father brought out of ,jewry8 ,i have even heard of thee1 that the spirit of the gods is in thee1 and that light and understanding and excellent wisdom is found in thee4 ,and now the wise men1 the astrologers1 have been brought in before me1 that they should read this writing1 and make known unto me the interpretation thereof3 but they could not shew the interpretation of the thing3 ,and ,i have heard of thee1 that thou canst make interpretations1 and dissolve doubts3 now if thou canst read the writing1 and make known to me the interpretation thereof1 thou shalt be clothed with scarlet1 and have a chain of gold about thy neck1 and shalt be the third ruler in the kingdom4 ,then ,daniel answered and said before the king1 ,let thy gifts be to thyself1 and give thy reward to another2 yet ,i will read the writing unto the king1 and make known to him the interpretation4 ,o thou king1 the most high ,god gave ,nebuchadnezzar thy father a kingdom1 and majesty1 and glory1 and honour3 ,and for the majesty that he gave him1 all people1 nations1 and languages1 trembled and feared before him3 whom he would he slew2 and whom he would he kept alive2 and whom he would he set up2 and whom he would he put down4 ,but when his heart was lifted up1 and his mind hardened in pride1 he was deposed from his kingly throne1 and they took his glory from him3 ,and he was driven from the sons of men2 and his heart was made like the beasts1 and his dwelling was with the wild asses3 they fed him with grass like oxen1 and his body was wet with the dew of heaven2 till he knew that the most high ,god ruled in the kingdom of men1 and that he appointeth over it whomsoever he will4 ,and thou1 his son1 ,o ,belshazzar1 hast not humbled thine heart1 though thou knewest all this2 ,but has lifted up thyself against the ,lord of heaven2 and they have brought the vessels of his house before thee1 and thou1 and thy lords1 thy wives1 and thy concubines1 have drunk wine in them2 and thou hast praised the gods of silver1 of gold1 of brass1 iron1 wood1 and stone1 which see not1 nor hear1 nor know3 and the ,god in whose hand thy breath is1 and whose are all thy ways1 hast thou not glorified3 ,then was the part of the hand sent from him2 and this writing was written4 ,and this is the writing that was written1 ,,mene1 ,,mene1 ,,tekel1 ,,upharsin4 ,this is the interpretation of the thing3 ,,mene2 ,god hath numbered thy kingdom1 and finished it4 ,,tekel2 ,thou art weighed in the balances1 and art found wanting4 ,,peres2 ,thy kingdom is divided1 and given to the ,medes and ,persians4 ,then commanded ,belshazzar1 and they clothed ,daniel with scarlet1 and put a chain of gold about his neck1 and made a proclamation concerning him1 that he should be the third ruler in the kingdom4 ,in that night was ,belshazzar the king of the ,chaldeans slain4 ,and ,darius the ,median took the kingdom1 being about threescore and two years old4 ,give a dramatic form to this extract1 indicating by suitable titles the various scenes suggested and the parts that would properly belong to the scenery1 the action1 and the dialogue respectively4 ,the different parts may be read by different readers before one reader attempts all the parts4 99 99 99 99 99 ,,paul',s ,,defence ,,before ,,king ,,agrippa ,acts xxvi #a4 ,then ,agrippa said unto ,paul1 ,thou art permitted to speak for thyself4 ,then ,paul stretched forth the hand1 and answered for himself3 ,i think myself happy1 ,king ,agrippa1 because ,i shall answer for myself this day before thee touching all the things whereof ,i am accused of the ,jews3 especially because ,i know thee to be expert in all customs and questions which are among the ,jews3 wherefore ,i beseech thee to hear me patiently4 #b4 ,my manner of life from my youth1 which was at the first among mine own nation at ,jerusalem1 know all the ,jews2 which knew me from the beginning1 if they would testify1 that after the most straitest sect of our religion ,i lived a ,pharisee4 ,and now ,i stand and am judged for the hope of the promise made of ,god unto our fathers3 unto which promise our twelve tribes1 instantly serving ,god day and night1 hope to come4 ,for which hope's sake1 ,king ,agrippa1 ,i am accused of the ,jews4 #c4 ,why should it be thought a thing incredible with you1 that ,god should raise the dead8 ,i verily thought with myself1 that ,i ought to do many things contrary to the name of ,jesus of ,nazareth4 ,which thing ,i also did in ,jerusalem3 and many of the saints did ,i shut up in prison1 having received authority from the chief priests2 and when they were put to death1 ,i gave my voice against them4 ,and ,i punished them oft in every synagogue1 and compelled them to blaspheme2 and being exceedingly mad against them1 ,i persecuted them even unto strange cities4 #d4 ,whereupon as ,i went to ,damascus with authority and commission from the chief priests1 at midday1 ,o king1 ,i saw in the way a light from heaven1 above the brightness of the sun1 shining round about me and them which journeyed with me4 ,and when we were all fallen to the earth1 ,i heard a voice speaking unto me1 and saying in the ,hebrew tongue1 ,saul1 ,saul1 why persecutest thou me8 ,it is hard for thee to kick against the pricks4 ,and ,i said1 ,who art thou1 ,lord8 ,and he said1 ,i am ,jesus whom thou persecutest4 ,but rise1 and stand upon thy feet3 for ,i have appeared unto thee for this purpose1 to make thee a minister and a witness both of these things which thou hast seen1 and of those things in the which ,i will appear unto thee2 delivering thee from the people1 and from the ,gentiles1 unto whom now ,i send thee1 to open their eyes1 and to turn them from darkness to light1 and from the power of ,satan unto ,god1 that they may receive forgiveness of sins1 and inheritance among them which are sanctified by faith that is in me4 #e4 ,whereupon1 ,o ,king ,agrippa1 ,i was not disobedient unto the heavenly vision3 but shewed first unto them of ,damascus1 and at ,jerusalem1 and throughout all the coasts of ,judaea1 and then to the ,gentiles1 that they should repent and turn to ,god1 and do works meet for repentance4 ,for these causes the ,jews caught me in the temple1 and went about to kill me4 ,having therefore obtained help of ,god1 ,i continue unto this day1 witnessing both to small and great1 saying none other things than those which the prophets and ,moses did say should come3 that ,christ should suffer1 and that he should be the first that should rise from the dead1 and should shew light unto the people1 and to the ,gentiles4 #f4 ,and as he thus spake for himself1 ,festus said with a loud voice1 ,paul1 thou art beside thyself2 much learning doth make thee mad4 ,but he said1 ,i am not mad1 most noble ,festus2 but speak forth the words of truth and soberness4 ,for the king knoweth of these things1 before whom also ,i speak freely3 for ,i am persuaded that none of these things are hidden from him2 for this thing was not done in a corner4 ,king ,agrippa1 believest thou the prophets8 ,i know that thou believest4 ,then ,agrippa said unto ,paul1 ,almost thou persuadest me to be a ,christian4 ,and ,paul said1 ,i would to ,god1 that not only thou1 but also all that hear me this day1 were both almost1 and altogether such as ,i am1 except these bonds4 #g4 ,and when he had thus spoken1 the king rose up1 and the governor1 and ,bernice1 and they that sat with them3 ,and when they were gone aside1 they talked between themselves1 saying1 ,this man doeth nothing worthy of death or of bonds4 ,then said ,agrippa unto ,festus1 ,this man might have been set at liberty1 if he had not appealed unto ,caesar4 ,,preparatory4--,under what circumstances did ,paul deliver this defence8 ,picture the scene4 ,what attitude of mind characterizes the chief speaker8 ,how does this affect the reading8 ,how are the direct speeches in ,pars4 #a1 #d1 #f1 and #g made to stand out from the narrative8 7,introduction1 p4 #bd47 ,how do the mental and emotional states of the various speakers differ8 ,indicate this difference by the ,quality of the voice4 7,introduction1 p4 #cd47 ,point out the ,climax in ,par4 #c4 ,how does the voice express it8 ,,if ,,they ,,would ,,testify4 ,what change in the voice subordinates this clause8 7,introduction1 p4 #cc47 ,give another example from ,par4 #b4 99 99 99 99 99 ,,the ,,stranded ,,ship ,far up the lonely strand the storm had lifted her4 ,and now along her keel the merry tides make stir ,no more4 ,the running waves that sparkled at her prow ,seethe to the chains and sing no more with laughter now4 ,no more the clean sea-furrow follows her4 ,no more ,to the hum of her gallant tackle the hale ,nor'-westers roar4 ,no more her bulwarks journey4 ,for the only boon they crave ,is the guerdon of all good ships and true1 the boon of a deep-sea grave4 ,take me out1 sink me deep in the green profound1 ,to sway with the long weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 ,no more she mounts the circles from ,fundy to the ,horn1 ,from ,cuba to the ,cape runs down the tropic morn1 ,explores the ,vast ,uncharted where great bergs ride in ranks1 ,nor shouts a broad ,ahoy to the dories on the ,banks4 ,no more she races freights to ,zanzibar and back1 ,nor creeps where the fog lies blind along the liner's track1 ,no more she dares the cyclone's disastrous core of calm ,to greet across the dropping wave the amber isles of palm4 ,take me out1 sink me deep in the green profound1 ,to sway with the long weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 ,amid her trafficking peers1 the wind-wise1 journeyed ships1 ,at the black wharves no more1 nor at the weedy slips1 ,she comes to port with cargo from many a storied clime4 ,no more to the rough-throat chantey her windlass creaks in time4 ,no more she loads for ,london with spices from ,ceylon1-- ,with white spruce deals and wheat and apples from ,st4 ,john4 ,no more from ,pernambuco with cotton-bales1--no more ,with hides from ,buenos ,ayres she clears for ,baltimore4 ,take me out1 sink me deep in the green profound1 ,to sway with the long weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 ,wan with the slow vicissitudes of wind and rain and sun ,how grieves her deck for the sailors whose hearty brawls are done6 ,only the wandering gull brings word of the open wave1 ,with shrill scream at her taffrail deriding her alien grave4 ,around the keel that raced the dolphin and the shark ,only the sand-wren twitters from barren dawn till dark2 ,and all the long blank noon the blank sand chafes and mars ,the prow once swift to follow the lure of the dancing stars4 ,take me out1 sink me deep in the green profound1 ,to sway with the long weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 ,and when the winds are low1 and when the tides are still1 ,and the round moon rises inland over the naked hill1 ,and o'er her parching seams the dry cloud-shadows pass1 ,and dry along the land-rim lie the shadows of thin grass1 ,then aches her soul with longing to launch and sink away ,where the fine silts lift and settle1 and sea-things drift and stray1 ,to make the port of ,last ,desire1 and slumber with her peers ,in the tide-wash rocking softly through the unnumbered years4 ,take me out1 sink me deep in the green profound1 ,to sway with the long weed1 swing with the drowned1 ,where the change of the soft tide makes no sound1 ,far below the keels of the outward bound4 --,charles ,g4 ,d4 ,roberts 7,by arrangement7 ,,preparatory4--,what is the fundamental idea of the first three stanzas8 ,of the fourth stanza8 ,of the last stanza8 ,of the refrain8 ,apply these ideas to human life8 ,what feelings do they arouse8 ,show that these feelings grow stronger as the poem advances4 ,what ,time1 ,pitch1 and ,stress are the natural expression of the atmosphere pervading the poem8 ,where are they most marked8 ,what effect has the atmosphere of the last stanza on the ,quality of the voice8 ,,her1 ,,stir4 7,appendix ,a1 #aj47 ,,strand1 ,,far1 ,,calm1 ,,brawls4 ,distinguish the sound of a in these words1 and select other words from the poem with the same sound4 7,appendix ,a1 #a47 ,what is the ,inflection on the negative statements in the first three stanzas8 ,on the entreaty in the refrain8 7,introduction1 p4 #ah47 ,what effect do the falling ,inflection1 and the marked ,pause after ,,more1 l4 #c1 stanza #a produce8 ,,and ,,when ,,the ,,winds 444 ,,grass4 ,what is the ,inflection8 ,what is the ,shading when compared with the next line8 99 99 99 99 99 ,,sir ,,patrick ,,spens ,the king sits1 in ,dunfermline toun1 ,drinking the blude-red wine2 ,o whare will ,i get a skeely skipper1 ,to sail this new ship o' mine8 ,o up and spake an eldern knight1 ,sat at the king's right knee1-- ,sir ,patrick ,spens is the best sailor1 ,that ever sailed the sea4 ,the king has written a braid letter1 ,and sealed it wi' his hand1 ,and sent it to ,sir ,patrick ,spens1 ,was walking on the strand4 ,to ,noroway1 to ,noroway1 ,to ,noroway o'er the faem2 ,the king's daughter of ,noroway1 ',tis thou maun bring her hame4 ,the first word that ,sir ,patrick read1 ,sae loud1 loud laughed he2 ,the neist word that ,sir ,patrick read1 ,the tear blindit his e'e4 ,o wha is this has done this deed1 ,and tauld the king o'me1 ,to send us out1 this time o' the year1 ,to sail upon the sea8 ,be't wind1 be't weet1 be't hail1 be't sleet1 ,our ship must sail the faem2 ,the king's daughter of ,noroway1 ',tis we must fetch her hame4 ,they hoysed their sails on ,monenday morn1 ,wi' a' the speed they may2 ,they hae landed in ,noroway1 ,upon a ,wodensday4 ,they hadna been a week1 a week1 ,in ,noroway1 but twae1 ,when that the lords o' ,noroway ,began aloud to say1-- ,ye ,scottishmen spend a' our king's goud1 ,and a' our queenis fee4 ,ye lee1 ye lee1 ye lears loud6 ,fu' loud ,i hear ye lee6 ,for ,i brought as mickle white monie1 ,as gane my men and me1 ,and ,i brought a half-fou o' gude red goud1 ,out o'er the sea wi' me4 ,mak' ready1 mak' ready1 my merry men a'6 ,our gude ship sails the morn4 ,now1 ever alake1 my master dear1 ,i fear a deadly storm6 ,i saw the new moon1 late yestreen1 ,wi' the auld moon in her arm6 ,and1 if we gang to sea1 master1 ,i fear we'll come to harm4 ,they hadna sailed a league1 a league1 ,a league1 but barely three1 ,when the lift grew dark1 and the wind blew loud1 ,and gurly grew the sea4 ,the ankers brak1 and the topmasts lap1 ,it was sic a deadly storm2 ,and the waves cam' o'er the broken ship1 ,till a' her sides were torn4 ,o whare will ,i get a gude sailor1 ,to tak' my helm in hand1 ,till ,i gae up to the tall topmast1 ,to see if ,i spy land8 ,o here am ,i1 a sailor gude1 ,to tak' the helm in hand1 ,till you gae up to the tall topmast2 ,but ,i fear ye'll ne'er spy land4 ,he hadna gane a step1 a step1 ,a step1 but barely ane1 ,when a bolt flew out o' our goodly ship1 ,and the salt sea it cam' in4 ,gae fetch a web o' the silken claith1 ,anither o' the twine1 ,and wap them into our ship's side1 ,and letna the sea come in4 ,they fetched a web o' the silken claith1 ,anither o' the twine1 ,and they wapped them roun' that gude ship's side1 ,but still the sea cam' in4 ,o laith1 laith were our gude ,scots lords1 ,to weet their cork-heeled shoon6 ,but lang or a' the play was played1 ,they wat their hats aboon4 ,and mony was the feather-bed1 ,that floated o'er the faem2 ,and mony was the gude lord's son1 ,that never mair cam' hame4 ,the ladyes wrang their fingers white1 ,the maidens tore their hair1 ,a' for the sake of their true loves2 ,for them they'll see na mair4 ,o lang1 lang may the ladyes sit1 ,wi' their fans into their hand1 ,before they see ,sir ,patrick ,spens ,come sailing to the strand6 ,and lang1 lang may the maidens sit1 ,wi' their goud kaims in their hair1 ,a' waiting for their ain dear loves6 ,for them they'll see na mair4 ,half ower1 half ower to ,aberdour1 ',tis fifty fathoms deep1 ,and there lies gude ,sir ,patrick ,spens1 ,wi' the ,scots lords at his feet4 --,old ,ballad ,into how many different scenes does this drama fall8 ,where is each one laid8 ,how can each one be made to stand out by itself8 7,introduction1 p4 #aj47 99 99 99 99 99 ,,king ,,john ,,and ,,the ,,abbot ,,of ,,canterbury ,an ancient story ,ile tell you anon4 ,of a notable prince1 that was called king ,john2 ,and he ruled ,england with maine and with might1 ,for he did great wrong1 and maintein'd little right4 ,and ,ile tell you a story1 a story so merrye1 ,concerning the ,abbot of ,canterburye2 ,how for his house-keeping1 and high renowne1 ,they rode poste for him to fair ,london towne4 ,an hundred men1 the king did heare say1 ,the abbot kept in his house every day2 ,and fifty golde chaynes1 without any doubt1 ,in velvet coates waited the abbot about4 ,how now1 father abbot1 ,i heare it of thee1 ,thou keepest a farre better house than mee1 ,and for thy house-keeping and high renowne1 ,i feare thou work'st treason against my crown4 ,my liege1 quo' the abbot1 ,i would it were knowne1 ,i never spend nothing1 but what is my owne2 ,and ,i trust1 your grace will doe me no deere1 ,for spending of my owne true-gotten geere4 ,yes1 yes1 father abbot1 thy fault it is highe1 ,and now for the same thou needest must dye2 ,for except thou canst answer me questions three1 ,thy head shall be smitten from thy bodie4 ,and first1 quo' the king1 when ,i'm in this stead1 ,with my crowne of golde so faire on my head1 ,among all my liege-men so noble of birthe1 ,thou must tell me to one penny what ,i am worthe4 ,secondlye1 tell me1 without any doubt1 ,how soone ,i may ride the whole world about4 ,and at the third question thou must not shrink1 ,but tell me here truly what do ,i think4 ,o1 these are hard questions for my shallow witt1 ,nor ,i cannot answer your grace as yet3 ,but if you will give me but three weekes space1 ,ile do my endeavour to answer your grace4 ,now three weeks space to thee will ,i give1 ,and that is the longest time thou hast to live2 ,for if thou dost not answer my questions three1 ,thy lands and thy livings are forfeit to mee4 ,away rode the abbot all sad at that word1 ,and he rode to ,cambridge1 and ,oxenford2 ,but never a doctor there was so wise1 ,that could with his learning an answer devise4 ,then home rode the abbot of comfort so cold1 ,and he mett his shepheard a going to fold3 ,how now1 my lord abbot1 you are welcome home2 ,what newes do you bring us from good king ,john8 ,sad newes1 sad newes1 shepheard1 ,i must give2 ,that ,i have but three days more to live3 ,for if ,i do not answer him questions three1 ,my head will be smitten from my bodie4 ,the first is to tell him1 there in that stead1 ,with his crowne of golde so fair on his head1 ,among all his liege-men so noble of birth1 ,to within one penny of what he is worth4 ,the seconde1 to tell him1 without any doubt1 ,how soon he may ride this whole world about3 ,and at the third question ,i must not shrinke1 ,but tell him there truly what he does thinke4 ,now cheare up1 sire abbot1 did you never hear yet1 ,that a fool he may learn a wise man witt8 ,lend me horse1 and serving-men1 and your apparel1 ,and ,i'll ride to ,london to answere your quarrel4 ,nay frowne not1 if it hath bin told unto mee1 ,i am like your lordship1 as ever may bee3 ,and if you will but lend me your gowne1 ,there is none shall knowe us at fair ,london towne4 ,now horses1 and serving-men thou shalt have1 ,with sumptuous array most gallant and brave2 ,with crozier1 and miter1 and rochet1 and cope1 ,fit to appeare 'fore our fader the pope4 ,now welcome1 sire abbot1 the king he did say1 ,tis well thou'rt come back to keepe thy day2 ,for and if thou canst answer my questions three1 ,thy life and thy living both saved shall bee4 ,and first1 when thou seest me here in this stead1 ,with my crown of golde so faire on my head1 ,among all my liege-men so noble of birthe1 ,tell me to one penny what ,i am worth4 ,for thirty pence our ,saviour was sold ,amonge the false ,jewes1 as ,i have bin told2 ,and twenty-nine is the worth of thee1 ,for ,i thinke1 thou art one penny worser than hee4 ,the king he laughed1 and swore by ,st4 ,bittel1 ,i did not thinke ,i had been worth so littel6 --,now secondly tell me1 without any doubt1 ,how soone ,i may ride this whole world about4 ,you must rise with the sun1 and ride with the same1 ,until the next morning he riseth againe2 ,and then your grace need not make any doubt1 ,but in twenty-four hours you'll ride it about4 ,the king he laughed1 and swore by ,st4 ,jone1 ,i did not think1 it could be gone so soone6 --,now from the third question thou must not shrinke1 ,but tell me here truly what ,i do thinke4 ,yea1 that shall ,i do1 and make your grace merry3 ,you thinke ,i'm the ,abbot of ,canterbury2 ,but ,i'm his poor shepheard1 as plain you may see1 ,that am come to beg pardon for him and for mee4 ,the king he laughed1 and swore by the masse1 ,he make thee lord abbot this day in his place6 ,now naye1 my liege1 be not in such speede1 ,for alacke ,i can neither write ne reade4 ,four nobles a weeke1 then1 ,i will give thee1 ,for this merry jest thou hast showne unto mee2 ,and tell the old abbot when thou comest home1 ,thou hast brought him a pardon from good king ,john4 --,old ,ballad ,,preparatory4--,divide this poem into three dramatic scenes4 ,who are the actors in each scene8 ,what is the king's attitude toward the abbot in the first scene8 ,toward the supposed abbot in the third scene8 ,where does this attitude suddenly change8 ,show at what points this changed attitude gradually increases in strength and where it reaches its climax4 ,indicate these changes by means of the voice4 ,what is the abbot's attitude toward the king in the first scene8 ,how does it differ from his attitude toward the shepherd8 ,what is the difference in vocal expression8 ,where does the shepherd's attitude toward the king change8 ,how does the voice indicate this change8 99 99 99 99 99 ,,the ,,key ,,to ,,human ,,happiness ,from ,the ,mill on the ,floss #a4 ,at last ,maggie's eyes glanced down on the books that lay on the window-shelf1 and she half forsook her reverie to turn over listlessly the leaves of the ,portrait ,gallery2 but she soon pushed this aside to examine the little row of books tied together with1 string4 ,beauties of the ,spectator1 ,rasselas1 ,economy of ,human ,life1 ,gregory's ,letters1--she knew the sort of matter that was inside all these2 the ,christian ,year--that seemed to be a hymn-book1 and she laid it down again2 but ,thomas a ,kempis--the name had come across her in her reading1 and she felt the satisfaction1 which every one knows1 of getting some ideas to attach to a name that strays solitary in the memory4 ,she took up the little1 old1 clumsy book with some curiosity2 it had the corners turned down in many places1 and some hand1 now for ever quiet1 had made at certain passages strong pen-and-ink marks1 long since browned by time4 ,maggie turned from leaf to leaf1 and read where the quiet hand pointed 444 ,know that the love of thyself doth hurt thee more than anything in the world4444 ,if thou seekest this or that1 and would'st be here or there to enjoy thy own will and pleasure1 thou shalt never be quiet nor free from care2 for in everything somewhat will be wanting1 and in every place there will be some that will cross thee4444 ,both above and below1 which way soever thou dost turn thee1 everywhere thou shalt find the ,cross2 and everywhere of necessity thou must have patience1 if thou wilt have inward peace1 and enjoy an everlasting crown4444 ,it is but little thou sufferest in comparison of them that have suffered so much1 were so strongly tempted1 so grievously afflicted1 so many ways tried and exercised4 ,thou oughtest therefore to call to mind the more heavy sufferings of others1 that thou mayest the easier bear thy little adversities4 ,and if they seem not little unto thee1 beware lest thy impatience be the cause thereof4444 ,blessed are those ears that receive the whispers of the divine voice1 and listen not to the whisperings of the world4 ,blessed are those ears which hearken not unto the voice which soundeth outwardly1 but unto the ,truth which teacheth inwardly4444 #b4 ,a strange thrill of awe passed through ,maggie while she read1 as if she had been awakened in the night by a strain of solemn music1 telling of beings whose souls had been astir while hers was in stupor4 ,she went on from one brown mark to another1 where the quiet hand seemed to point1 hardly conscious that she was reading--seeming rather to listen while a low voice said3-- #c4 ,why dost thou here gaze about1 since this is not the place of thy rest8 ,in heaven ought to be thy dwelling1 and all earthly things are to be looked on as they forward thy journey thither4 ,all things pass away1 and thou together with them4 ,beware thou cleave not unto them1 lest thou be entangled and perish4444 ,if a man should give all his substance yet it is as nothing4 ,and1 if he should do great penances1 yet they are but little4 ,and if he should attain to all knowledge1 he is yet far off4 ,and if he should be of great virtue1 and very fervent devotion1 yet is there much wanting--to wit1 one thing1 which is most necessary for him4 ,what is that8 ,that having left all1 he leave himself1 and go wholly out of himself1 and retain nothing of self-love4444 ,i have often said unto thee1 and now again ,i say the same3 ,forsake thyself1 resign thyself1 and thou shalt enjoy much inward peace4444 ,then shall all vain imaginations1 evil perturbations1 and superfluous cares fly away2 then shall immoderate fear leave thee1 and inordinate love shall die4 #d4 ,maggie drew a long breath and pushed her heavy hair back as if to see a sudden vision more clearly4 ,here1 then1 was a secret of life that would enable her to renounce all other secrets2 here was a sublime height to be reached without the help of outward things2 here was insight1 and strength and conquest1 to be won by means entirely within her own soul1 where a supreme ,teacher was waiting to be heard4 ,it flashed through her1 like the suddenly apprehended solution of a problem1 that all the miseries of her young life had come from fixing her heart on her own pleasure1 as if that were the central necessity of the universe2 and for the first time she saw the possibility of shifting the position from which she looked at the gratification of her own desires1 of taking her stand out of herself1 and looking at her own life as an insignificant part of a divinely-guided whole4 ,she read on and on in the old book1 devouring eagerly the dialogues with the invisible ,teacher1 the pattern of sorrow1 the source of all strength1 returning to it after she had been called away1 and reading till the sun went down behind the willows4 ,with all the hurry of an imagination that could never rest in the present1 she sat in the deepening twilight forming plans of self-humiliation and entire devotedness2 and1 in the ardour of first discovery1 renunciation seemed to her the entrance into that satisfaction which she had so long been craving in vain4 ,she had not perceived--how could she until she had lived longer8--the inmost truth of the old monk's outpourings1 that renunciation remains sorrow1 though a sorrow borne willingly4 ,maggie was still panting for happiness1 and was in ecstasy because she had found the key to it4 ,she knew nothing of doctrines and systems--of mysticism or quietism2 but this voice out of the far-off ,middle ,ages was the direct communication of a human soul's belief and experience1 and came to ,maggie as an unquestioned message4 #e4 ,i suppose that is the reason why the small1 old-fashioned book1 for which you need pay only sixpence at a book-stall1 works miracles to this day1 turning bitter waters into sweetness2 while expensive sermons and treatises1 newly issued1 leave all things as they were before4 ,it was written down by a hand that waited for the heart's prompting2 it is the chronicle of a solitary hidden anguish1 struggle1 trust1 and triumph--not written on velvet cushions to teach endurance to those who are treading with bleeding feet on the stones4 ,and so it remains to all time a lasting record of human needs and human consolations--the voice of a brother who1 ages ago1 felt and suffered and renounced in the cloister1 perhaps1 with serge gown and tonsured head1 with much chanting and long fasts1 and with a fashion of speech different from ours1 but under the same silent far-off heavens1 and with the same passionate desires1 the same strivings1 the same failures1 the same weariness4 --,george ,eliot ,par4 #a4 ,,if ,,thou ,,seekest 444 ,,pleasure4 ,what principle of ,inflection does this clause illustrate8 ,give similar examples from ,par4 #c4 ,,both ,,above ,,and ,,below 444 ,,everywhere4 ,which phrase in this series has the strongest ,emphasis8 ,,thou ,,sufferest4 ,which word is emphatic8 7,introduction1 p4 #cj47 ,what phrases are contrasted with it8 ,account for the ,inflection used in the last two sentences4 7,introduction1 p4 #bj47 ,par4 #d4 ,indicate the ,grouping in sentences #c and #e4 ,,how ,,could ,,she1 ,,etc4 ,what is the ,inflection and ,shading8 7,introduction1 pp4 #bd and #be47 ,par4 #e4 ,what is the ,inflection on ,,not ,,written 444 ,,stones8 7,introduction p4 #ah47 99 99 99 99 99 ,,the ,,vision ,,of ,,sir ,,launfal ,,part ,,first ,my golden spurs now bring to me1 ,and bring to me my richest mail1 ,for to-morrow ,i go over land and sea ,in search of the ,holy ,grail2 ,shall never a bed for me be spread1 #e ,nor shall a pillow be under my head1 ,till ,i begin my vow to keep2 ,here on the rushes will ,i sleep1 ,and perchance there may come a vision true ,ere day create the world anew4 #aj ,slowly ,sir ,launfal's eyes grew dim1 ,slumber fell like a cloud on him1 ,and into his soul the vision flew4 ,the crows flapped over by twos and threes1 ,in the pool drowsed the cattle up to their knees1 #ae ,the little birds sang as if it were ,the one day of summer in all the year1 ,and the very leaves seemed to sing on the trees4 ,the castle alone in the landscape lay ,like an outpost of winter1 dull and gray3 #bj ',twas the proudest hall in the ,north ,countree1 ,and never its gates might opened be1 ,save to lord or lady of high degree2 ,summer besieged it on every side1 ,but the churlish stone her assaults defied2 #be ,she could not scale the chilly wall1 ,though round it for leagues her pavilions tall ,stretched left and right1 ,over the hills and out of sight2 ,green and broad was every tent1 #cj ,and out of each a murmur went ,till the breeze fell off at night4 ,the drawbridge dropped with a surly clang1 ,and through the dark arch a charger sprang1 ,bearing ,sir ,launfal1 the maiden knight1 #ce ,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 long1 ,and1 binding them all in one blazing sheaf1 #dj ,had cast them forth3 so1 young and strong1 ,and lightsome as a locust leaf1 ,sir ,launfal flashed forth in his unscarred mail1 ,to seek in all climes for the ,holy ,grail4 ,it was morning on hill and stream and tree #de ,and morning in the young knight's heart2 ,only the castle moodily ,rebuffed the gift of the sunshine free1 ,and gloomed by itself apart2 ,the season brimmed all other things up #ej ,full as the rain fills the pitcher-plant's cup4 ,as ,sir ,launfal made morn through the darksome gate ,he was 'ware of a leper1 crouched by the same1 ,who begged with his hand and moaned as he sate2 ,and a loathing over ,sir ,launfal came2 #ee ,the sunshine went out of his soul with a thrill1 ,the flesh 'neath his armour 'gan shrink and crawl1 ,and midway its leap his heart stood still ,like a frozen waterfall2 ,for this man1 so foul and bent of stature1 #fj ,rasped harshly against his dainty nature1 ,and seemed the one blot on the summer morn1-- ,so he tossed him a piece of gold in scorn4 ,the leper raised not the gold from the dust3 ,better to me the poor man's crust1 #fe ,better the blessing of the poor1 ,though ,i turn me empty from his door2 ,that is no true alms which the hand can hold2 ,he gives nothing but worthless gold ,who gives from a sense of duty2 #gj ,but he who gives a slender mite1 ,and gives to that which is out of sight1 ,that thread of the all-sustaining ,beauty ,which runs through all and doth all unite1-- ,the hand cannot clasp the whole of his alms1 #ge ,the heart outstretches its eager palms1 ,for a god goes with it and makes it store ,to the soul that was starving in darkness before4 ,,part ,,second ,there was never a leaf on bush or tree1 ,the bare boughs rattled shudderingly2 #hj ,the river was numb and could not speak1 ,for the weaver ,winter its shroud had spun2 ,a single crow on the tree-top bleak ,from his shining feathers shed off the cold sun2 ,again it was morning1 but shrunk and cold #he ,as if her veins were sapless and old1 ,and she rose up decrepitly ,for a last dim look at earth and sea4 ,sir ,launfal turned from his own hard gate1 ,for another heir in his earldom sate2 #ij ,an old1 bent man1 worn out and frail1 ,he came back from seeking the ,holy ,grail2 ,little he recked of his earldom's loss1 ,no more on his surcoat was blazoned the cross1 ,but deep in his soul the sign he wore1 #ie ,the badge of the suffering and the poor4 ,sir ,launfal's raiment thin and spare ,was idle mail 'gainst the barbed air1 ,for it was just at the ,christmas time2 ,so he mused1 as he sat1 of a sunnier clime1 #ajj ,and sought for a shelter from cold and snow ,in the light and warmth of long-ago3 ,he sees the snake-like caravan crawl ,o'er the edge of the desert1 black and small4 ,then nearer and nearer1 till1 one by one1 #aje ,he can count the camels in the sun1 ,as over the red-hot sands they pass ,to where1 in its slender necklace of grass1 ,the little spring laughed and leapt in the shade1 ,and with its own self like an infant played1 #aaj ,and waved its signal of palms4 ,for ,christ's sweet sake ,i beg an alms2-- ,the happy camels may reach the spring1 ,but ,sir ,launfal sees only the grewsome thing1 ,the leper1 lank as the rain-blanched bone1 #aae ,that cowers beside him1 a thing as lone ,and white as the ice-isles of ,northern seas ,in the desolate horror of his disease4 ,and ,sir ,launfal said1 ,i behold in thee ,an image of ,him who died on the tree2 #abj ,thou also hast had thy crown of thorns1 ,thou also hast had the world's buffets and scorns1 ,and to thy life were not denied ,the wounds in the hands and feet and side3 ,mild ,mary's ,son1 acknowledge me2 #abe ,behold1 through him1 ,i give to thee6 ,then the soul of the leper stood up in his eyes ,and looked at ,sir ,launfal1 and straightway he ,remembered in what a haughtier guise ,he had flung an alms to leprosie1 #acj ,when he girt his young life up in gilded mail ,and set forth in search of the ,holy ,grail4 ,the heart within him was ashes and dust2 ,he parted in twain his single crust1 ,he broke the ice on the streamlet's brink1 #ace ,and gave the leper to eat and drink3 ',twas a mouldy crust of coarse brown bread1 ',twas water out of a wooden bowl1-- ,yet with fine wheaten bread was the leper fed1 ,and 'twas red wine he drank with his thirsty soul4 #adj ,as ,sir ,launfal mused with a downcast face1 ,a light shone round about the place2 ,the leper no longer crouched at his side1 ,but stood before him glorified1 ,shining and tall and fair and straight #ade ,as the pillar that stood by the ,beautiful ,gate1-- ,himself the ,gate whereby men can ,enter the temple of ,god in ,man4 ,his words were shed softer than leaves from the pine1 ,and they fell on ,sir ,launfal as snows on the brine1 #aej ,which mingle their softness and quiet in one ,with the shaggy unrest they float down upon3 ,and the voice that was calmer than silence said3 ,lo it is ,i1 be not afraid6 ,in many climes1 without avail1 #aee ,thou has spent thy life for the ,holy ,grail2 ,behold it is here1--this cup which thou ,didst fill at the streamlet for me but now2 ,this crust is my body broken for thee1 ,this water ,his blood that died on the tree2 #afj ,the ,holy ,supper is kept1 indeed1 ,in whatso we share with another's need2 ,not what we give1 but what we share1-- ,for the gift without the giver is bare2 ,who gives himself with his alms feeds three1-- #afe ,himself1 his hungering neighbour1 and me4 ,sir ,launfal awoke as from a swound3-- ,the ,grail in my castle here is found6 ,hang my idle armour up on the wall1 ,let it be the spider's banquet-hall2 #agj ,he must be fenced with stronger mail ,who would seek and find the ,holy ,grail4 ,the castle gate stands open now1 ,and the wanderer is welcome to the hall ,as the hangbird is to the elm-tree bough2 #age ,no longer scowl the turrets tall1 ,the ,summer's long siege at last is o'er2 ,when the first poor outcast went in at the door1 ,she entered with him in disguise1 ,and mastered the fortress by surprise2 #ahj ,there is no spot she loves so well on ground1 ,she lingers and smiles there the whole year round4 ,the meanest serf on ,sir ,launfal's land ,has hall and bower at his command2 ,and there's no poor man in the ,north ,countree #ahe ,but is lord of the earldom as much as he4 --,james ,russell ,lowell ,,preparatory4--,read ,tennyson's ,the ,holy ,grail4 ,compare the mode in which ,tennyson treats the pursuit of the ,holy ,grail1 in ,sir ,galahad1 with that adopted by ,lowell in this poem4 ,show the connection between the fundamental ideas in this poem1 and those in ,longfellow's ,king ,robert of ,sicily and ,the ,legend ,beautiful4 ,point out the various contrasts 7a7 of scene1 7b7 of thought1 7c7 of emotion1 and show a corresponding contrast in vocal expression4 ,articulation4 7,appendix ,a1 #a and #aa47 #e and #f4 ,what is the ,inflection8 #aa4 ,what changes of vocal expression accompany the transition8 #ad-bj4 ,note the word-pictures and the effect of the ,imaging process on the ,time4 #bb4 ,what is the ,inflection on ,,be8 #bg-bi and #cg-ci4 ,observe the ,grouping1 ,pause1 and ,inflection4 #da4 ,,had ,,cast ,,them ,,forth4 ,with what phrase is this parallel8 ,how does the voice express the parallelism8 #db-dd4 ,which line expresses the main thought8 ,how is it made prominent8 7,introduction1 p4 #cc47 #ea4 ,where is the ,pause8 #fe-fg4 ,show the relative importance of the emphatic words and phrases4 7,introduction1 pp4 #cj and #ca47 #fi-gh4 ,read these lines with a view to 7a7 ,perspective1 7b7 ,inflection4 #ia4 ,,old1 ,,bent4 ,account for the pause between these two adjectives4 7,introduction1 pp4 #g and #h47 #ie4 ,what is the emphatic word8 ,why8 #ajg-aaa4 ,note the difference in the sound of the letter a in the various words4 #aai-abf4 ,what feeling predominates8 ,how are the ,force1 ,pitch1 and ,time affected8 #acg-adj4 ,how does the voice indicate the contrast between the meagre and the sumptuous8 7,introduction1 pp4 #cd and #ce47 #ada-adb4 ,note the transition from the subjective to the objective4 ,how is it indicated in reading8 #aed-aff4 ,what atmosphere pervades this speech8 ,what ,quality of voice suggests it8 7,introduction1 p4 #ce47 #afg4 ,note the transition4 ,what movement is suggested8 ,what is the ,stress and ,quality of voice8 #afh-agb4 ,what state of mind does this speech suggest8 ,what is the change in ,stress and ,quality8 99 99 99 99 99 ,,on ,,the ,,death ,,of ,,gladstone ,delivered in the ,canadian ,house of ,commons1 ,may #bf1 #ahih ,england has lost the most illustrious of her sons2 but the loss is not ,england's alone1 nor is it confined to the great empire which acknowledges ,england's suzerainty1 nor even to the proud race which can claim kinship with the people of ,england4 ,the loss is the loss of mankind4 ,mr4 ,gladstone gave his whole life to his country2 but the work which he did for his country1 was conceived and carried out1 on principles of such high elevation1 for purposes so noble1 and aims so lofty1 that not his country alone1 but the whole of mankind1 benefited by his work4 ,it is no exaggeration to say that he has raised the standard of civilization1 and the world to-day is undoubtedly better for both the precept and the example of his life4 ,his death is mourned not only by ,england1 the land of his birth1 not only by ,scotland1 the land of his ancestors1 not only by ,ireland for whom he did so much1 and attempted so much more2 but also by the people of the two ,sicilies1 for whose outraged rights he once aroused the conscience of ,europe1 by the people of the ,ionian ,islands1 whose independence he secured1 and by the people of ,bulgaria and the ,danubian ,provinces1 in whose cause he enlisted the sympathy of his own native country4 ,indeed1 since the days of ,napoleon1 no man has lived whose name has travelled so far and so wide1 over the surface of the earth2 no man has lived whose name alone so deeply moved the hearts of so many millions of men4 ,whereas ,napoleon impressed his tremendous personality upon peoples far and near1 by the strange fascination which the genius of war has always exercised over the imagination of men in all lands and in all ages1 the name of ,gladstone had come to be in the minds of all civilized nations1 the living incarnation of right against might--the champion1 the dauntless1 tireless champion1 of the oppressed against the oppressor4 ,it is1 ,i believe1 equally true to say that he was the most marvellous mental organization which the world has seen since ,napoleon--certainly the most compact1 the most active and the most universal4 ,this last half century in which we live1 has produced many able and strong men who1 in different walks of life1 have attracted the attention of the world at large2 and of the men who have illustrated this age1 it seems to me that in the eyes of posterity four will outlive and outshine all others--,cavour1 ,lincoln1 ,bismarck1 and ,gladstone4 ,if we look simply at the magnitude of the results obtained1 compared with the exiguity of the resources at command1--if we remember that out of the small ,kingdom of ,sardinia grew united ,italy1 we must come to the conclusion that ,count ,cavour was undoubtedly a statesman of marvellous skill and prescience4 ,abraham ,lincoln1 unknown to fame when he was elected to the presidency1 exhibited a power for the government of men which has scarcely been surpassed in any age4 ,he saved the ,american ,union1 he enfranchised the black race1 and for the task he had to perform he was endowed in some respects almost miraculously4 ,no man ever displayed a greater insight into the motives1 the complex motives1 which shape the public opinion of a free country1 and he possessed almost to the degree of an instinct1 the supreme quality in a statesman of taking the right decision1 taking it at the right moment and expressing it in language of incomparable felicity4 ,prince ,bismarck was the embodiment of resolute common sense1 unflinching determination1 relentless strength1 moving onward to his end1 and crushing everything in his way as unconcerned as fate itself4 ,mr4 ,gladstone undoubtedly excelled every one of these men4 ,he had in his person a combination of varied powers of the human intellect1 rarely to be found in one single individual4 ,he had the imaginative fancy1 the poetic conception of things1 in which ,count ,cavour was deficient4 ,he had the aptitude for business1 the financial ability which ,lincoln never exhibited4 ,he had the lofty impulses1 the generous inspirations which ,prince ,bismarck always discarded1 even if he did not treat them with scorn4 ,he was at once an orator1 a statesman1 a poet1 and a man of business4 ,as an orator he stands certainly in the very front rank of orators of his country or any country of his age or any age4 ,i remember when ,louis ,blanc was in ,england1 in the days of the ,second ,empire1 he used to write to the press of ,paris1 and in one of his letters to ,le ,temps he stated that ,mr4 ,gladstone would undoubtedly have been the foremost orator of ,england1 if it were not for the existence of ,mr4 ,bright4 ,it may be admitted1 and ,i think it is admitted generally1 that on some occasions ,mr4 ,bright reached heights of grandeur and pathos which even ,mr4 ,gladstone did not attain4 ,but ,mr4 ,gladstone had an ability1 a vigour1 a fluency which no man in his age or any age ever rivalled or even approached4 ,that is not all4 ,to his marvellous mental powers he added no less marvellous physical gifts4 ,he had the eye of a god1 the voice of a silver bell2 and the very fire of his eye1 the very music of his voice swept the hearts of men even before they had been dazzled by the torrents of his eloquence4 ,as a statesman1 it was the good fortune of ,mr4 ,gladstone that his career was not associated with war4 ,the reforms which he effected1 the triumphs which he achieved1 were not won by the supreme arbitrament of the sword4 ,the reforms which he effected and the triumphs which he achieved were the result of his power of persuasion over his fellow-men4 ,the reforms which he achieved in many ways amounted to a revolution4 ,they changed1 in many particulars1 the face of the realm4 ,after ,sir ,robert ,peel had adopted the great principle which eventually carried ,england from protection to free trade1 it was ,mr4 ,gladstone who created the financial system which has been admitted ever since by all students of finance1 as the secret of ,great ,britain's commercial success4 ,he enforced the extension of the suffrage to the masses of the nation1 and practically thereby made the government of monarchical ,england as democratic as that of any republic4 ,he disestablished the ,irish church1 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 despair4 ,and all this he did1 not by force or violence1 but simply by the power of his eloquence and the strength of his personality4 ,great1 however1 as were the acts of the man1 after all he was of the human flesh1 and for him1 as for everybody else1 there were trivial and low duties to be performed4 ,it is no exaggeration to say that even in those low and trivial duties he was great4 ,he ennobled the common realities of life4 ,his was above all things a religious mind--essentially religious in the highest sense of the term4 ,and the religious sentiment which dominated his public life and his speeches1 that same sentiment1 according to the testimony of those who knew him best1 also permeated all his actions from the highest to the humblest4 ,he was a man of strong and pure affections1 of long and lasting friendship1 and to describe the beauty of his domestic life1 no words of praise can be adequate4 ,it was simply ideally beautiful1 and in the later years of his life1 as touching as it was beautiful4 ,may ,i be permitted1 without any impropriety1 to recall that it was my privilege to experience and to appreciate that courtesy1 made up of dignity and grace1 which was famous all the world over1 but of which no one could have an appropriate opinion1 unless he had been the recipient of it4 ,in a character so complex and diversified1 one may ask what was the dominant feature1 what was the supreme quality1 the one characteristic which marked the nature of the man4 ,was it his incomparable genius for finance8 ,was it his splendid oratorical powers8 ,was it his marvellous fecundity of mind8 ,in my estimation it was not any one of these qualities4 ,great as they were1 there was one still more marked1 and if ,i have to give my own impression1 ,i would say that the one trait which was dominant in his nature1 which marked the man more distinctly than any other1 was his intense humanity1 his paramount sense of right1 his abhorrence of injustice1 wrong1 and oppression wherever to be found or in whatever shape they might show themselves4 ,injustice1 wrong1 oppression acted upon him1 as it were1 mechanically1 and aroused every fibre of his being1 and from that moment to the repairing of the injustice1 the undoing of the wrong1 and the destruction of the oppression1 he gave his mind1 his heart1 his soul1 his whole life with an energy1 with an intensity1 with a vigour paralleled in no man unless it be the first ,napoleon4 ,there are many evidences of this in his life4 ,when he was travelling in ,southern ,italy1 as a tourist1 for pleasure and for the benefit of the health of his family1 he became aware of the abominable system which was there prevailing under the name of ,constitutional ,government4 ,he left everything aside1 even the object which had brought him to ,italy1 and applied himself to investigate and to collect evidence1 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 fall4 ,again1 when he was sent as ,high ,commissioner to the ,ionian ,islands1 the injustice of keeping this ,hellenic population separated from the rest of ,greece1 separated from the kingdom to which they were adjacent1 and toward which all their aspirations were raised1 struck his generous soul with such force that he became practically their advocate1 and secured their independence4 ,again1 when he had withdrawn from public life1 and when1 in the language of ,thiers1 under somewhat similar circumstances1 he had returned to ses cheres etudes1 the atrocities perpetrated by the ,turks on the people of ,roumania brought him back to public life with a vehemence1 an impetuosity1 and a torrent of fierce indignation that swept everything before it4 ,if this be1 as ,i think it is1 the one distinctive feature of his character1 it seems to explain away what are called the inconsistencies of his life4 ,inconsistencies there were none in his life4 ,he had been brought up in the most unbending school of ,toryism4 ,he became the most active reformer of our times4 ,but whilst he became the leader of the ,liberal party and an active reformer1 it is only due to him to say that in his complex mind there was a vast space for what is known as conservatism4 ,his mind was not only liberal but conservative as well1 and he clung to the affections of his youth until1 in questions of practical moment1 he found them clashing with that sense of right and abhorrence of injustice of which ,i have spoken4 ,but the moment he found his conservative affections clash with what he thought right and just1 he did not hesitate to abandon his former convictions and go the whole length of the reforms demanded4 ,thus he was always devotedly1 filially1 lovingly attached to the ,church of ,england4 ,he loved it1 as he often declared4 ,he adhered to it as an establishment in ,england1 but the very reasons and arguments which1 in his mind1 justified the establishment of the ,church in ,england1 compelled him to a different course as far as that church was concerned in ,ireland4 ,in ,england the ,church was the church of the majority1 of almost the unanimity of the nation4 ,in ,ireland it was the church of the minority1 and1 therefore1 he did not hesitate4 ,his course was clear3 he removed the one church and maintained the other4 ,so it was with ,home ,rule4 ,but coming to the subject of ,home ,rule1 though there may be much to say1 perhaps this is neither the occasion nor the place to say it4 ,the ,irish problem is dormant1 not solved2 but the policy proposed by ,mr4 ,gladstone for the solution of this question has provoked too much bitterness1 too deep division1 even on the floor of this ,house1 to make it advisable to say anything about it on this occasion4 ,i notice it1 however1 simply because it is the last and everlasting monument of that high sense of justice which1 above all things1 characterized him4 ,when he became convinced that ,home ,rule was the only method whereby the long-open wound could be healed1 he did not hesitate one moment1 even though he were to sacrifice friends1 power1 popularity4 ,and he sacrificed friends1 power1 popularity1 in order to give that supreme measure of justice to a long-suffering people4 ,whatever may be the views which men entertain upon the policy of ,home ,rule1 whether they favour that policy or whether they oppose it1 whether they believe in it or whether they do not believe in it1 every man1 whether friend or foe of that measure1 must say that it was not only a bold1 but it was a noble thought1 that of attempting to cure discontent in ,ireland by trusting to ,irish honour and ,irish generosity4 ,now1 ,sir1 he is no more4 ,england is to-day in tears1 but fortunate is the nation which has produced such a man4 ,his years are over2 but his work is not closed2 his work is still going on4 ,the example which he gave to the world shall live for ever1 and the seed which he has sown with such a copious hand shall still germinate and bear fruit under the full light of heaven4 --,sir ,wilfrid ,laurier 7,by permission7 ,in reading this speech1 apply the principles of ,pause1 ,inflection1 ,grouping1 ,emphasis1 and ,perspective illustrated in the preceding lessons4 99 99 99 99 99 ,,the ,,downfall ,,of ,,wolsey ,from ,king ,henry ,,viii ,act ,,iii4 ,scene ii4 ,farewell6 a long farewell1 to all my greatness6 ,this is the state of man3 to-day he puts forth ,the tender leaves of hope2 to-morrow blossoms1 ,and bears his blushing honours thick upon him2 ,the third day comes a frost1 a killing frost1 #e ,and1--when he thinks1 good easy man1 full surely ,his greatness is a-ripening1--nips his root1 ,and then he falls1 as ,i do4 ,i have ventured1 ,like little wanton boys that swim on bladders1 ,this many summers in a sea of glory1 #aj ,but far beyond my depth3 my high-blown pride ,at length broke under me2 and now has left me1 ,weary1 and old with service1 to the mercy ,of a rude stream1 that must for ever hide me4 ,vain pomp and glory of this world1 ,i hate ye3 #ae ,i feel my heart new open'd4 ,o1 how wretched ,is that poor man that hangs on princes' favours6 ,there is1 betwixt that smile we would aspire to1 ,that sweet aspect of princes1 and their ruin1 ,more pangs and fears than wars or women have2 #bj ,and when he falls1 he falls like ,lucifer1 ,never to hope again4-- ,enter ,cromwell1 and stands amazed ,why1 how now1 ,cromwell6 ,crom4 ,i have no power to speak1 sir4 ,wol4 ,what6 amaz'd ,at my misfortunes8 can thy spirit wonder ,a great man should decline8 ,nay1 an you weep1 #be ,i am fall'n indeed4 ,crom4 ,how does your grace8 ,wol4 ,why1 well2 ,never so truly happy1 my good ,cromwell4 ,i know myself now2 and ,i feel within me ,a peace above all earthly dignities1 ,a still and quiet conscience4 ,the king has cur'd me1 #cj ,i humbly thank his grace2 and from these shoulders1 ,these ruin'd pillars1 out of pity1 taken ,a load would sink a navy1--too much honour3 ,o1 't is a burden1 ,cromwell1 't is a burden1 ,too heavy for a man that hopes for heaven6 #ce ,crom4 ,i am glad your grace has made that right use of it4 ,wol4 ,i hope ,i have3 ,i am able now1 methinks1-- ,out of a fortitude of soul ,i feel-- ,to endure more miseries1 and greater far1 ,than my weak-hearted enemies dare offer4 #dj ,what news abroad8 ,crom4 ,the heaviest1 and the worst ,is your displeasure with the king4 ,wol4 ,god bless him6 ,crom4 ,the next is1 that ,sir ,thomas ,more is chosen ,lord chancellor in your place4 ,wol4 ,that's somewhat sudden3 ,but he's a learned man4 ,may he continue #de ,long in his highness' favour1 and do justice ,for truth's sake1 and his conscience2 that his bones1 ,when he has run his course and sleeps in blessings1 ,may have a tomb of orphans' tears wept on 'em6-- ,what more8 #ej ,crom4 ,that ,cranmer is return'd with welcome1 ,install'd ,lord ,archbishop of ,canterbury4 ,wol4 ,that's news indeed4 ,crom4 ,last1 that the ,lady ,anne1 ,whom the king hath in secrecy long married1 ,this day was view'd in open1 as his queen1 #ee ,going to chapel2 and the voice is now ,only about her coronation4 ,wol4 ,there was the weight that pull'd me down4 ,o ,cromwell1 ,the king has gone beyond me3 all my glories ,in that one woman ,i have lost for ever4 #fj ,no sun shall ever usher forth mine honours1 ,or gild again the noble troops that waited ,upon my smiles4 ,go1 get thee from me1 ,cromwell2 ,i am a poor fall'n man1 unworthy now ,to be thy lord and master4 ,seek the king2 #fe ,that sun1 ,i pray1 may never set6 ,i have told him ,what and how true thou art3 he will advance thee2 ,some little memory of me will stir him-- ,i know his noble nature--not to let ,thy hopeful service perish too4 ,good ,cromwell1 #gj ,neglect him not2 make use now1 and provide ,for thine own future safety4 ,crom4 ,o my lord1 ,must ,i1 then1 leave you8 must ,i needs forego ,so good1 so noble1 and so true a master8 ,bear witness1 all that have not hearts of iron1 #ge ,with what a sorrow ,cromwell leaves his lord4 ,the king shall have my service2 but my prayers1 ,for ever and for ever1 shall be yours4 ,wol4 ,cromwell1 ,i did not think to shed a tear ,in all my miseries2 but thou hast forced me1 #hj ,out of thy honest truth1 to play the woman4 ,let's dry our eyes2 and thus far hear me1 ,cromwell3 ,and--when ,i am forgotten1 as ,i shall be1 ,and sleep in dull cold marble1 where no mention ,of me more must be heard of--say1 ,i taught thee1 #he ,say1 ,wolsey1 that once trod the ways of glory1 ,and sounded all the depths and shoals of honour1 ,found thee a way1 out of his wrack1 to rise in2 ,a sure and safe one1 though thy master miss'd it4 ,mark but my fall1 and that that ruin'd me4 #ij ,cromwell1 ,i charge thee1 fling away ambition3 ,by that sin fell the angels2 how can man1 then1 ,the image of his ,maker1 hope to win by 't8 ,love thyself last2 cherish those hearts that hate thee2 ,corruption wins not more than honesty4 #ie ,still in thy right hand carry gentle peace1 ,to silence envious tongues4 ,be just1 and fear not3 ,let all the ends thou aim'st at be thy country's1 ,thy ,god's1 and truth's3 then if thou fall'st1 ,o ,cromwell1 ,thou fall'st a blessed martyr4 ,serve the king2 #ajj ,and--pr'ythee lead me in3 ,there take an inventory of all ,i have1 ,to the last penny2 't is the king's3 my robe1 ,and my integrity to ,heaven1 is all ,i dare now call my own4 ,o ,cromwell1 ,cromwell6 #aje ,had ,i but served my ,god with half the zeal ,i served my king1 ,he would not in mine age ,have left me naked to mine enemies4 ,crom4 ,good sir1 have patience4 ,wol4 ,so ,i have4 ,farewell #aaj ,the hopes of court6 my hopes in heaven do dwell4 --,shakespeare ,compare the last words of ,wolsey with those of ,socrates as found in ,jowett's translation of ,the ,apology1 7p4 #ade47 ,,be ,,just 444 ,,martyr4 ,show that the life and death of ,socrates illustrates this ideal4 ,compare the ,pitch in which ,wolsey utters his monologue with that in which he addresses ,cromwell4 7,introduction1 p4 #bc47 ,how is the parenthetical clause in ll4 #f and #g kept in the back-ground8 7,introduction1 p4 #bd47 ,select similar examples from ,wolsey's speeches4 ,,and ,,from ,,these ,,shoulders 444 ,,navy4 ,supply the ellipses4 ,,by ,,that ,,sin 444 ,,win ,,by ',t8 ,select the emphatic words and account for the ,emphasis in each case4 7,introduction1 p4 #cj47 99 99 99 99 99 ,,the ,,italian ,,in ,,england ,that second time they hunted me ,from hill to plain1 from shore to sea1 ,and ,austria1 hounding far and wide ,her blood-hounds thro' the country-side1 ,breathed hot and instant on my trace4-- #e ,i made1 six days1 a hiding-place ,of that dry green old aqueduct ,where ,i and ,charles1 when boys1 have plucked ,the fireflies from the roof above1 ,bright creeping thro' the moss they love3 #aj --,how long it seems since ,charles was lost6 ,six days the soldiers crossed and crossed ,the country in my very sight2 ,and when that peril ceased at night1 ,the sky broke out in red dismay #ae ,with signal-fires4 ,well1 there ,i lay ,close covered o'er in my recess1 ,up to the neck in ferns and cress1 ,thinking on ,metternich our friend1 ,and ,charles's miserable end1 #bj ,and much beside1 two days2 the third1 ,hunger o'ercame me when ,i heard ,the peasants from the village go ,to work among the maize3 you know1 ,with us in ,lombardy1 they bring #be ,provisions packed on mules1 a string ,with little bells that cheer their task1 ,and casks1 and boughs on every cask ,to keep the sun's heat from the wine2 ,these ,i let pass in jingling line1 #cj ,and1 close on them1 dear noisy crew1 ,the peasants from the village1 too2 ,for at the very rear would troop ,their wives and sisters in a group ,to help1 ,i knew4 ,when these had passed1 #ce ,i threw my glove to strike the last1 ,taking the chance3 she did not start1 ,much less cry out1 but stooped apart1 ,one instant rapidly glanced round1 ,and saw me beckon from the ground2 #dj ,a wild bush grows and hides my crypt1 ,she picked my glove up while she stripped ,a branch off1 then rejoined the rest ,with that2 my glove lay in her breast3 ,then ,i drew breath2 they disappeared3 #de ,it was for ,italy ,i feared4 ,an hour1 and she returned alone ,exactly where my glove was thrown4 ,meanwhile came many thoughts2 on me ,rested the hopes of ,italy2 #ej ,i had devised a certain tale ,which1 when 't was told her1 could not fail ,persuade a peasant of its truth2 ,i meant to call a freak of youth ,this hiding1 and give hopes of pay1 #ee ,and no temptation to betray4 ,but when ,i saw that woman's face1 ,it's calm simplicity of grace1 ,our ,italy's own attitude ,in which she walked thus far1 and stood1 #fj ,planting each naked foot so firm1 ,to crush the snake and spare the worm-- ,at first sight of her eyes1 ,i said1 ,i am that man upon whose head ,they fix the price1 because ,i hate #fe ,the ,austrians over us2 the ,state ,will give you gold--oh1 gold so much6-- ,if you betray me to their clutch1 ,and be your death1 for aught ,i know1 ,if once they find you saved their foe4 #gj ,now1 you must bring me food and drink1 ,and also paper1 pen and ink1 ,and carry safe what ,i shall write ,to ,padua1 which you'll reach at night ,before the duomo shuts2 go in1 #ge ,and wait till ,tenebrae begin2 ,walk to the third confessional1 ,between the pillar and the wall1 ,and kneeling whisper1 ,whence comes peace8 ,say it a second time1 then cease2 #hj ,and if the voice inside returns1 ,from ,christ and ,freedom2 what concerns ,the cause of ,peace8--for answer1 slip ,my letter where you placed your lip2 ,then come back happy we have done #he ,our mother service--,i1 the son1 ,as you the daughter of our land6 ,three mornings more1 she took her stand ,in the same place1 with the same eyes3 ,i was no surer of sunrise #ij ,than of her coming3 we conferred ,of her own prospects1 and ,i heard ,she had a lover--stout and tall1 ,she said--then let her eyelids fall1 ,he could do much--as if some doubt #ie ,entered her heart1--then1 passing out1 ,she could not speak for others1 who ,had other thoughts2 herself she knew3 ,and so she brought me drink and food4 ,after four days1 the scouts pursued #ajj ,another path2 at last arrived ,the help my ,paduan friends contrived ,to furnish me3 she brought the news4 ,for the first time ,i could not choose ,but kiss her hand1 and lay my own #aje ,upon her head--,this faith was shown ,to ,italy1 our mother2 she ,uses my hand and blesses thee4 ,she followed down to the sea-shore2 ,i left and never saw her more4 #aaj ,how very long since ,i have thought ,concerning--much less wished for--aught ,beside the good of ,italy1 ,for which ,i live and mean to die6 ,i never was in love2 and since #aae ,charles proved false1 what shall now convince ,my inmost heart ,i have a friend8 ,however1 if ,i pleased to spend ,real wishes on myself--say1 three-- ,i know at least what one should be4 #abj ,i would grasp ,metternich until ,i felt his red wet throat distil ,in blood thro' these two hands4 ,and next1 --,nor much for that am ,i perplexed-- ,charles1 perjured traitor1 for his part1 #abe ,should die slow of a broken heart ,under his new employers4 ,last1 --,ah1 there1 what should ,i wish8 ,for fast ,do ,i grow old and out of strength4 ,if ,i resolved to seek at length #acj ,my father's house again1 how scared ,they all would look1 and unprepared6 ,my brothers live in ,austria's pay --,disowned me long ago1 men say2 ,and all my early mates who used #ace ,to praise me so--perhaps induced ,more than one early step of mine-- ,are turning wise3 while some opine ,freedom grows license1 some suspect ,haste breeds delay1 and recollect #adj ,they always said1 such premature ,beginnings never could endure6 ,so1 with a sullen ,all's for best1 ,the land seems settling to its rest4 ,i think then1 ,i should wish to stand #ade ,this evening in that dear1 lost land1 ,over the sea the thousand miles1 ,and know if yet that woman smiles ,with the calm smile2 some little farm ,she lives in there1 no doubt3 what harm #aej ,if ,i sat on the door-side bench1 ,and1 while her spindle made a trench ,fantastically in the dust1 ,inquired of all her fortunes--just ,her children's ages and their names1 #aee ,and what may be the husband's aims ,for each of them4 ,i'd talk this out1 ,and sit there1 for an hour about1 ,then kiss her hand once more1 and lay ,mine on her head1 and go my way4 #afj ,so much for idle wishing--how ,it steals the time6 ,to business now4 --,robert ,browning 7,by permission7 ,,preparatory4--,what is the historical back-ground of this poem8 ,suggest the possible details of the exiled patriot's life in ,england1 his surroundings and frame of mind at the moment of speaking4 ,reconstruct for yourself the three scenes of which the peasant woman is the centre4 ,what qualities did the ,italian at once recognize in the peasant woman which led him to intrust his safety to her8 #gi4 ,,whence ,,comes ,,peace8 ,in what ,quality of voice is this read8 ,give your reason4 7,introduction1 p4 #cd47 #ie4 ,,he ,,could ,,do ,,much4 ,how is the doubt in this speech and in the one following indicated by the ,inflection8 7,introduction1 p4 #ah47 #aaa-aab4 ,with what is ,,thought ,,concerning connected8 ,how8 #abj-abc4 ,i ,,know ,,at ,,least 444 ,,hands4 ,what ,quality of voice expresses the feeling here8 ,what succeeding lines have the same ,quality8 7,introduction1 p4 #ce47 ,with what is ,,next connected8 ,how8 #aci-adb4 ,,freedom ,,grows ,,license 444 ,,endure4 ,how is the irony of these lines indicated8 7,introduction1 pp4 #ba and #cj47 ,how does the mood of the last two lines differ from the preceding8 ,what is the difference in vocal expression8 99 99 99 99 99 ,,advantages ,,of ,,imperial ,,federation ,from an address delivered in ,toronto1 ,january #cjth1 #ahia1 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 considering2 an advantage too that is so connected with that of improved trade that the two must be considered together4 ,in fact1 in my opinion1 the first is not likely to be obtained without the second4 ,we cannot expect ,britain to concede preferential trade to us1 on the ground that we are part of the ,empire1 unless we are willing to share the responsibilities of the ,empire4 ,i say then1 secondly1 that only by some form of ,imperial ,federation can the independence of ,canada be preserved1 with due regard to self-respect4 ,if this is true1 if ,imperial ,federation can do this1 and if it can be done in no other way1 then the necessity for ,imperial ,federation is proved2 for national independence is an advantage so great that no price can be named that is too great to give in payment4 ,it is the same with a country as with a man4 ,independent he must be1 or he ceases to be a man4 ,burns advises his young friend to gather gear in every honourable way1 and what for8 ,not for to hoard it in a dyke1 ,not for a train attendant2 ,but for the glorious privilege ,of being independent4 ,and that which is the supreme dignity of manhood is even more essential in the case of a nation4 ,what do we mean when we speak of the independence of the country8 ,we mean something beyond price1 something that is the indispensable condition of true manhood in any country1 something without which a country is poor in the present and a butt for the world's scorn in the future4 ,there are men1 or things that look like men1 who say that as long as we put money in our purse1 nothing else counts4 ,how that class of men must have laughed some centuries ago at a fool called ,william ,wallace6 ,how clearly they could point out that it was much better to be part of the richer country to the south4 ,when they heard of the fate of the patriot1 did they not serenely say3 ,we told you so8 ,did they not in their hearts envy the false ,menteath the price he got for betraying the man who acted as true sentiment bade8 ,but1 give it time1 and the judgment of the world is just4 ,even the blind can now see whether the patriot or the so-called practical man did most for ,scotland's advantage4 ,now ,at ,wallace' name1 what ,scottish blood ,but boils up in a springtime flood6 ,oft have our fearless fathers strode ,by ,wallace' side1 ,still pressing onward1 red-wat shod1 ,or glorious died4 ,what has his memory been worth to ,scotland6 ,would you estimate it in millions8 ,superior persons will tell me that ,wallace is an anachronism4 ,in form1 yes2 in spirit1 never4 ,it may be said that in the end ,scotland did unite with ,england4 ,yes1 but first1 what a curse the union would have been if unaccompanied1 as in the case of ,ireland1 with national self-respect6 ,and1 secondly1 ,canada is ready for union with the ,states any day on the same terms as those which ,scotland got3 7#a7 ,that the ,states accept our ,queen or ,king as their head4 7#b7 ,that we keep our own civil and criminal law and parliamentary constitution1 as ,scotland did4 7#c7 ,that the whole ,empire be included in the arrangement1 as the whole of ,scotland was in the union4 ,surely the men who are never tired of citing the case of ,scotland and ,england as parallel to ours must admit that this is fair4 ,but1 here comes a question that must be faced4 ,is it worth while preserving the independence1 the unity1 and dignity of ,canada8 ,there are men who1 for one reason or another1 doubt whether it is4 ,they have lost faith in the country1 or rather they never had any faith to lose4 ,it is this absence of faith that is at the bottom of all their arguments and all their unrest4 ,now1 ,i do not wonder that there should be men who do not share our faith4 ,men who were brought up in ,england1 and who have seen and tasted the best of it2 who are proud of that dear1 dear land1 as ,shakespeare called it1 proud of its history1 its roll of saints1 statesmen1 heroes2 of its cathedrals1 colleges1 castles2 of its present might as well as its ancient renown2 and who have then come to live in ,canada1--well1 they naturally look with amused contempt at our raw1 rough ways1 our homespun legislators and log colleges1 combined with lofty ambitions expressed sometimes--it must be admitted--in bunkum4 ,i do not wonder1 either1 that men who have been citizens of the ,united ,states1 who exult in its vast population1 its vast wealth1 and its boundless energy1 should think it madness on our part that we are not knocking untiringly at their door for admission1 and that the only explanation of our attitude that they can give is that we are swelled heads1 or the rank and file of jingoism4 ,but1 after all1 they must know that this question is not to be settled by them4 ,it must be settled by genuine ,canadians4 ,we1 like ,cartier1 are ,canadians avant tout4 ,most of us have been born in the land1 have buried our fathers and mothers1 and some of us our children1 too1 in the natal soil1 and above the sacred dust we have pledged ourselves to be true to their memories and to the country they loved1 and to those principles of honour that are eternal6 ,god helping1 we will do so1 whether strangers help or hinder6 ,we do not think so meanly of our country that we are willing to sell it for a mess of pottage4 ,i know ,canada well1 from ocean to ocean2 from the rich sea pastures on the ,atlantic all the way across to ,vancouver and ,victoria4 ,every province and every territory of it1 ,i know well4 ,i know the people1 too1 a people thoroughly democratic and honest to the core4 ,i would now plainly warn those who think that there is no such thing as ,canadian sentiment that they are completely mistaken4 ,they had better not reckon without their host4 ,the silent vote is that which tells1 and though it will not talk1 it will vote solid all the time for those who represent national sentiment when the national life is threatened4 ,i am not a party man4 ,in my day1 ,i have voted about evenly on both sides1 for when ,i do vote1 it is after consideration of the actual issues involved at the time4 ,both sides therefore rightly consider me unreliable1 but1 perhaps1 both will listen when ,i point out that the independent vote is increasing1 and that it is the only vote worth cultivating4 ,the true ,grit or ,tory will vote with his party1 right or wrong4 ,no time1 therefore1 need be given to him4 ,let the wise candidate win the men who believe that the country is higher than party1 and there is1 ,i think1 only one thing that these men will not forgive--lack of faith in the country4 ,they have no doubt that it is worth while to preserve the unity1 dignity1 and independence of ,canada4 ,we are quite sure of this4 ,are we as sure that it is our duty to pay the price8 ,the ,united ,states are paying three or four times our whole revenue in pensions to those who fought to keep the country united4 ,they do not grudge this enormous price4 ,they have besides a respectable army1 and a fleet that will soon be formidable4 ,what means do we find it necessary to use8 ,in any trouble we simply call on the ,mother ,country4 ,the present system is cheap4 ,no6 it is dear and nasty1 and cannot last4 ,what should we do8 ,first1 let us remember what ,britain has dared for us within the last two or three years4 ,britain would fight the rest of the world rather than the ,united ,states1--not because the ,republic could hurt her seriously1 not because her trade with it is five times as much as with us1 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 heart4 ,yet1 for us she spoke the decisive word from which there was no drawing back4 ,for us1 once and again1 because we were in the right1 she dared a risk which she hated with her whole soul4 ,let us show that we appreciate her attitude4 ,let us1 at any rate1 do what ,australia has done--enter into a treaty1 according to which we shall pay so much a year for a certain number of ships1 to be on our own coasts in peace1 and in war at the disposal of the ,empire4 ,that would be tantamount to saying3 ,you have shared our risks1 we will share yours2 we will pay part of the insurance that is necessary to guarantee peace2 we are educating officers for the army1 and we are willing to give a much needed addition to the fleet4 ,that would be a first step toward the attainment of full citizenship4 ,what would be the next8 ,we could ask that our voice should be heard in some constitutional way before any war was decided on4 ,and we would have the right standing ground from which to urge a wise system of preferential trade in the common interest4 ,these three things are1 in my opinion1 connected1 and ,i have ventured to indicate the order in which they should be taken4 ,would it pay8 ,the experience of the world proves that nothing pays in the long run but duty-doing4 ,how can a country grow great men if it is content to be in leading-strings1 and to give plausible excuses to show that that state of things is quite satisfactory8 ,only by some form of ,imperial ,federation can the unity of the ,empire be preserved4 ,the previous advantages to which ,i referred concerned ,canada directly4 ,this one may appear1 to some persons1 far away from us1 but it is not4 ,in another speech ,i may enlarge on this advantage1 but suffice it to say now1 that we cannot isolate ourselves from humanity4 ,canada ought to be dearer to us than any other part of the ,empire1 but none the less we must admit that the ,empire is more important to the world than any of its parts1 and every true man is a citizen of the world4 ,i will not speak to-night of what the ,empire has done for us in the past1 of the rich inheritance into which we have entered1 and of the shame that falls on children who value lightly the honour of their family and race4 ,consider only the present position of affairs4 ,the ,european nations are busy watching each other4 ,britain is detaching herself from them1 understanding that she is an oceanic1 colonizing1 and world power1 much more than a ,european state4 ,the ,united ,states and ,britain are the two ,powers1 one in essence1 cradled in freedom1 that have a great future before them4 ,according to the last census1 the first has a population of some fifty-four millions of whites4 ,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 ,colonies4 ,the two ,powers have thus about the same population of white men1 and the two are likely to grow at the same rate4 ,in ,britain the rate of increase will be less1 but in the ,colonies it will be greater than in the ,states during the next half century4 ,the ,states will keep united4 ,they have stamped out disunion4 ,we have to prove that we intend to keep the ,empire united2 but that can be done only by giving the ten millions a gradually increasing share in common privileges and responsibilities4 ,surely such a work is not beyond the resources of statesmanship4 ,for a long time decentralization was needed4 ,now1 all the signs of the times indicate the necessity to centralize4 ,the days of small powers are over1 and modern inventions make communication easy between east and west1 as well as between north and south4 ,if this is not done1 what will certainly happen8 ,separation1 first of one part then of another2 weakness of each part and weakness all round4 ,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 us4 ,the work that the ,british ,empire has in hand is far grander than the comparatively parochial duties with which the ,states are content to deal4 ,its problems are wider and more inspiring2 yet1 at the same time1 the white race that alone1 so far1 has proved itself fit for self-government1 lives by itself1 instead of being commingled with a coloured race to which only nominal freedom is allowed4 ,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 us4 ,we need no ,force ,bill to ensure a free ballot in ,britain1 ,canada1 ,australia1 or ,new ,zealand4 ,already our sons are taking their part in introducing civilization into ,africa1 under the aegis of the flag1 and in preserving the ,pax ,britannica among the teeming millions of ,india and southeastern ,asia1 those peoples kindred to ourselves1 who for centuries before had been the prey of successive spoilers4 ,think of the horizon that this opens up1 and remember that in building a state we must think not of the present but of the future4 ,in a generation all the best land on this continent will have been taken up4 ,but1 thanks to the far-reaching wisdom of our fathers1 the greater part of the world will be open to the trade1 to the colonizing1 and to the enterprise of our children4 ,we shall not be confined to a frozen north or to a single continent4 ,we shall take part in work that is of world-wide significance1 and shall act out our belief that ,god loves not ,north ,america only1 but the whole world4 ,only on conditions of the ,british ,empire standing1 can this be done4 ,this is the ideal that we should set before us1 and remember that no people has ever been a great or permanent factor in the world that was without high ideals4 ,i know that this advantage to which ,i am referring is not one that can be calculated in dollars1 any more than the work of a ,wallace or the poems of a ,shakespeare1 the life of ,sydney or the death of ,gordon2 but it is an advantage none the less for which many of us are content to struggle and1 if need be1 to suffer4 ,what are we in this world for8 ,surely for something higher than to still the daily craving of appetite4 ,surely for something higher than to accumulate money1 though it should be to the extent of adding million to million4 ,surely we are in the world for something better6 ,yes1 we are here to think great thoughts1 to do great things1 to promote great ideals4 ,this can be done only through faithfulness to the best spirit of our fathers4 ,society is an organism1 and must preserve its continuity4 ,it must work1 too1 through instruments2 and the most potent1 keenest1 best-tried instrument on earth for preserving peace1 order1 liberty and righteousness1 is the ,empire of which we are citizens4 ,shall we throw away that citizenship1 or shall we maintain and strengthen that ,empire8 --,george ,monro ,grant 7,by permission7 ,apply the principles of ,emphasis1 ,inflection1 ,grouping1 and ,perspective in reading this address4 ,give specific illustrations of each4 99 99 99 99 99 ,,collect ,,for ,,dominion ,,day ,father of nations6 ,help of the feeble hand6 ,strength of the strong6 to whom the nations kneel6 ,stay and destroyer1 at whose just command ,earth's kingdoms tremble and her empires reel6 ,who dost the low uplift1 the small make great1 #e ,and dost abase the ignorantly proud1 ,of our scant people mould a mighty state1 ,to the strong1 stern1--to ,thee in meekness bowed6 ,father of unity1 make this people one6 ,weld1 interfuse them in the patriot's flame1-- #aj ,whose forging on ,thine anvil was begun ,in blood late shed to purge the common shame2 ,that so our hearts1 the fever of faction done1 ,banish old feud in our young nation's name4 --,charles ,g4 ,d4 ,roberts 7,by arrangement7 99 99 99 99 99 ,,england ,this royal throne of kings1 this scepter'd isle1 ,this earth of majesty1 this seat of ,mars1 ,this other ,eden1 demi-paradise1 ,this fortress1 built by ,nature for herself ,against infection and the hand of war1 ,this happy breed of men1 this little world1 ,this precious stone set in the silver sea4 99 99 99 99 99 ,,appendix ,a ,,exercises ,,in ,,vowel ,,sounds ,,and ,,in ,,articulation #a4 a as in ate1 fate1 cave1 made1 glade1 pale4 a as in air1 fair1 chair1 hair1 lair1 pair1 care1 dare1 bare1 share1 bear1 fairy1 compare1 parent1 prayer1 garish1 there1 heir4 7a as in at1 that1 and1 damp1 glad1 bade1 castle1 baron1 barrel4 ae as in far1 arm1 hark1 charm1 march1 bard1 calm1 palm1 psalm1 balm1 half1 alms1 father1 dark1 wrath1 path1 marsh1 laugh4 4a as in ask1 grasp1 fast1 last1 pass1 past1 branch1 chance1 dance1 mast1 vast1 gasp1 quaff1 craft1 staff1 chant1 grass1 mass4 a3 as in all1 talk1 squall1 dawn1 warp1 hawk1 laurel1 haughty1 halt4 a obscure1 in final medial syllables1 unaccented1 and closed by n1 l1 nt1 nce1 nd1 s1 ss1 st1 p or ph or ff1 m1 or d1 as in sylvan1 vacancy1 mortal1 loyal1 valiant1 guidance1 husband1 breakfast1 gallant1 ballad1 etc4 e as in me1 seem1 reap1 weed1 lean1 evil1 redeem4 7e as in met1 end1 spell1 debt1 text1 jest1 when1 merry1 ,america1 ceremony4 e 7coalescent7 as in her1 fern1 earth1 mercy1 verse1 stern1 earl1 pearl1 term1 verge1 prefer1 serge1 earn1 early4 i as in time1 tide1 mile1 wine1 high1 size4 7i as in pin1 grim1 king1 gift1 this1 grip4 i 7coalescent7 as in bird1 girl1 fir1 stir1 girdle1 circle1 virgin1 first4 o as in note1 old1 spoke1 pole1 wrote1 joke4 7o as in not1 shot1 top1 odd1 honest1 comic1 on1 gone1 off1 often1 dog1 7not dawg71 ,god1 soft1 long1 song1 strong1 coral1 orange1 foreign1 torrid1 coronet1 corridor1 correlate4 o as in corn1 lord1 stork1 orb1 form1 forlorn1 morn1 short1 adorn4 o as in word1 work1 worm1 worry4 4o as in love1 done1 some1 cover1 brother1 another1 month1 company1 ,monday1 front1 covet1 wonder1 sponge1 smother4 oe as in do1 move1 who1 whose1 lose1 prove1 too1 bosom4 u as in use1 pure1 duke1 tune1 tube1 blue1 duty1 flew1 new1 student1 subdue1 pursue1 absolute1 illumine1 tumult1 suit1 during1 pursuit1 presume1 lunacy1 ,tuesday1 numeral4 7u as in us1 up1 but1 drum1 dusk1 trust4 u3 as in rude1 brute1 fruit1 sure1 true1 construe1 recruit4 u4 as in full1 pull1 put1 push1 cushion1 bushel1 pulpit1 bullet4 u as in hurt1 burr1 cur1 fur1 furl1 burst1 purr1 recur1 curfew1 furlong1 surge1 urn4 ,note that ae in far and 4a in ask are called long ,italian a and short ,italian a respectively4 ,the quality of the sound is the same in each1 but they differ in quantity1 the latter being shorter4 ,the following vowels have the same sound3 e 7coalescent7 and i 7coalescent72 oe as in do1 u3 as in rude1 and oo as in food2 o as in word and u as in hurt2 4o as in love and u as in us4 ,after marking the vowels diacritically read the following passages1 paying special attention to the vowel sounds3 ,so ,lord ,howard passed away with five ships of war that day4 ,that desperate grasp thy frame might feel ,through bars of brass and triple steel4 ,the guide1 abating of his pace1 ,led slowly through the pass's jaws1 ,and asked ,fitz-,james by what strange cause ,he sought these wilds1 traversed by few ,without a pass from ,roderick ,dhu4 ,the hand cannot clasp the whole of his alms1 ,the heart outstretches its eager palms4 ,o listen1 ladies1 ladies gay6 ,no haughty feat of arms ,i tell2 ,soft is the note1 and sad the lay ,that mourns the lovely ,rosabelle4 ,and when the ,angel met him on his way1 ,and half in earnest1 half in jest1 would say1 ,sternly1 though tenderly1 that he might feel ,the velvet scabbard held a sword of steel1 ,art thou the ,king8 the passion of his woe ,burst from him in resistless overflow1 ,and1 lifting high his forehead1 he would fling ,the haughty answer back1 ,i am1 ,i am the ,king6 ,then rest thee here till dawn of day2 ,myself will guide thee on the way1 ,o'er stock and stone1 through watch and ward1 ,till past ,clan-,alpine's outmost guard1 ',as far as ,coilantogle's ford2 ,from thence thy warrant is thy sword4 ,around the keel that raced the dolphin and the shark ,only the sand-wren twitters from barren dawn till dark2 ,and all the long blank noon the blank sand chafes and mars ,the prow once swift to follow the lure of the dancing stars4 #b4 ,distinguish the sound of u in use1 pure1 duke1 etc41 from the sound of oo in food1 hoof1 mood1 rood1 roof1 soot1 aloof1 and from the sound of oo in book1 good1 nook1 hood1 rook1 look1 foot1 crook4 ,read the following with special reference to these sounds3 ,flew flashing under the blinding blue4 ,she left the web1 she left the loom1 ,she made three paces thro' the room1 ,she saw the water-lily bloom1 ,she saw the helmet and the plume1 ,she look'd down to ,camelot4 ,singing the bridal of sap and shoot1 ,the tree's slow life between root and fruit4 444 helter-skelter through the blue ,like a crowd of frightened porpoises a shoal of sharks pursue4 ,while on dreary moorlands lonely curlew pipe4 ,my ,lords1 you have that true image of the primitive ,church in its ancient form1 in its ancient ordinances1 purified from the superstitions and vices which a long succession of ages will bring upon the best institutions4 #c4 ,double and triple consonant endings present difficulties of articulation3--,robbed1 bragged1 divulged1 mends1 breathed1 gossips1 casques1 barracks1 depths1 heights1 lengths1 breadths1 lists1 aspects1 seethes1 thirsteth1 breathest1 sheath'st1 melt'st1 search'st1 sixths1 twelfths1 tests4 ,read with special reference to the articulation of the final consonants3 ,you blocks1 you stones1 you worse than senseless things6 ,scattering down the snow-flakes off the curdled sky4 ,with throats unslaked1 with black lips baked4 ,the guests are met1 the feast is set ,may'st hear the merry din4 ,who forgiveth all thine iniquities2 who healeth all thy diseases2 ,who satisfieth thy mouth with good things2 so that thy youth is renewed like the eagle's4 ,spirit that breathest through my lattice1 ,thou that cool'st the twilight of the sultry day4 ,he groped toward the door1 but it was locked1 ,he cried aloud1 and listened1 and then knocked1 ,and uttered awful threatenings and complaints1 ,and imprecations upon men and saints4 ,it glared on ,roslin's castled rock1 ,it ruddied all the copse-wood glen2 ',twas seen from ,dryden's groves of oak1 ,and seen from caverned ,hawthornden4 ,skilful artists thou employest1 ,and in chastest beauty joyest1 ,forms most delicate1 pure1 and clear1 ,frost-caught star-beams1 fallen sheer ,in the night1 and woven here ,in jewel-fretted tapestries4 #d4 ,sound distinctly the ending ing in3 ,languishing1 blackening1 threatening1 rushing1 ascending1 flashing1 throbbing4 ,roughening their crests and scattering high their spray1 ,and swelling the white sail4 ,blazing with light and breathing with perfume4 4 4 4 4 a revolting shape ,shivering and chattering sat the wretched ape4 ,lakelets' lisping wavelets lapping1 ,round a flock of wild ducks napping1 ,and the rapturous-noted wooings1 ,and the molten-throated cooings ,of the amorous multitudes ,flashing through the dusky woods1 ,when a veering wind hath blown ,a glare of sudden daylight down4 #e4 ,sound final d in and3 ,rest and a guide1 and food and fire4 ,away from the world1 and its toils and its cares4 ,and the sun went down and the stars came out4 ,peace1 and order1 and beauty draw ,round thy symbol of light and law4 ,east and west1 and south and north ,the messengers ride fast1 ,and tower1 and town1 and cottage1 ,have heard the trumpet's blast4 ,blood and fire on the streaming decks1 ,and fire and blood below2 ,the heat of hell1 and the reek of hell1 ,and the dead men laid a-row6 #f4 ,articulate distinctly words in which the same or similar sounds immediately succeed each other3 ,spanish ships of war at sea4 ,at ,flores1 in the ,azores1 ,sir ,richard ,grenville lay4 ,come ,roderick ,dhu1 ,and of his clan the boldest two4 ,saint ,fanny1 my patroness sweet ,i declare4 ,cast off earth's sorrows and know what ,i know1 ,when into the glad deep woods ,i go4 ,the silver vessels sparkle clean4 ,from the sails the dew did drip4 ,the sweetest songs are those that tell of saddest thought4 ,thousands of their seamen looked down from their decks and laughed4 #g4 ,sound the letter h in what1 while1 where1 when1 which1 whether1 white1 whiten1 whine1 whist1 etc4 #h4 ,avoid the sound of u in3 for1 from1 was1 because1 when1 what1 etc4 for coalescent e in3 her1 earn1 verse1 mercy1 verge1 serge1 prefer1 ermine1 etc4 for 7e in3 enemy1 events1 poem1 etc4 for 7i in3 spirit1 family1 credible1 visible1 charity1 unity1 sanity1 humanity1 ruin1 promise1 divide1 divisible1 dissolve1 languid1 negative1 similar1 abominable1 imitate1 inimitable1 purity1 native1 etc4 for i 7coalescent7 in3 sir1 bird1 girl1 first1 virgin1 etc4 ,vanity of vanities1 saith the preacher2 all is vanity4 ,ruin seize thee1 ruthless ,king6 ,a wind from the lands they had ruin'd4 ,who was her father8 ,who was her mother8 ,had she a sister8 ,had she a brother8 ,or was there a dearer one ,still1 and a nearer one ,yet1 than all other8 ,alas6 for the rarity ,of ,christian charity ,under the sun6 ,oh6 it was pitiful6 ,near a whole city full ,home she had none4 #i4 ,avoid the sound of ch for t in3 fortune1 fortunate1 future1 futurity1 nature1 natural1 picture1 feature1 etc4 ,king ,robert's self in features1 form and height4 ,for this man so vile and bent of stature ,rasped harshly against his dainty nature4 ,one more unfortunate ,weary of breath1 ,rashly importunate ,gone to her death4 ,b ,,physical ,,exercises 7,these exercises form a course by themselves and should not be introduced into the regular reading lesson47 ,,breathing4--,the proper management of the breath is of the greatest importance in speaking and reading4 ,inhalation and exhalation should be gradual and natural1 not spasmodic4 ,the reader should never allow his supply of breath to be wholly exhausted1 but should replenish it at regular intervals4 ,inhalation should be through the nostrils1 not the mouth4 ,this prevents gasping1 and promotes and preserves a healthy condition of the vocal organs4 ,it is not necessary to keep the mouth closed in order that the breath be inhaled through the nostrils4 ,inhalation may be effected when the mouth is open by allowing the tip of the tongue to touch the upper palate4 ,all breathing exercises should be deep1 commencing with the abdomen1 and should expand the chest to the fullest capacity4 ,exercise ,i4 ,stand erect in a well ventilated room4 ,inhale slowly from the abdomen while counting five1 hold the breath while counting five1 and exhale while counting five4 ,repeat this exercise1 gradually increasing the count by one until the maximum of ten or fifteen is reached4 ,exercise ,,ii4 ,practise the preceding exercise in the open air while walking1 taking five steps while inhaling1 holding the breath1 and exhaling respectively4 ,the count may be increased as in the preceding4 ,exercise ,,iii4 ,stand erect1 arms akimbo1 fingers pressing the abdominal muscles in front1 thumbs on the dorsal muscles on each side of the spine4 ,rise slowly on the toes while inhaling1 hold the breath while standing on tiptoe1 and exhale while gradually resuming the original position4 ,in each case regulate the count as in the preceding exercises4 ,exercise ,,iv4 ,stand erect1 arms hanging loosely at the sides4 ,inhale slowly1 rising on the toes1 clenching the fists with gradually increased intensity1 and raising them to the arm-pits4 ,expel the breath suddenly1 dropping back to the original position4 ,,chest ,,and ,,lungs4--,gymnastic exercises1 such as develop the chest and lungs1 are of great importance1 since they regulate the breathing capacity4 ,exercise ,i4 ,stand erect1 arms hanging loosely at the sides4 ,raise the arms slowly to the vertical position over the head1 making the hands meet with palms outward1 the thumb of the left hand over the right1 rising on the toes at the same time2 then let the arms fall apart slowly to their original position1 while coming down on the heels4 ,exercise ,,ii4 ,stand erect as in the preceding4 ,bring the arms slowly forward until the hands meet on a level with the mouth1 bending forward slightly and rising on the toes2 then throw back the arms in a circular movement1 allowing them to fall to their original position1 coming down on the heels at the same time4 ,exercise ,,iii4 ,raise the hands above the head2 bring down the elbows to the sides2 shoot out the hands in front2 bring in the elbows to the sides2 shoot down the hands toward the floor2 firing up the elbows to the sides4 ,repeat4 ,this exercise may be practised with hands clenched4 ,,throat ,,and ,,neck4--,exercises of the throat and neck develop and keep flexible the vocal cords1 which are of prime importance in producing pure tones4 ,exercise ,i4 ,stand erect4 ,look at the ceiling2 allow the head to drop backward as far as possible2 then bring the head slowly forward until the chin rests on the chest4 ,repeat4 ,exercise ,,ii4 ,stand erect4 ,twist the head slowly to the left1 without moving the shoulders1 until the chin is parallel to the left shoulder2 then slowly twist the head to the right1 without moving the shoulders1 until the chin is parallel to the right shoulder4 ,repeat4 ,exercise ,,iii4 ,press the head to the left until the left ear rests almost on the left shoulder1 raising the right arm above the head at the same time4 ,practise this exercise1 pressing the head to the right and raising the left arm4 ,repeat4 ,,mouth4--,to produce the finest tones of the voice1 three conditions of the mouth are necessary3 7#a7 ,the mouth must be well opened4 7#b7 ,the vocal aperture must be large4 7#c7 ,the jaws must be flexible4 ,if the mouth is well opened the tones are full2 if partially closed they are muffled4 ,the vocal aperture is the opening in the rear of the mouth produced by the elevation of the uvula1 and the depression of the root of the tongue and the larynx4 ,the purity and richness of the voice depend1 to a great extent1 upon the capacity of the vocal aperture4 ,if it is of small capacity1 or contracted1 the tones are impure and nasal4 ,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 mouth4 ,exercise ,i4 ,open the mouth to the fullest extent and close rapidly4 ,repeat4 ,exercise ,,ii4 ,open the mouth to the fullest extent1 so that the uvula rises and almost disappears1 and the root of the tongue and larynx are depressed4 ,the action is similar to yawning1 and to accomplish it think a yawn1 if necessary4 ,c ,,list ,,of ,,reference ,,books4 ,how to ,teach ,reading in the ,public ,schools4 ,s4 ,h4 ,clark4 7,scott1 ,foresman ,co47 ,the ,voice and ,spiritual ,education4 ,hiram ,corson4 7,macmillan ,co47 ,the ,aims of ,literary ,study4 ,hiram ,corson4 7,macmillan ,co47 ,practical ,elocution4 ,fulton and ,trueblood4 7,ginn ,co47 ,elementary ,phonetics4 ,a4,w4 ,burt4 7,the ,copp1 ,clark ,co41 ,limited47 ,enunciation and ,articulation4 ,ella ,m4 ,boyce4 7,ginn ,co47 ,clear ,speaking and ,good ,reading4 ,arthur ,burrell4 7,longmans1 ,green ,co47 ,reading as a ,fine ,art4 ,ernest ,legouve4 7,penn ,publishing ,co41 ,philadelphia47 ,lessons in ,vocal ,expression4 ,s4 ,s4 ,curry4 7,the ,expression ,co41 ,boston47