HIGHLAND HOSPITALITY

Illustrate from this extract the general principle that incompleteness is expressed by means of the Rising, and completeness by means of the Falling Inflection.Par. 1.For neither in war nor yet at law ... death. Explain the Inflection placed on this negative statement. Give a similar example from Par. 2.I must abide by my award ... let them abide by theirs.Explain the opposite Inflections on antithetical words and phrases. If one part of the antithesis is a negation, what is the Inflection? (Introduction, pp.19and20.) Give examples from Par. 2.I am old and move slowly ... wrong. Explain the Emphasis in these sentences. Which one of a pair of contrasted words is necessarily emphatic? Give examples from this and the following paragraph, in which both are emphatic, and explain why. (Introduction, pp.30-32.)Par. 4. Explain the Inflection on the questions. (Introduction, pp.18and19.)What clauses in this paragraph are really parenthetical in force? How does the voice subordinate them? Give similar examples from other paragraphs. (Introduction, pp. 24 and 25.)

Illustrate from this extract the general principle that incompleteness is expressed by means of the Rising, and completeness by means of the Falling Inflection.

Par. 1.For neither in war nor yet at law ... death. Explain the Inflection placed on this negative statement. Give a similar example from Par. 2.

I must abide by my award ... let them abide by theirs.Explain the opposite Inflections on antithetical words and phrases. If one part of the antithesis is a negation, what is the Inflection? (Introduction, pp.19and20.) Give examples from Par. 2.

I am old and move slowly ... wrong. Explain the Emphasis in these sentences. Which one of a pair of contrasted words is necessarily emphatic? Give examples from this and the following paragraph, in which both are emphatic, and explain why. (Introduction, pp.30-32.)

Par. 4. Explain the Inflection on the questions. (Introduction, pp.18and19.)

What clauses in this paragraph are really parenthetical in force? How does the voice subordinate them? Give similar examples from other paragraphs. (Introduction, pp. 24 and 25.)

From "The Lady of the Lake"

The shades of eve come slowly down,The woods are wrapt in deeper brown,The owl awakens from her dell,The fox is heard upon the fell;Enough remains of glimmering light5To guide the wanderer's steps aright,Yet not enough from far to showHis figure to the watchful foe.With cautious step, and ear awake,He climbs the crag and threads the brake;10And not the summer solstice there,Tempered the midnight mountain air,But every breeze that swept the wold,Benumbed his drenched limbs with cold.In dread, in danger, and alone,15Famished and chilled, through ways unknown,Tangled and steep, he journeyed on;Till, as a rock's huge point he turned,A watch-fire close before him burned.Beside its embers red and clear,20Basked, in his plaid, a mountaineer;And up he sprung with sword in hand,—"Thy name and purpose! Saxon, stand!"—"A stranger."—"What dost thou require?"—"Rest and a guide, and food and fire.25My life's beset, my path is lost.The gale has chilled my limbs with frost."—"Art thou a friend to Roderick?"— "No."—"Thou darest not call thyself a foe?"—"I dare! to him and all the band30He brings to aid his murderous hand."—"Bold words!—but, though the beast of gameThe privilege of chase may claim,Though space and law the stag we lend,Ere hound we slip, or bow we bend,35Who ever recked, where, how, or when,The prowling fox was trapped or slain?Thus, treacherous scouts,—yet sure they lie,Who say thou camest a secret spy!"—"They do, by Heaven!—Come Roderick Dhu,40And of his clan the boldest two,And let me but till morning rest,I write the falsehood on their crest."—"If by the blaze I mark aright,Thou bear'st the belt and spur of Knight."—45"Then, by these tokens mayest thou know,Each proud oppressor's mortal foe."—"Enough, enough; sit down and shareA soldier's couch, a soldier's fare."—He gave him of his Highland cheer,50The hardened flesh of mountain deer;Dry fuel on the fire he laid,And bade the Saxon share his plaid.He tended him like welcome guest,Then thus his further speech addressed:—55"Stranger, I am to Roderick DhuA clansman born, a kinsman true;Each word against his honour spoke,Demands of me avenging stroke;Yet more,—upon thy fate, 'tis said,60A mighty augury is laid.It rests with me to wind my horn,Thou art with numbers overborne;It rests with me, here, brand to brand,Worn as thou art, to bid thee stand:65But not for clan, nor kindred's cause,Will I depart from honour's laws;To assail a wearied man were shame,And stranger is a holy name;Guidance and rest, and food and fire,70In vain he never must require.Then rest thee here till dawn of day;Myself will guide thee on the way,O'er stock and stone, through watch and ward.Till past Clan-Alpine's outmost guard,75As far as Coilantogle's ford;From thence thy warrant is thy sword."—"I take thy courtesy, by Heaven,As freely as 'tis nobly given!"—"Well, rest thee; for the bittern's cry80Sings us the lake's wild lullaby."With that he shook the gathered heath,And spread his plaid upon the wreath;And the brave foemen, side by side,Lay peaceful down, like brothers tried,85And slept until the dawning beamPurpled the mountain and the stream.

—Sir Walter Scott

Preparatory.—Connect this scene with the rest of the poem.Give a dramatic form to this extract, describing definitely the scenery and stage-setting. One reader may render the descriptive parts, another the speeches of Roderick Dhu, and a third those of Fitz-James.WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS, BOLDEST TWO. (AppendixA, 6.)25 and 70. (AppendixA, 5.) 1-4. Note the word-pictures. How do they affect the Pause? (Introduction, pp. 7 and 8.)7.NOT ENOUGH. With what is it contrasted? Which word is emphatic? Where do the Pauses occur in this line?9. What is the atmosphere of this line? What is the Quality of voice? (Introduction, p. 34.)10-11. What Inflection? Why? What is the Shading when compared with the two following lines? (Introduction, p.24.)16-17. Give an example of Grouping.18-19. Compare the Shading of these two lines.22. What feeling and movement are here expressed? How does the voice give expression to them? (Introduction, pp. 5, 6, and 27.)Describe the mental attitude of each of the speakers. What is the Stress in each case? (Introduction, pp.27-29.)38.The prowling fox ... scouts. What is the mental attitude here? What Stress is the result? (Introduction, p. 28.) How does the rest of the speech differ from the preceding? What is the Inflection? (Introduction, p.18.)What is the Stress of ordinary conversation? Illustrate from the above selection.32-39.Bold words ... spy. (Introduction, p.24.)48. Why shouldSIT DOWNbe kept distinct fromSHARE? How is this effected?60.'TIS SAID. How does the voice subordinate this phrase? (Introduction, p.24.)66-69. Which are the emphatic words and why are they emphatic?77. What feeling is introduced here? How does the voice express it?

Preparatory.—Connect this scene with the rest of the poem.

Give a dramatic form to this extract, describing definitely the scenery and stage-setting. One reader may render the descriptive parts, another the speeches of Roderick Dhu, and a third those of Fitz-James.

WANDERER'S STEPS, CAUTIOUS STEP, TRECHEROUS SCOUTS, BOLDEST TWO. (AppendixA, 6.)

25 and 70. (AppendixA, 5.) 1-4. Note the word-pictures. How do they affect the Pause? (Introduction, pp. 7 and 8.)

7.NOT ENOUGH. With what is it contrasted? Which word is emphatic? Where do the Pauses occur in this line?

9. What is the atmosphere of this line? What is the Quality of voice? (Introduction, p. 34.)

10-11. What Inflection? Why? What is the Shading when compared with the two following lines? (Introduction, p.24.)

16-17. Give an example of Grouping.

18-19. Compare the Shading of these two lines.

22. What feeling and movement are here expressed? How does the voice give expression to them? (Introduction, pp. 5, 6, and 27.)

Describe the mental attitude of each of the speakers. What is the Stress in each case? (Introduction, pp.27-29.)

38.The prowling fox ... scouts. What is the mental attitude here? What Stress is the result? (Introduction, p. 28.) How does the rest of the speech differ from the preceding? What is the Inflection? (Introduction, p.18.)

What is the Stress of ordinary conversation? Illustrate from the above selection.

32-39.Bold words ... spy. (Introduction, p.24.)

48. Why shouldSIT DOWNbe kept distinct fromSHARE? How is this effected?

60.'TIS SAID. How does the voice subordinate this phrase? (Introduction, p.24.)

66-69. Which are the emphatic words and why are they emphatic?

77. What feeling is introduced here? How does the voice express it?

From "Rokeby"

O, Brignall banks are wild and fair,And Greta woods are green,And you may gather garlands there,Would grace a summer queen.And as I rode by Dalton-Hall,5Beneath the turrets high,A Maiden on the castle wallWas singing merrily,—"O, Brignall banks are fresh and fair,And Greta woods are green;10I'd rather rove with Edmund thereThan reign our English queen."—"If, Maiden, thou would'st wend with me,To leave both tower and town,Thou first must guess what life lead we15That dwell by dale and down.And if thou canst that riddle read,As read full well you may,Then to the greenwood shalt thou speedAs blithe as Queen of May."—20Yet sung she, "Brignall banks are fair,And Greta woods are green;I'd rather rove with Edmund there.Than reign our English queen."I read you by your bugle-horn,25And by your palfrey good,I read you for a Ranger sworn,To keep the king's greenwood."—"A Ranger, lady, winds his horn,And 'tis at peep of light;30His blast is heard at merry morn,And mine at dead of night."—Yet sung she, "Brignall banks are fair,And Greta woods are gay;I would I were with Edmund there,35To reign his Queen of May!"With burnish'd brand and musketoon,So gallantly you come,I read you for a bold Dragoon,That lists the tuck of drum."—40"I list no more the tuck of drum,No more the trumpet hear;But when the beetle sounds his humMy comrades take the spear."And O! though Brignall banks be fair45And Greta woods be gay,Yet mickle must the maiden dareWould reign my Queen of May!"Maiden! a nameless life I lead,A nameless death I'll die!50The fiend whose lantern lights the meadWere better mate than I!And when I'm with my comrades metBeneath the greenwood bough,What once we were we all forget,55Nor think what we are now."Yet Brignall banks are fresh and fair,And Greta woods are green,And you may gather garlands thereWould grace a summer queen."60

—Sir Walter Scott

Preparatory.—"The Life of an Outlaw." Speak on this subject, illustrating from such characters as Rob Roy, Robin Hood, etc., and emphasizing the pathos of such a life.For dramatic rendering see preparatory notes onHighland Hospitality.1-4. What Stress indicates the state of mind reflected by these lines? (Introduction, p.29.)3, 11. What Inflection is placed onTHERE? (Introduction, p.16.)12. What word may be supplied afterREIGN? How is this indicated in the reading? (Introduction, p.10.)13-20. Read these lines with a view to Perspective. (Introduction, p.33.)Give examples of Grouping throughout the poem and show how the Pause is affected. (Introduction, p.11.)What words in stanza iii are emphatic through contrast? In stanza v?What feeling in the last half of stanza v? (Introduction, pp.10-12.) In what Time, Pitch, and Force are these lines read? Give your reasons.

Preparatory.—"The Life of an Outlaw." Speak on this subject, illustrating from such characters as Rob Roy, Robin Hood, etc., and emphasizing the pathos of such a life.

For dramatic rendering see preparatory notes onHighland Hospitality.

1-4. What Stress indicates the state of mind reflected by these lines? (Introduction, p.29.)

3, 11. What Inflection is placed onTHERE? (Introduction, p.16.)

12. What word may be supplied afterREIGN? How is this indicated in the reading? (Introduction, p.10.)

13-20. Read these lines with a view to Perspective. (Introduction, p.33.)

Give examples of Grouping throughout the poem and show how the Pause is affected. (Introduction, p.11.)

What words in stanza iii are emphatic through contrast? In stanza v?

What feeling in the last half of stanza v? (Introduction, pp.10-12.) In what Time, Pitch, and Force are these lines read? Give your reasons.

From the "Essays"

Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business. For expert men can execute, and perhaps judge of particulars, one by one; but the general counsels, and the plots, and marshalling of affairs, come best from those that are learned.

To spend too much time in studies, is sloth; to use them too much for ornament, is affectation; to make judgment wholly by their rules, is the humour of a scholar. They perfect nature and are perfected by experience: for natural abilities are like natural plants,that need pruning by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience.

Crafty men contemn studies; simple men admire them; and wise men use them; for they teach not their own use; but that is a wisdom without them, and above them, won by observation. Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider.

Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention. Some books also may be read by deputy, and extracts made of them by others; but that would be only in the less important arguments, and the meaner sort of books; else distilled books are like common distilled waters, flashy things.

Reading maketh a full man; conference a ready man; and writing an exact man. And therefore, if a man write little, he had need have a good memory, if he confer little, he had need have a present wit; and if he read little, he had need have much cunning, to seem to know that he doth not.

If a man's wit be wandering, let him study the mathematics; for in demonstrations, if his wit be called away never so little, he must begin again; if his wits be not apt to distinguish or find differences, let him study the schoolmen; if he be not apt to beat over matters, and to call up one thing to prove and illustrate another, let him study the lawyers' cases. So every defect of the mind may have a special receipt.

—Lord Bacon

Preparatory.—Observe the sentence structure employed throughout this extract, and make a list of the antithetical words and phrases.This lesson may be used as an exercise to illustrate the principle of Inflection as applied to antithetical words or phrases and to series of words or phrases parallel in construction. (Introduction, p.20.)

Preparatory.—Observe the sentence structure employed throughout this extract, and make a list of the antithetical words and phrases.

This lesson may be used as an exercise to illustrate the principle of Inflection as applied to antithetical words or phrases and to series of words or phrases parallel in construction. (Introduction, p.20.)

From essay "On Mitford's History of Greece"

If we consider merely the subtlety of disquisition, the force of imagination, the perfect energy and elegance of expression, which characterize the great works of Athenian genius, we must pronounce them intrinsically most valuable. But what shall we say when we reflect that from hence have sprung, directly or indirectly, all the noblest creations of the human intellect; that from hence were the vast accomplishments and the brilliant fancy of Cicero, the withering fire of Juvenal, the plastic imagination of Dante, the humour of Cervantes, the comprehension of Bacon, the wit of Butler, the supreme and universal excellence of Shakespeare?

All the triumphs of truth and genius over prejudice and power, in every country and in every age, have been the triumphs of Athens. Wherever a few great minds have made a stand against violence and fraud, in the cause of liberty and reason, there has been her spirit in the midst of them; inspiring, encouraging, consoling;—by the lonely lamp of Erasmus, by the restless bed of Pascal, in the tribune of Mirabeau, in the cell of Galileo, on the scaffold of Sidney.

But who shall estimate her influence on private happiness? Who shall say how many thousands have beenmade wiser, happier, and better, by those pursuits in which she has taught mankind to engage; to how many the studies which took their rise from her have been wealth in poverty, liberty in bondage, health in sickness, society in solitude?

Her power is, indeed, manifested at the bar, in the senate, in the field of battle, in the schools of philosophy. But these are not her glory. Wherever literature consoles sorrow, or assuages pain; wherever it brings gladness to eyes which fail with wakefulness and tears, and ache for the dark house and the long sleep,—there is exhibited, in its noblest form, the immortal influence of Athens.

The dervish, in the Arabian tale, did not hesitate to abandon to his comrade the camels with their loads of jewels and gold, while he retained the casket of that mysterious juice which enabled him to behold at one glance all the hidden riches of the universe. Surely it is no exaggeration to say that no external advantage is to be compared with that purification of the intellectual eye which gives us to contemplate the infinite wealth of the mental world, all the hoarded treasures of its primeval dynasties, all the shapeless ore of its yet unexplored mines. This is the gift of Athens to man.

Her freedom and her power have, for more than twenty centuries, been annihilated; her people have degenerated into timid slaves; her language, into a barbarous jargon; her temples have been given up to the successive depredations of Romans, Turks, and Scotchmen; but her intellectual empire is imperishable.

And when those who have rivalled her greatness shall have shared her fate; when civilization and knowledge shall have fixed their abode in distant continents; when the sceptre shall have passed away from England; when, perhaps, travellers from distant regions shall in vain labour to decipher on some mouldering pedestal the name of our proudest chief, shall hear savage hymns chaunted to some misshapen idol over the ruined dome of our proudest temple, and shall see a single naked fisherman wash his nets in the river of the ten thousand masts,—her influence and her glory will still survive,—fresh in eternal youth, exempt from mutability and decay, immortal as the intellectual principle from which they derived their origin, and over which they exercise their control.

—Macaulay

Illustrate from this lesson the principle of Inflection as applied to (1) a series of words parallel in construction; (2) rhetorical questions.How should the principal clause in the last paragraph be made prominent by the voice? (Introduction, p.33.)

Illustrate from this lesson the principle of Inflection as applied to (1) a series of words parallel in construction; (2) rhetorical questions.

How should the principal clause in the last paragraph be made prominent by the voice? (Introduction, p.33.)

1. I believe there is no permanent greatness to a nation except it be based upon morality. I do not care for military greatness or military renown. I care for the condition of the people among whom I live. There is no man in England who is less likely to speak irreverently of the Crown and Monarchy of England than I am; but crowns, coronets, mitres, military display, the pomp of war, wide colonies, and a huge empire, are, in my view, all trifles light as air, and not worth considering, unless with them you can have a fair share of comfort, contentment, and happiness, among the great body of the people. Palaces, baronial castles, great halls, stately mansions, do not make a nation.The nation in every country dwells in the cottage; and unless the light of your Constitution can shine there, unless the beauty of your legislation and the excellence of your statesmanship are impressed there on the feelings and condition of the people, rely upon it, you have yet to learn the duties of government.

2. I have not pleaded, as you have observed, that this country should remain without adequate and scientific means of defence. I acknowledge it to be the duty of your statesmen, acting upon the known opinions and principles of ninety-nine out of every one hundred persons in the country, at all times, with all possible moderation, but with all possible efficiency, to take steps which shall preserve order within and on the confines of your kingdom. But I shall repudiate and denounce the expenditure of every shilling, the engagement of every man, the employment of every ship which has no object but intermeddling in the affairs of other countries and endeavouring to extend the boundaries of an Empire which is already large enough to satisfy the greatest ambition, and I fear is much too large for the highest statesmanship to which any man has yet attained.

3. The most ancient of profane historians has told us that the Scythians of his time were a very warlike people, and that they elevated an old scimitar upon a platform as a symbol of Mars, for to Mars alone, I believe, they built altars and offered sacrifices. To this scimitar they offered sacrifices of horses and cattle, the main wealth of the country, and more costly sacrifices than to all the rest of their gods. I often ask myself whether we are at all advanced in one respect beyond those Scythians. What are our contributions to charity, to education, to morality, to religion, to justice, and tocivil government, when compared with the wealth we expend in sacrifices to the old scimitar?

4. Two nights ago I addressed in this hall a vast assembly composed to a great extent of your countrymen, who have no political power, who are at work from the dawn of the day to the evening, and who have therefore limited means of informing themselves on these great subjects. Now I am privileged to speak to a somewhat different audience. You represent those of your great community who have a more complete education, who have on some points greater intelligence, and in whose hands reside the power and influence of the district. I am speaking, too, within the hearing of those whose gentle nature, whose finer instincts, whose purer minds, have not suffered as some of us have suffered in the turmoil and strife of life. You can mould opinion, you can create political power,—you cannot think a good thought on this subject and communicate it to your neighbours,—you cannot make these points topics of discussion in your social circles and more general meetings, without affecting sensibly and speedily the course which the government of your country will pursue. May I ask you, then, to believe, as I do most devoutly believe, that the moral law was not written for men alone in their individual character, but that it was written as well for nations, and for nations great as this of which we are citizens. If nations reject and deride that moral law, there is a penalty which will inevitably follow. It may not come at once, it may not come in our lifetime; but, rely upon it, the great Italian is not a poet only, but a prophet, when he says:

The sword of heaven is not in haste to smite,Nor yet doth linger.

5. We have experience, we have beacons, we have landmarks enough. We know what the past has cost us, we know how much and how far we have wandered, but we are not left without a guide. It is true, we have not, as an ancient people had, Urim and Thummin—those oraculous gems in Aaron's breast—from which to take counsel, but we have the unchangeable and eternal principles of the moral law to guide us, and only so far as we walk by that guidance can we be permanently a great nation, or our people a happy people.

—The Right Honourable John Bright

BARONIAL, CASTLES, CHARACTER, PAST.(AppendixA, 1.)Par. 1.MILITARY GREATNESS, MILITARY RENOWN. Note the transferred Emphasis. (Introduction, pp.31and32.)CROWNS, CORONETS, ETC. Explain the Inflection on each member of this series. Give similar examples from this paragraph and from Pars. 3, 4, and 5.UNLESS WITH THEM, ETC.How does the voice prepare the listener for this clause? Give a similar example from Par. 4.YOU HAVE YET TO LEARN, ETC. How is this clause made prominent?Par. 2. Give an analysis of the second sentence from the standpoint of Perspective.THE EXPENDITURE ... SHIP. How is the Climax brought out?FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give another example from this sentence.Par. 4.NATIONS. What Inflection on this word? With what is it contrasted?

BARONIAL, CASTLES, CHARACTER, PAST.(AppendixA, 1.)

Par. 1.MILITARY GREATNESS, MILITARY RENOWN. Note the transferred Emphasis. (Introduction, pp.31and32.)

CROWNS, CORONETS, ETC. Explain the Inflection on each member of this series. Give similar examples from this paragraph and from Pars. 3, 4, and 5.

UNLESS WITH THEM, ETC.How does the voice prepare the listener for this clause? Give a similar example from Par. 4.

YOU HAVE YET TO LEARN, ETC. How is this clause made prominent?

Par. 2. Give an analysis of the second sentence from the standpoint of Perspective.

THE EXPENDITURE ... SHIP. How is the Climax brought out?

FOR THE HIGHTEST ... ATTAINED. Note the Grouping. Give another example from this sentence.

Par. 4.NATIONS. What Inflection on this word? With what is it contrasted?

Act III. Scene 2

Speak the speech, I pray you, as I pronounced it toyou, trippingly on the tongue: but if you mouth it, asmany of your players do, I had as lief the town-crierspoke my lines. Nor do not saw the air too much withtorrent, tempest, and, as I may say, the whirlwind of5passion, you must acquire and beget a temperance thatmay give it smoothness. O, it offends me to the soul tohear a robustious periwig-pated fellow tear a passion totatters, to very rags, to split the ears of the groundlings,10who, for the most part, are capable of nothing butinexplicable dumb-shows and noise: I would have sucha fellow whipped for o'erdoing Termagant; it out-herodsHerod: pray you, avoid it.

Be not too tame neither, but let your own discretion15be your tutor: suit the action to the word, the word tothe action; with this special observance, that you o'erstepnot the modesty of nature: for anything so overdoneis from the purpose of playing, whose end, both at thefirst and now, was and is, to hold, as 'twere, the mirror20up to nature; to show virtue her own feature, scorn herown image, and the very age and body of the time hisform and pressure. Now, this overdone or come tardyoff, though it make the unskilful laugh, cannot but makethe judicious grieve; the censure of the which one25must, in your allowance, o'erweigh a whole theatre ofothers. O, there be players that I have seen play, andheard others praise, and that highly, not to speak itprofanely, that neither having the accent of Christainsnor the gait of Christain, pagan, nor man, have so30strutted and bellowed, that I have thought some ofnature's journeymen had made men, and not made themwell, they imitated humanity so abominably.

—Shakespeare

MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words emphatic? (Introduction, p.30.)ExplainFROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE CENSURE OF THE WHICH ... OTHERS. What are the emphatic words in each?TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.Give other examples of Climax from this selection and show how the Emphasis is employed. (Introduction, p.31.)Select parenthetical clauses and show how they are subordinated. (Introduction, p.24.)Read the last two sentences with a view to Perspective. (Introduction, p.33.)

MOUTH, TOWN-CRIER, TAME, JOURNEYMEN. Why are these words emphatic? (Introduction, p.30.)

ExplainFROM THE PURPOSE OF PLAYING, COME TARDY OFF, THE CENSURE OF THE WHICH ... OTHERS. What are the emphatic words in each?

TORRENT, TEMPEST, WHIRLWIND. Observe the Climax.

Give other examples of Climax from this selection and show how the Emphasis is employed. (Introduction, p.31.)

Select parenthetical clauses and show how they are subordinated. (Introduction, p.24.)

Read the last two sentences with a view to Perspective. (Introduction, p.33.)

From "The Lay of the Last Minstrel"

O listen, listen, ladies gay!No haughty feat of arms I tell;Soft is the note, and sad the layThat mourns the lovely Rosabelle."Moor, moor the barge, ye gallant crew!And, gentle ladye, deign to stay!Rest thee in Castle Ravensheuch,Nor tempt the stormy firth to-day."The blackening wave is edged with white;To inch and rock the sea-mews fly;The fishers have heard the Water-Sprite,Whose screams forebode that wreck is nigh."Last night the gifted Seer did viewA wet shroud swathed round ladye gay;Then stay thee, Fair, in Ravensheuch;Why cross the gloomy firth to-day?"—"'Tis not because Lord Lindesay's heirTo-night at Roslin leads the ball,But that my ladye-mother thereSits lonely in her castle-hall."'Tis not because the ring they ride,And Lindesay at the ring rides well,But that my sire the wine will chideIf 'tis not fill'd by Rosabelle."—O'er Roslin all that dreary nightA wondrous blaze was seen to gleam;'Twas broader than the watch-fire's light,And redder than the bright moonbeam.It glared on Roslin's castled rock,It ruddied all the copse-wood glen;'Twas seen from Dryden's groves of oak,And seen from cavern'd Hawthornden.Seem'd all on fire that chapel proud,Where Roslin's chiefs uncoffin'd lie,Each Baron, for a sable shroud,Sheathed in his iron panoply.Seem'd all on fire within, around,Deep sacristy and altar's pale;Shone every pillar foliage-bound,And glimmer'd all the dead men's mail.Blazed battlement and pinnet high,Blazed every rose-carved buttress fair—So still they blaze, when fate is nighThe lordly line of high Saint Clair.There are twenty of Roslin's barons boldLie buried within that proud chapelle;Each one the holy vault doth hold—But the sea holds lovely Rosabelle!And each Saint Clair was buried thereWith candle, with book, and with knell;But the sea-caves rung, and the wild winds sungThe dirge of lovely Rosabelle!

—Sir Walter Scott

Preparatory.—Describe the scene suggested by the first stanza.Make three scenes of the rest of the poem, and give a descriptive title to each.Articulation. (AppendixA, 1,3, and6.)Stanza i. How is the ellipsis in l. 3 indicated?Stanza ii. What is the difference between the way the speaker addresses the crew and that in which he addresses the lady?Stanzas iii-iv. How does the reader make prominent the four different arguments of the speaker in ll. 9-15, at the same time showing that each is a stronger warning than the last? (Introduction, pp.24,25and31.)Stanzas v-vi. What is the Inflection on the negative statements in the first two lines of each stanza?Stanzas vii-xi. What feeling pervades the description of the ominous light over Roslyn? What Quality of voice is the natural outcome? (Introduction, p.34.)What are the central ideas in stanzas vii, ix, and x?How is the break in the thought afterFAIR, (stanza xi) shown? (Introduction, pp.8,9, and25.)Stanzas xii-xiii. What phrases contrast the burial of the Saint Clairs with that of Rosabelle? What contrast of feeling?

Preparatory.—Describe the scene suggested by the first stanza.

Make three scenes of the rest of the poem, and give a descriptive title to each.

Articulation. (AppendixA, 1,3, and6.)

Stanza i. How is the ellipsis in l. 3 indicated?

Stanza ii. What is the difference between the way the speaker addresses the crew and that in which he addresses the lady?

Stanzas iii-iv. How does the reader make prominent the four different arguments of the speaker in ll. 9-15, at the same time showing that each is a stronger warning than the last? (Introduction, pp.24,25and31.)

Stanzas v-vi. What is the Inflection on the negative statements in the first two lines of each stanza?

Stanzas vii-xi. What feeling pervades the description of the ominous light over Roslyn? What Quality of voice is the natural outcome? (Introduction, p.34.)

What are the central ideas in stanzas vii, ix, and x?

How is the break in the thought afterFAIR, (stanza xi) shown? (Introduction, pp.8,9, and25.)

Stanzas xii-xiii. What phrases contrast the burial of the Saint Clairs with that of Rosabelle? What contrast of feeling?

December, 1697

The Rhine is running deep and red, the island lies before,—"Now is there one of all the host will dare to venture o'er?For not alone the river's sweep might make a brave man quail;The foe are on the further side, their shot comes fast as hail.God help us, if the middle isle we may not hope to win;5Now is there any of the host will dare to venture in?""The ford is deep, the banks are steep, the island-shore lies wide;Nor man nor horse could stem its force, or reach the further side.See there! amidst the willow-boughs the serried bayonets gleam;They've flung their bridge,—they've won the isle; the foe have cross'd the stream!10Their volley flashes sharp and strong,—by all the saints! I trowThere never yet was soldier born could force that passage now!"So spoke the bold French Mareschal with him who led the van,Whilst rough and red before their view the turbid river ran.Nor bridge nor boat had they to cross the wild and swollen Rhine,15And thundering on the other bank far stretch'd the German line.Hard by there stood a swarthy man was leaning on his sword,And a sadden'd smile lit up his face as he heard the Captain's word."I've seen a wilder stream ere now than that which rushes there;I've stemm'd a heavier torrent yet and never thought to dare.20If German steel be sharp and keen, is ours not strong and true?There may be danger in the deed, but there is honour too."The old lord in his saddle turn'd, and hastily he said,"Hath bold Duguesclin's fiery heart awaken'd from the dead?Thou art the leader of the Scots,—now well and sure I know,25That gentle blood in dangerous hour ne'er yet ran cold nor slow,And I have seen ye in the fight do all that mortal may:If honour is the boon ye seek, it may be won this day,—The prize is in the middle isle, there lies the adventurous way,And armies twain are on the plain, the daring deed to see,—30Now ask thy gallant company if they will follow thee!"Right gladsome look'd the Captain then, and nothing did he say,But he turn'd him to his little band, O, few, I ween, were they!The relics of the bravest force that ever fought in fray.No one of all that company but bore a gentle name,35Not one whose fathers had not stood in Scotland's fields of fame.All they had march'd with great Dundee to where he fought and fell,And in the deadly battle-strife had venged their leader well;And they had bent the knee to earth when every eye was dim,As o'er their hero's buried corpse they sang the funeral hymn;40And they had trod the Pass once more, and stoop'd on either side.To pluck the heather from the spot where he had dropp'd and died;And they had bound it next their hearts, and ta'en a last farewellOf Scottish earth and Scottish sky, where Scotland's glory fell.Then went they forth to foreign lands like bent and broken men,45Who leave their dearest hope behind, and may not turn again."The stream," he said, "is broad and deep, and stubborn is the foe,—Yon island-strength is guarded well,—say, brothers, will ye go?From home and kin for many a year our steps have wander'd wide,And never may our bones be laid our fathers' graves beside.50No children have we to lament, no wives to wail our fall;The traitor's and the spoiler's hand have reft our hearths of all.But we have hearts, and we have arms, as strong to will and dareAs when our ancient banners flew within the northern air.Come, brothers! let me name a spell shall rouse your souls again,55And send the old blood bounding free through pulse and heart and vein.Call back the days of bygone years,—be young and strong once more;Think yonder stream, so stark and red, is one we've cross'd before.Rise, hill and glen! rise, crag and wood! rise up on either hand,—Again upon the Garry's banks, on Scottish soil we stand!60Again I see the tartans wave, again the trumpets ring;Again I hear our leader's call: 'Upon them for the King!'Stay'd we behind that glorious day for roaring flood or linn?The soul of Græme is with us still,—now, brothers, will ye in?"No stay,—no pause. With one accord, they grasp'd each other's hand,65Then plunged into the angry flood, that bold and dauntless band.High flew the spray above their heads, yet onward still they bore,Midst cheer, and shout, and answering yell, and shot, and cannon-roar,—"Now, by the Holy Cross! I swear, since earth and sea began,Was never such a daring deed essay'd by mortal man!"70Thick blew the smoke across the stream, and faster flash'd the flame:The water plash'd in hissing jets as ball and bullet came.Yet onward push'd the Cavaliers all stern and undismay'd,With thousand armed foes before, and none behind to aidOnce, as they near'd the middle stream, so strong the torrent swept,75That scarce that long and living wall their dangerous footing kept.Then rose a warning cry behind, a joyous shout before:"The current's strong,—the way is long,—they'll never reach the shore!See, see! they stagger in the midst, they waver in their line!Fire on the madmen! break their ranks, and whelm them in the Rhine!"80Have you seen the tall trees swaying when the blast is sounding shrill,And the whirlwind reels in fury down the gorges of the hill?How they toss their mighty branches struggling with the tempest's shock;How they keep their place of vantage, cleaving firmly to the rock?Even so the Scottish warriors held their own against the river;85Though the water flashed around them, not an eye was seen to quiver;Though the shot flew sharp and deadly, not a man relax'd his hold;For their hearts were big and thrilling with the mighty thoughts of old.One word was spoken among them, and through the ranks it spread,—"Remember our dead Claverhouse!" was all the Captain said.90Then, sternly bending forward, they wrestled on a while,Until they clear'd the heavy stream, then rush'd toward the isle.The German heart is stout and true, the German arm is strong;The German foot goes seldom back where armed foemen throng.But never had they faced in field so stern a charge before,95And never had they felt the sweep of Scotland's broad claymore.Not fiercer pours the avalanche adown the steep incline,That rises o'er the parent springs of rough and rapid Rhine,—Scarce swifter shoots the bolt from heaven than came the Scottish bandRight up against the guarded trench, and o'er it sword in hand.100In vain their leaders forward press,—they meet the deadly brand!O lonely island of the Rhine,—where seed was never sown,What harvest lay upon thy sands, by those strong reapers thrown?What saw the winter moon that night, as, struggling through the rain,She pour'd a wan and fitful light on marsh, and stream, and plain?105A dreary spot with corpses strewn, and bayonets glistening round;A broken bridge, a stranded boat, a bare and batter'd mound;And one huge watch-fire's kindled pile, that sent its quivering glareTo tell the leaders of the host the conquering Scots were there.And did they twine the laurel-wreath, for those who fought so well?110And did they honour those who liv'd, and weep for those who fell?What meed of thanks was given to them let agèd annals tell.Why should they bring the laurel-wreath,—why crown the cup with wine?It was not Frenchmen's blood that flow'd so freely on the Rhine,—A stranger band of beggar'd men had done the venturous deed:115The glory was to France alone, the danger was their meed.And what cared they for idle thanks from foreign prince and peer?What virtue had such honey'd words the exiled heart to cheer?What matter'd it that men should vaunt and loud and fondly swear,That higher feat of chivalry was never wrought elsewhere?120They bore within their breasts the grief that fame can never heal,—The deep, unutterable woe which none save exiles feel.Their hearts were yearning for the land they ne'er might see again,—For Scotland's high and heather'd hills, for mountains, loch and glen—For those who haply lay at rest beyond the distant sea,125Beneath the green and daisied turf where they would gladly be!Long years went by. The lonely isle in Rhine's tempestuous floodHas ta'en another name from those who bought it with their blood:And, though the legend does not live,—for legends lightly die—The peasant, as he sees the stream in winter rolling by,130And foaming o'er its channel-bed between him and the spotWon by the warriors of the sword, still calls that deep and dangerous fordThe Passage of the Scot.

—William Edmondstoune Aytoun

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