How are the parenthetical clauses in this selection kept in the back-ground? (Introduction, p.24.)11.I could not believe such wickedness ... heart would burst.Observe the Climax. (Introduction, p.31.)19.Whatever, said I, ...How is the direct speech made to stand out from the narration which interrupts it? (Introduction, p.24.)
How are the parenthetical clauses in this selection kept in the back-ground? (Introduction, p.24.)
11.I could not believe such wickedness ... heart would burst.Observe the Climax. (Introduction, p.31.)
19.Whatever, said I, ...How is the direct speech made to stand out from the narration which interrupts it? (Introduction, p.24.)
When I consider how my light is spentEre half my days, in this dark world and wide,And that one talent which is death to hide,Lodged with me useless, though my soul more bentTo serve therewith my Maker, and presentMy true account, lest He, returning, chide;"Doth God exact day labour, light denied?"I fondly ask. But Patience, to preventThat murmur, soon replies, "God doth not needEither man's work, or His own gifts. Who bestBear His mild yoke, they serve Him best: His stateIs kingly; thousands at His bidding speed,And post o'er land and ocean without rest:They also serve who only stand and wait."
When I consider how my light is spentEre half my days, in this dark world and wide,And that one talent which is death to hide,Lodged with me useless, though my soul more bentTo serve therewith my Maker, and presentMy true account, lest He, returning, chide;"Doth God exact day labour, light denied?"I fondly ask. But Patience, to preventThat murmur, soon replies, "God doth not needEither man's work, or His own gifts. Who bestBear His mild yoke, they serve Him best: His stateIs kingly; thousands at His bidding speed,And post o'er land and ocean without rest:They also serve who only stand and wait."
—Milton
Preparatory.—Divide the sonnet into two parts, giving each part a title.Read the first part in prose order, supplying the ellipses.How many distinct statements are there in the second part?Select the clauses of the first part that are equal in rank and have the same Shading. Show which should be made prominent, and which held in the background.Read the first part of this sonnet, with a view to Perspective. (Introduction, p.33.)1-4. With what do you connectWhen ... spent, andLodged?How?How do you make the statements of the second part stand out singly? (Introduction, pp.8and10.)
Preparatory.—Divide the sonnet into two parts, giving each part a title.
Read the first part in prose order, supplying the ellipses.
How many distinct statements are there in the second part?
Select the clauses of the first part that are equal in rank and have the same Shading. Show which should be made prominent, and which held in the background.
Read the first part of this sonnet, with a view to Perspective. (Introduction, p.33.)
1-4. With what do you connectWhen ... spent, andLodged?How?
How do you make the statements of the second part stand out singly? (Introduction, pp.8and10.)
From "Doctor Birch and his Young Friends"
Enter the Knife-boy.Hamper for Briggses!Master Brown. Hurray, Tom Briggs! I'll lend you my knife.
If this story does not carry its own moral, what fable does, I wonder? Before the arrival of that hamper, Master Briggs was in no better repute than any other young gentleman of the lower school; and in fact I had occasion myself, only lately, to correct Master Brown for kicking his friend's shins during the writing-lesson. But how this basket, directed by his mother's house-keeper, and marked "GLASS WITH CARE," whence I concluded that it contained some jam and some bottlesof wine probably, as well as the usual cake and game-pie, and half a sovereign for the elder Master B., and five new shillings for Master Decimus Briggs—how, I say, the arrival of this basket alters all Master Briggs's circumstances in life, and the estimation in which many persons regard him!
If he is a good-hearted boy, as I have reason to think, the very first thing he will do, before inspecting the contents of the hamper, or cutting into them with the knife which Master Brown has so considerately lent him, will be to read over the letter from home which lies on top of the parcel. He does so, as I remarked to Miss Raby (for whom I happened to be mending pens when the little circumstance arose), with a flushed face and winking eyes. Look how the other boys are peering into the basket as he reads—I say to her, "Isn't it a pretty picture?" Part of the letter is in a very large hand. That is from his little sister. And I would wager that she netted the little purse which he has just taken out of it, and which Master Lynx is eyeing.
"You are a droll man, and remark all sorts of queer things," Miss Raby says, smiling, and plying her swift needle and fingers as quick as possible.
"I am glad we were both on the spot, and that the little fellow lies under our guns as it were, and so is protected from some such brutal school-pirate as young Duval for instance, who would rob him, probably, of some of those good things; good in themselves, and better because fresh from home. See, there is a pie as I said, and which I daresay is better than those which are served at our table (but you never take any notice of these kind of things, Miss Raby), a cake, of course, a bottle of currant wine, jam-pots, and no end of pearsin the straw. With this money little Briggs will be able to pay the tick which that impudent child has run up with Mrs. Ruggles; and I shall let Briggs Major pay for the pencil-case which Bullock sold to him.—It will be a lesson to the young prodigal for the future.
"But, I say, what a change there will be in his life for some time to come, and at least until his present wealth is spent! The boys who bully him will mollify toward him and accept his pie and sweetmeats. They will have feasts in the bedroom; and that wine will taste more deliciously to them than the best out of the Doctor's cellar. The cronies will be invited. Young Master Wagg will tell his most dreadful story and sing his best song for a slice of that pie. What a jolly night they will have! When we go the rounds at night, Mr. Prince and I will take care to make a noise before we come to Briggs's room, so that the boys may have time to put the light out, to push the things away, and to scud into bed. Doctor Spry may be put in requisition the next morning."
"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I lay down the twelfth pen very nicely mended.
"Yes; after luxury comes the doctor, I say; after extravagance, a hole in the breeches pocket. To judge from his disposition, Briggs Major will not be much better off a couple of days hence than he is now, and, if I am not mistaken, will end life a poor man. Brown will be kicking his shins before a week is over, depend upon it. There are boys and men of all sorts, Miss R.—there are selfish sneaks who hoard until the store they daren't use grows mouldy—there are spendthrifts who fling away, parasites who flatter and lick its shoes, andsnarling curs who hate and envy good fortune."
I put down the last of the pens, brushing away with it the quill chips from her desk first, and she looked at me with a kind, wondering face. I brushed them away, clicked the pen-knife into my pocket, made her a bow, and walked off—for the bell was ringing for school.
—William Makepeace Thackeray
Master, basket, glass, half, after.(AppendixA, 1.)friend's shins, selfish sneaks, spendthrifts.(AppendixA, 3andA, 6.)Make an analysis from the standpoint of Perspective of the following sentences:But how this basket ... regard him; if he is a good-hearted boy ... parcel; He does so ... winking eyes; See there is a pie ... straw.
Master, basket, glass, half, after.(AppendixA, 1.)
friend's shins, selfish sneaks, spendthrifts.(AppendixA, 3andA, 6.)
Make an analysis from the standpoint of Perspective of the following sentences:But how this basket ... regard him; if he is a good-hearted boy ... parcel; He does so ... winking eyes; See there is a pie ... straw.
A wind blew up from Pernambuco,(Yeo heave ho! theLaughing Sally!Hi yeo, heave away!)A wind blew out of the east-sou'-eastAnd boomed at the break of day.5TheLaughing Sallysped for her life,And a speedy craft was she.The black flag flew at her top to tellHow she took toll of the sea.The wind blew up from Pernambuco;10And in the breast of the blastCame the King's black ship like a hound let slipOn the trail of theSallyat last.For a day and a night, a night and a day;Over the blue, blue round,15Went on the chase of the pirate quarry,The hunt of the tireless hound."Land on the port bow!" came the cry;And theSallyraced for shore,Till she reached the bar at the river-mouth20Where the shallow breakers roar.She passed the bar by a secret channelWith clear tide under her keel,—For he knew the shoals like an open book,The captain at the wheel.25She passed the bar, she sped like a ghost,Till her sails were hid from viewBy the tall, liana'd, unsunned boughsO'erbrooding the dark bayou.At moonrise up to the river-mouth30Came the King's black ship of war,The red cross flapped in wrath at her peak,But she could not cross the bar.And while she lay in the run of the seas,By the grimmest whim of chance,35Out of the bay to the north came forthTwo battle-ships of France.On the English ship the twain bore downLike wolves that range by night;And the breakers' roar was heard no more40In the thunder of the fight.The crash of the broadsides rolled and stormedTo theSallyhid from viewUnder the tall liana'd boughsOf the moonless dark bayou.45A boat ran out for news of the fight,And this was the word she brought—"The King's ship fights the ships of FranceAs the King's ships all have fought!"Then muttered the mate, "I'm a man of Devon!"50And the captain thundered then—"There's English rope that bides for our necks,But we all be Englishmen!"TheSallyglided out of the gloomAnd down the moon-white river.55She stole like a gray shark over the barWhere the long surf seethes for ever.She hove to under a high French hull,And the red cross rose to her peak.The French were looking for fight that night,60And they hadn't far to seek.Blood and fire on the streaming decks,And fire and blood below;The heat of hell, and the reek of hell,And the dead men laid a-row!65And when the stars paled out of heavenAnd the red dawn-rays uprushed,The oaths of battle, the crash of timbers,The roar of the guns was hushed.With one foe beaten under his bow,70The other far in flight,The English captain turned to lookFor his fellow in the fight.The English captain turned and stared;—For where theSallyhad been75Was a single spar upthrust from the seaWith the red cross flag serene!. . . . . .A wind blew up from Pernambuco(Yeo heave ho! theLaughing Sally!Hi yeo, heave away!)And boomed for the doom of theLaughing Sally!Gone down at the break of day.
A wind blew up from Pernambuco,(Yeo heave ho! theLaughing Sally!Hi yeo, heave away!)A wind blew out of the east-sou'-eastAnd boomed at the break of day.5TheLaughing Sallysped for her life,And a speedy craft was she.The black flag flew at her top to tellHow she took toll of the sea.The wind blew up from Pernambuco;10And in the breast of the blastCame the King's black ship like a hound let slipOn the trail of theSallyat last.For a day and a night, a night and a day;Over the blue, blue round,15Went on the chase of the pirate quarry,The hunt of the tireless hound."Land on the port bow!" came the cry;And theSallyraced for shore,Till she reached the bar at the river-mouth20Where the shallow breakers roar.She passed the bar by a secret channelWith clear tide under her keel,—For he knew the shoals like an open book,The captain at the wheel.25She passed the bar, she sped like a ghost,Till her sails were hid from viewBy the tall, liana'd, unsunned boughsO'erbrooding the dark bayou.At moonrise up to the river-mouth30Came the King's black ship of war,The red cross flapped in wrath at her peak,But she could not cross the bar.And while she lay in the run of the seas,By the grimmest whim of chance,35Out of the bay to the north came forthTwo battle-ships of France.On the English ship the twain bore downLike wolves that range by night;And the breakers' roar was heard no more40In the thunder of the fight.The crash of the broadsides rolled and stormedTo theSallyhid from viewUnder the tall liana'd boughsOf the moonless dark bayou.45A boat ran out for news of the fight,And this was the word she brought—"The King's ship fights the ships of FranceAs the King's ships all have fought!"Then muttered the mate, "I'm a man of Devon!"50And the captain thundered then—"There's English rope that bides for our necks,But we all be Englishmen!"TheSallyglided out of the gloomAnd down the moon-white river.55She stole like a gray shark over the barWhere the long surf seethes for ever.She hove to under a high French hull,And the red cross rose to her peak.The French were looking for fight that night,60And they hadn't far to seek.Blood and fire on the streaming decks,And fire and blood below;The heat of hell, and the reek of hell,And the dead men laid a-row!65And when the stars paled out of heavenAnd the red dawn-rays uprushed,The oaths of battle, the crash of timbers,The roar of the guns was hushed.With one foe beaten under his bow,70The other far in flight,The English captain turned to lookFor his fellow in the fight.The English captain turned and stared;—For where theSallyhad been75Was a single spar upthrust from the seaWith the red cross flag serene!. . . . . .A wind blew up from Pernambuco(Yeo heave ho! theLaughing Sally!Hi yeo, heave away!)And boomed for the doom of theLaughing Sally!Gone down at the break of day.
—Charles G. D. Roberts(By arrangement)
Preparatory.—Divide the poem into sections giving to each part a descriptive title. (Introduction, p.10.) How is each section made to stand out?In what Time is the section which describes the flight of theLaughing Sallyread? Give your reason. (Introduction, pp.5and13.)Contrast the first and last stanzas from the standpoint of feeling. How does the voice express the difference?blew, knew, news, King's ship, seethes, and.(AppendixA, 2,3,5, and6.)Distinguish the sound ofainLaughing Sally, craft, last, passed, wrath, chance, crash, dark, far, dawn. (AppendixA, 1.)8-9. Note the Grouping and Pause. (Introduction, p.11.)11-13. Observe the Grouping. Which phrases have the heaviest Shading? (Introduction, p.33.)16. Where is the Pause? Why?18.Land on the port bow.What change is made in Pitch and Force? Account for it. (Introduction, pp.22and25.)24. What is the Inflection on this line?30-37. Observe the Grouping and Shading throughout these stanzas.38-45. What sense is appealed to in these stanzas? How is the Time affected?46-53. How are the transitions to direct discourse indicated? (Introduction, p.24.)What is the difference in Pitch between the mate's and the captain's speech? (Introduction, p.23.)66-67. Note the contrast with the preceding stanza and with the two following lines.
Preparatory.—Divide the poem into sections giving to each part a descriptive title. (Introduction, p.10.) How is each section made to stand out?
In what Time is the section which describes the flight of theLaughing Sallyread? Give your reason. (Introduction, pp.5and13.)
Contrast the first and last stanzas from the standpoint of feeling. How does the voice express the difference?
blew, knew, news, King's ship, seethes, and.(AppendixA, 2,3,5, and6.)
Distinguish the sound ofainLaughing Sally, craft, last, passed, wrath, chance, crash, dark, far, dawn. (AppendixA, 1.)
8-9. Note the Grouping and Pause. (Introduction, p.11.)
11-13. Observe the Grouping. Which phrases have the heaviest Shading? (Introduction, p.33.)
16. Where is the Pause? Why?
18.Land on the port bow.What change is made in Pitch and Force? Account for it. (Introduction, pp.22and25.)
24. What is the Inflection on this line?
30-37. Observe the Grouping and Shading throughout these stanzas.
38-45. What sense is appealed to in these stanzas? How is the Time affected?
46-53. How are the transitions to direct discourse indicated? (Introduction, p.24.)
What is the difference in Pitch between the mate's and the captain's speech? (Introduction, p.23.)
66-67. Note the contrast with the preceding stanza and with the two following lines.
Luke xv 11-32
A certain man had two sons: And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.
And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living. And when he had spent all, there arose a mighty famine in that land; and he began to be in want. And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine. And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him. And when he came to himself, he said, How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants.
And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him. And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son. But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet: And bring hither the fatted calf, and kill it; and let us eat, and be merry; For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.
Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing. And he called one of the servants, and asked what these things meant. And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound. And he was angry, and would not go in: therefore came his father out, and intreated him. And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment; and yet thou never gavest me a kid, that I might make merry with my friends: But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf. And he said unto him, Son, thou art ever with me, and all that I have is thine. It was meet that we should make merry, and be glad, for this thy brother was dead, and is alive again; and was lost, and is found.
Preparatory.—Divide this parable into four parts, giving each part a descriptive title.Describe pictures to illustrate each part.Connect the parable with any similar story drawn from modern life. Fill in details to account for (a) the prodigal'sdesire to leave home, (b) the father's great joy at his return, (c) the elder brother's jealousy.How many hired servants, etc.What are the prodigal's feelings? What new feeling is introduced with (a)I will arise, etc.? (b)Father, I have sinned, etc.?In what Time and Pitch do you read the passages which describe the father's joy? (Introduction, pp.12and22.)What feeling pervades the speech of the elder son? What is the motive of the father's reply?Explain the Emphasis in the following; (a)and he sent him; (b)and I perish; (c)Now his elder son; (d)therefore came his father out; (e)thou never gavest me a kid. (Introduction, pp.30and31.)Explain the Inflection ondead, alive, lost, found.
Preparatory.—Divide this parable into four parts, giving each part a descriptive title.
Describe pictures to illustrate each part.
Connect the parable with any similar story drawn from modern life. Fill in details to account for (a) the prodigal'sdesire to leave home, (b) the father's great joy at his return, (c) the elder brother's jealousy.
How many hired servants, etc.What are the prodigal's feelings? What new feeling is introduced with (a)I will arise, etc.? (b)Father, I have sinned, etc.?
In what Time and Pitch do you read the passages which describe the father's joy? (Introduction, pp.12and22.)
What feeling pervades the speech of the elder son? What is the motive of the father's reply?
Explain the Emphasis in the following; (a)and he sent him; (b)and I perish; (c)Now his elder son; (d)therefore came his father out; (e)thou never gavest me a kid. (Introduction, pp.30and31.)
Explain the Inflection ondead, alive, lost, found.
The sheets were frozen hard, and they cut the naked hand;The decks were like a slide, where a seaman scarce could stand;The wind was a nor'-wester, blowing squally off the sea;And cliffs and spouting breakers were the only things a-lee.They heard the surf a-roaring before the break of day;5But 'twas only with the peep of light we saw how ill we lay.We tumbled every hand on deck instanter, with a shout,And we gave her the maintops'l, and stood by to go about.All day we tacked and tacked between the South Head and the North;All day we hauled the frozen sheets, and got no further forth;10All day as cold as charity, in bitter pain and dread,For very life and nature we tacked from Head to Head.We gave the South a wider berth, for there the tide-race roared,But every tack we made we brought the North Head close aboard;So's we saw cliffs and houses, and the breakers running high,15And the coast-guard in his garden, with his glass against his eye.The frost was on the village roofs as white as ocean foam;The good red fires were burning bright in every 'longshore home;The windows sparkled clear, and the chimneys volleyed out;And I vow we sniffed the victuals, as the vessel went about.20The bells upon the church were rung with a mighty jovial cheer;For it's just that I should tell you how (of all days in the year)This day of our adversity was blessèd Christmas morn,And the house above the coast-guard's was the house where I was born.O well I saw the pleasant room, the pleasant faces there,25My mother's silver spectacles, my father's silver hair;And well I saw the firelight, like a flight of homely elves,Go dancing round the china plates that stand upon the shelves.And well I knew the talk they had, the talk that was of me,Of the shadow on the household and the son that went to sea;30And O the wicked fool I seemed, in every kind of way,To be here and hauling frozen ropes on blessèd Christmas day.They lit the high sea-light, and the dark began to fall."All hands to loose topgallant sails," I heard the captain call."Captain, she'll never stand it," our first mate, Jackson, cried.35"It's the one way or the other, Mr. Jackson," he replied.She staggered to her bearings, but the sails were new and good,And the ship smelt up to windward just as though she understood.As the winter's day was ending, in the entry of the night,We cleared the weary headland, and passed below the light.40And they heaved a mighty breath, every soul on board but me,As they saw her nose again pointing handsome out to sea;But all that I could think of, in the darkness and the cold,Was just that I was leaving home, and my folks were growing old.
The sheets were frozen hard, and they cut the naked hand;The decks were like a slide, where a seaman scarce could stand;The wind was a nor'-wester, blowing squally off the sea;And cliffs and spouting breakers were the only things a-lee.They heard the surf a-roaring before the break of day;5But 'twas only with the peep of light we saw how ill we lay.We tumbled every hand on deck instanter, with a shout,And we gave her the maintops'l, and stood by to go about.All day we tacked and tacked between the South Head and the North;All day we hauled the frozen sheets, and got no further forth;10All day as cold as charity, in bitter pain and dread,For very life and nature we tacked from Head to Head.We gave the South a wider berth, for there the tide-race roared,But every tack we made we brought the North Head close aboard;So's we saw cliffs and houses, and the breakers running high,15And the coast-guard in his garden, with his glass against his eye.The frost was on the village roofs as white as ocean foam;The good red fires were burning bright in every 'longshore home;The windows sparkled clear, and the chimneys volleyed out;And I vow we sniffed the victuals, as the vessel went about.20The bells upon the church were rung with a mighty jovial cheer;For it's just that I should tell you how (of all days in the year)This day of our adversity was blessèd Christmas morn,And the house above the coast-guard's was the house where I was born.O well I saw the pleasant room, the pleasant faces there,25My mother's silver spectacles, my father's silver hair;And well I saw the firelight, like a flight of homely elves,Go dancing round the china plates that stand upon the shelves.And well I knew the talk they had, the talk that was of me,Of the shadow on the household and the son that went to sea;30And O the wicked fool I seemed, in every kind of way,To be here and hauling frozen ropes on blessèd Christmas day.They lit the high sea-light, and the dark began to fall."All hands to loose topgallant sails," I heard the captain call."Captain, she'll never stand it," our first mate, Jackson, cried.35"It's the one way or the other, Mr. Jackson," he replied.She staggered to her bearings, but the sails were new and good,And the ship smelt up to windward just as though she understood.As the winter's day was ending, in the entry of the night,We cleared the weary headland, and passed below the light.40And they heaved a mighty breath, every soul on board but me,As they saw her nose again pointing handsome out to sea;But all that I could think of, in the darkness and the cold,Was just that I was leaving home, and my folks were growing old.
—Robert Louis Stevenson(By arrangement)
Preparatory.—Supply an introduction and a conclusion for the story suggested by this poem.Indicate the pauses which should be made in this poem after words and phrases: (a) because of the Imaging process, (b) in order to conceive the thought more fully, (c) in passing from the narration of one action to that of another, (d) because of direct speech interrupted by narrative. (Introduction, pp.7,24, and27.)20 and 22. Indicate the Pause before phrases to prepare the mind for what is coming. (Introduction, p.8.) What Inflection is used as a connecting link? (Introduction, p.16.)27.FIRELIGHT.With what should it be connected? How? (Introduction, p.24.)34.All hands ... sails.What change in Pitch and Force? (Introduction, pp.22and26.)40. What is the Shading? (Introduction, p.33.)Compare the mental state of the captain with that of the first mate. How is the difference indicated in the Pitch of their respective speeches? (Introduction, p.22.)Connect stanzas vii and viii with the last two lines of the poem. What background of thought is suggested? How is the rate of reading affected by the thoughts suggested? (Introduction, p.14.)
Preparatory.—Supply an introduction and a conclusion for the story suggested by this poem.
Indicate the pauses which should be made in this poem after words and phrases: (a) because of the Imaging process, (b) in order to conceive the thought more fully, (c) in passing from the narration of one action to that of another, (d) because of direct speech interrupted by narrative. (Introduction, pp.7,24, and27.)
20 and 22. Indicate the Pause before phrases to prepare the mind for what is coming. (Introduction, p.8.) What Inflection is used as a connecting link? (Introduction, p.16.)
27.FIRELIGHT.With what should it be connected? How? (Introduction, p.24.)
34.All hands ... sails.What change in Pitch and Force? (Introduction, pp.22and26.)
40. What is the Shading? (Introduction, p.33.)
Compare the mental state of the captain with that of the first mate. How is the difference indicated in the Pitch of their respective speeches? (Introduction, p.22.)
Connect stanzas vii and viii with the last two lines of the poem. What background of thought is suggested? How is the rate of reading affected by the thoughts suggested? (Introduction, p.14.)
Spirit that breathest through my lattice, thouThat cool'st the twilight of the sultry day,Gratefully flows thy freshness round my brow:Thou hast been out upon the deep at play,Riding all day the wild blue waves till now,5Roughening their crests, and scattering high their spray,And swelling the white sail. I welcome theeTo the scorched land, thou wanderer of the sea!Nor I alone;—a thousand bosoms roundInhale thee in the fulness of delight;10And languid forms rise up, and pulses boundLivelier at coming of the wind of night;And, languishing to hear thy grateful sound,Lies the vast inland stretched beyond the sight.Go forth into the gathering shade; go forth,15God's blessing breathed upon the fainting earth!Go, rock the little wood-bird in his nest,Curl the still waters, bright with stars, and rouseThe wide old wood from his majestic rest,Summoning from the innumerable boughs20The strange deep harmonies that haunt his breast:Pleasant shall be thy way, where meekly bowsThe shutting flower and darkling waters pass,And where the o'ershadowing branches sweep the grass.The faint old man shall lean his silver head25To feel thee; thou shalt kiss the child asleep,And dry the moistened curls that overspreadHis temples, while his breathing grows more deep;And they who stand about the sick man's bedShall joy to listen to thy distant sweep,30And softly part his curtains to allowThy visit, grateful to his burning brow.Go,—but the circle of eternal change,Which is the life of nature, shall restore,With sounds and scents from all thy mighty range,35Thee to thy birthplace of the deep once more;Sweet odours in the sea-air, sweet and strange,Shall tell the home-sick manner of the shore;And, listening to thy murmur, he shall dreamHe hears the rustling leaf and running stream.40
Spirit that breathest through my lattice, thouThat cool'st the twilight of the sultry day,Gratefully flows thy freshness round my brow:Thou hast been out upon the deep at play,Riding all day the wild blue waves till now,5Roughening their crests, and scattering high their spray,And swelling the white sail. I welcome theeTo the scorched land, thou wanderer of the sea!Nor I alone;—a thousand bosoms roundInhale thee in the fulness of delight;10And languid forms rise up, and pulses boundLivelier at coming of the wind of night;And, languishing to hear thy grateful sound,Lies the vast inland stretched beyond the sight.Go forth into the gathering shade; go forth,15God's blessing breathed upon the fainting earth!Go, rock the little wood-bird in his nest,Curl the still waters, bright with stars, and rouseThe wide old wood from his majestic rest,Summoning from the innumerable boughs20The strange deep harmonies that haunt his breast:Pleasant shall be thy way, where meekly bowsThe shutting flower and darkling waters pass,And where the o'ershadowing branches sweep the grass.The faint old man shall lean his silver head25To feel thee; thou shalt kiss the child asleep,And dry the moistened curls that overspreadHis temples, while his breathing grows more deep;And they who stand about the sick man's bedShall joy to listen to thy distant sweep,30And softly part his curtains to allowThy visit, grateful to his burning brow.Go,—but the circle of eternal change,Which is the life of nature, shall restore,With sounds and scents from all thy mighty range,35Thee to thy birthplace of the deep once more;Sweet odours in the sea-air, sweet and strange,Shall tell the home-sick manner of the shore;And, listening to thy murmur, he shall dreamHe hears the rustling leaf and running stream.40
—William Cullen Bryant
Preparatory.—Describe fully the picture suggested by (a) the first three lines of stanza i, (b) the last four lines of stanza i, (c) stanza ii. Give to each a suitable title.1, 2, and 6. (AppendixA, 3,4, and8.)1.THOU. What is the Inflection?6. How does the sound accord with the sense?15.Go forth ... go forth.Where is the Emphasis? (Introduction, p.31.)19-21. What feeling is aroused? How is the Quality of voice affected? (Introduction, p.34.)25-32. What change in Time? Account for it. (Introduction, p.13.)31. What atmosphere is created in this line? What Quality of voice is the result? What lines in the last stanza have the same atmosphere? (Introduction, p.34.)36. With what shouldTheebe connected? In what way?33-36. What portions are read in lighter Shading? (Introduction, p.33.)
Preparatory.—Describe fully the picture suggested by (a) the first three lines of stanza i, (b) the last four lines of stanza i, (c) stanza ii. Give to each a suitable title.
1, 2, and 6. (AppendixA, 3,4, and8.)
1.THOU. What is the Inflection?
6. How does the sound accord with the sense?
15.Go forth ... go forth.Where is the Emphasis? (Introduction, p.31.)
19-21. What feeling is aroused? How is the Quality of voice affected? (Introduction, p.34.)
25-32. What change in Time? Account for it. (Introduction, p.13.)
31. What atmosphere is created in this line? What Quality of voice is the result? What lines in the last stanza have the same atmosphere? (Introduction, p.34.)
36. With what shouldTheebe connected? In what way?
33-36. What portions are read in lighter Shading? (Introduction, p.33.)
From "Lalla Rookh"
One morn a Peri at the gateOf Eden stood, disconsolate;And as she listened to the SpringsOf Life within, like music flowing,And caught the light upon her wings5Through the half-open portal glowing,She wept to think her recreant raceShould e'er have lost that glorious place!"How happy," exclaimed this child of air,"Are the holy spirits who wander there,10'Mid flowers that never shall fade or fall;Though mine are the gardens of earth and sea,And the stars themselves have flowers for me,One blossom of Heaven out-blooms them all!"The glorious Angel, who was keeping15The Gates of Light, beheld her weeping;And, as he nearer drew and listenedTo her sad song, a tear-drop glistenedWithin his eyelids, like the sprayFrom Eden's fountain, when it lies20On the blue flower, which—Brahmins say—Blooms nowhere but in Paradise."Nymph of a fair, but erring line!"Gently he said,—"One hope is thine.'Tis written in the Book of Fate,25The Peri yet may be forgivenWho brings to this Eternal GateThe Gift that is most dear to Heaven!Go, seek it, and redeem thy sin:'Tis sweet to let the Pardoned in!"30Downward the Peri turns her gaze,And, through the war-field's bloody haze,Beholds a youthful warrior standAlone, beside his native river,—The red blade broken in his hand,35And the last arrow in his quiver."Live," said the conqueror, "live to shareThe trophies and the crowns I bear!"Silent that youthful warrior stood—Silent he pointed to the flood40All crimson with his country's blood,Then sent his last remaining dart,For answer, to th' invader's heart.False flew the shaft, though pointed well;The tyrant lived, the hero fell!45Yet marked the Peri where he lay,And when the rush of war was past,Swiftly descending on a rayOf morning light, she caught the last,Last glorious drop his heart had shed,50Before its free-born spirit fled!"Be this," she cried, as she winged her flight,"My welcome gift at the Gates of Light.""Sweet," said the Angel, as she gaveThe gift into his radiant hand,55"Sweet is our welcome of the braveWho die thus for their native land.—But see—alas!—the crystal barOf Eden moves not—holier farThan e'en this drop the boon must be,60That opes the Gates of Heaven for thee!"But nought can charm the luckless Peri;Her soul is sad, her wings are weary.When, o'er the vale of Balbec wingingSlowly, she sees a child at play,65Among the rosy wild-flowers singing,As rosy and as wild as they;Chasing, with eager hands and eyes,The beautiful blue damsel-fliesThat fluttered round the jasmine stems,70Like-wingèd flowers or flying gems:And, near the boy, who, tired with play,Now nestling 'mid the roses lay,She saw a wearied man dismountFrom his hot steed, and on the brink75Of a small imaret's rustic fountImpatient fling him down to drink.Then swift his haggard brow he turnedTo the fair child, who fearless sat,Though never yet hath daybeam burned80Upon a brow more fierce than that.But hark! the vesper call to prayer,As slow the orb of daylight sets,Is rising sweetly on the air,From Syria's thousand minarets!85The boy has started from the bedOf flowers, where he had laid his head,And down upon the fragrant sodKneels, with his forehead to the south,Lisping th' eternal name of God90From purity's own cherub mouth.And how felt he, the wretched man,Reclining there—while memory ranO'er many a year of guilt and strife,Flew o'er the dark flood of his life,95Nor found one sunny resting-place,Nor brought him back one branch of grace?"There was a time," he said, in mild,Heart-humbled tones, "thou blessed child!When, young and haply pure as thou,100I looked and prayed like thee—but now—"He hung his head—each nobler aim,And hope, and feeling, which had sleptFrom boyhood's hour, that instant cameFresh o'er him, and he wept—he wept!105And now, behold him kneeling thereBy the child's side, in humble prayer,While the same sunbeam shines uponThe guilty and the guiltless one,And hymns of joy proclaim through Heaven110The triumph of a soul forgiven!'Twas when the golden orb had set,While on their knees they lingered yet,There fell a light, more lovely farThan ever came from sun or star,115Upon the tear that, warm and meek,Dewed that repentant sinner's cheek:To mortal eye that light might seemA northern flash or meteor beam—But well th' enraptured Peri knew120'Twas a bright smile the Angel threwFrom Heaven's gate, to hail that tear—Her harbinger of glory near!"Joy, joy for ever! my task is done:The Gates are passed, and Heaven is won!"125
One morn a Peri at the gateOf Eden stood, disconsolate;And as she listened to the SpringsOf Life within, like music flowing,And caught the light upon her wings5Through the half-open portal glowing,She wept to think her recreant raceShould e'er have lost that glorious place!"How happy," exclaimed this child of air,"Are the holy spirits who wander there,10'Mid flowers that never shall fade or fall;Though mine are the gardens of earth and sea,And the stars themselves have flowers for me,One blossom of Heaven out-blooms them all!"The glorious Angel, who was keeping15The Gates of Light, beheld her weeping;And, as he nearer drew and listenedTo her sad song, a tear-drop glistenedWithin his eyelids, like the sprayFrom Eden's fountain, when it lies20On the blue flower, which—Brahmins say—Blooms nowhere but in Paradise."Nymph of a fair, but erring line!"Gently he said,—"One hope is thine.'Tis written in the Book of Fate,25The Peri yet may be forgivenWho brings to this Eternal GateThe Gift that is most dear to Heaven!Go, seek it, and redeem thy sin:'Tis sweet to let the Pardoned in!"30Downward the Peri turns her gaze,And, through the war-field's bloody haze,Beholds a youthful warrior standAlone, beside his native river,—The red blade broken in his hand,35And the last arrow in his quiver."Live," said the conqueror, "live to shareThe trophies and the crowns I bear!"Silent that youthful warrior stood—Silent he pointed to the flood40All crimson with his country's blood,Then sent his last remaining dart,For answer, to th' invader's heart.False flew the shaft, though pointed well;The tyrant lived, the hero fell!45Yet marked the Peri where he lay,And when the rush of war was past,Swiftly descending on a rayOf morning light, she caught the last,Last glorious drop his heart had shed,50Before its free-born spirit fled!"Be this," she cried, as she winged her flight,"My welcome gift at the Gates of Light.""Sweet," said the Angel, as she gaveThe gift into his radiant hand,55"Sweet is our welcome of the braveWho die thus for their native land.—But see—alas!—the crystal barOf Eden moves not—holier farThan e'en this drop the boon must be,60That opes the Gates of Heaven for thee!"But nought can charm the luckless Peri;Her soul is sad, her wings are weary.When, o'er the vale of Balbec wingingSlowly, she sees a child at play,65Among the rosy wild-flowers singing,As rosy and as wild as they;Chasing, with eager hands and eyes,The beautiful blue damsel-fliesThat fluttered round the jasmine stems,70Like-wingèd flowers or flying gems:And, near the boy, who, tired with play,Now nestling 'mid the roses lay,She saw a wearied man dismountFrom his hot steed, and on the brink75Of a small imaret's rustic fountImpatient fling him down to drink.Then swift his haggard brow he turnedTo the fair child, who fearless sat,Though never yet hath daybeam burned80Upon a brow more fierce than that.But hark! the vesper call to prayer,As slow the orb of daylight sets,Is rising sweetly on the air,From Syria's thousand minarets!85The boy has started from the bedOf flowers, where he had laid his head,And down upon the fragrant sodKneels, with his forehead to the south,Lisping th' eternal name of God90From purity's own cherub mouth.And how felt he, the wretched man,Reclining there—while memory ranO'er many a year of guilt and strife,Flew o'er the dark flood of his life,95Nor found one sunny resting-place,Nor brought him back one branch of grace?"There was a time," he said, in mild,Heart-humbled tones, "thou blessed child!When, young and haply pure as thou,100I looked and prayed like thee—but now—"He hung his head—each nobler aim,And hope, and feeling, which had sleptFrom boyhood's hour, that instant cameFresh o'er him, and he wept—he wept!105And now, behold him kneeling thereBy the child's side, in humble prayer,While the same sunbeam shines uponThe guilty and the guiltless one,And hymns of joy proclaim through Heaven110The triumph of a soul forgiven!'Twas when the golden orb had set,While on their knees they lingered yet,There fell a light, more lovely farThan ever came from sun or star,115Upon the tear that, warm and meek,Dewed that repentant sinner's cheek:To mortal eye that light might seemA northern flash or meteor beam—But well th' enraptured Peri knew120'Twas a bright smile the Angel threwFrom Heaven's gate, to hail that tear—Her harbinger of glory near!"Joy, joy for ever! my task is done:The Gates are passed, and Heaven is won!"125
—Thomas Moore
Preparatory.—Divide this selection into four scenes, describing minutely each scene, and pointing out what part of the poem it covers. (Introduction, p.10.)What feelings are aroused by each scene?Spirit, native, purity.(AppendixA, 8.)1-4. Give two examples of Grouping from these lines. Give numerous other examples throughout the selection, and show how Grouping affects the Inflection and Pause. (Introduction, pp.10-12.)3-7. Read with a view to Perspective. Select other examples, noting especially ll. 17-22, 47-51, 72-77, and 112-117. (Introduction, p.33.)9.exclaimed this child of air.(Introduction, pp.24and27.) Give other examples of direct discourse broken by narration.54 and 56.Sweet ... Sweet.Which word is more emphatic? (Introduction, p.31.) Compare l. 105.84. With what shouldIs Risingbe connected? How? CompareUpon the tear, l. 116.
Preparatory.—Divide this selection into four scenes, describing minutely each scene, and pointing out what part of the poem it covers. (Introduction, p.10.)
What feelings are aroused by each scene?
Spirit, native, purity.(AppendixA, 8.)
1-4. Give two examples of Grouping from these lines. Give numerous other examples throughout the selection, and show how Grouping affects the Inflection and Pause. (Introduction, pp.10-12.)
3-7. Read with a view to Perspective. Select other examples, noting especially ll. 17-22, 47-51, 72-77, and 112-117. (Introduction, p.33.)
9.exclaimed this child of air.(Introduction, pp.24and27.) Give other examples of direct discourse broken by narration.
54 and 56.Sweet ... Sweet.Which word is more emphatic? (Introduction, p.31.) Compare l. 105.
84. With what shouldIs Risingbe connected? How? CompareUpon the tear, l. 116.
Part I
On either side the river lieLong fields of barley and of rye,That clothe the wold and meet the sky;And thro' the field the road runs byTo many-tower'd Camelot;And up and down the people go,Gazing where the lilies blowRound an island there below,The island of Shalott.Willows whiten, aspens quiver,Little breezes dusk and shiverThro' the wave that runs for everBy the island in the riverFlowing down to Camelot.Four gray walls, and four gray towers,Overlook a space of flowers,And the silent isle embowersThe Lady of Shalott.By the margin, willow-veil'd,Slide the heavy barges trail'dBy slow horses; and unhail'dThe shallop flitteth silken-sail'dSkimming down to Camelot:But who has seen her wave her hand?Or at the casement seen her stand?Or is she known in all the land,The Lady of Shalott?Only reapers, reaping earlyIn among the bearded barley,Hear a song that echoes cheerlyFrom the river winding clearly,Down to tower'd Camelot:And by the moon the reaper weary,Piling sheaves in uplands airy,Listening, whispers "'Tis the fairyLady of Shalott."
On either side the river lieLong fields of barley and of rye,That clothe the wold and meet the sky;And thro' the field the road runs byTo many-tower'd Camelot;And up and down the people go,Gazing where the lilies blowRound an island there below,The island of Shalott.Willows whiten, aspens quiver,Little breezes dusk and shiverThro' the wave that runs for everBy the island in the riverFlowing down to Camelot.Four gray walls, and four gray towers,Overlook a space of flowers,And the silent isle embowersThe Lady of Shalott.By the margin, willow-veil'd,Slide the heavy barges trail'dBy slow horses; and unhail'dThe shallop flitteth silken-sail'dSkimming down to Camelot:But who has seen her wave her hand?Or at the casement seen her stand?Or is she known in all the land,The Lady of Shalott?Only reapers, reaping earlyIn among the bearded barley,Hear a song that echoes cheerlyFrom the river winding clearly,Down to tower'd Camelot:And by the moon the reaper weary,Piling sheaves in uplands airy,Listening, whispers "'Tis the fairyLady of Shalott."
Part II
There she weaves by night and dayA magic web with colours gay.She has heard a whisper say,A curse is on her if she stayTo look down to Camelot.She knows not what the curse may be,And so she weaveth steadily,And little other care hath she,The Lady of Shalott.And moving thro' a mirror clearThat hangs before her all the year,Shadows of the world appear.There she sees the highway nearWinding down to Camelot:There the river eddy whirls,And there the surly village-churls,And the red cloaks of market girls,Pass onward from Shalott.Sometimes a troop of damsels glad,An abbot on an ambling pad,Sometimes a curly shepherd-lad,Or long-hair'd page in crimson clad,Goes by to tower'd Camelot;And sometimes thro' the mirror blueThe knights come riding two and two:She hath no loyal knight and true,The Lady of Shalott.But in her web she still delightsTo weave the mirror's magic sights,For often thro' the silent nightsA funeral, with plumes and lightsAnd music, went to Camelot:Or when the moon was overhead,Came two young lovers lately wed;"I am half sick of shadows," saidThe Lady of Shalott.
There she weaves by night and dayA magic web with colours gay.She has heard a whisper say,A curse is on her if she stayTo look down to Camelot.She knows not what the curse may be,And so she weaveth steadily,And little other care hath she,The Lady of Shalott.And moving thro' a mirror clearThat hangs before her all the year,Shadows of the world appear.There she sees the highway nearWinding down to Camelot:There the river eddy whirls,And there the surly village-churls,And the red cloaks of market girls,Pass onward from Shalott.Sometimes a troop of damsels glad,An abbot on an ambling pad,Sometimes a curly shepherd-lad,Or long-hair'd page in crimson clad,Goes by to tower'd Camelot;And sometimes thro' the mirror blueThe knights come riding two and two:She hath no loyal knight and true,The Lady of Shalott.But in her web she still delightsTo weave the mirror's magic sights,For often thro' the silent nightsA funeral, with plumes and lightsAnd music, went to Camelot:Or when the moon was overhead,Came two young lovers lately wed;"I am half sick of shadows," saidThe Lady of Shalott.
Part III