THE HIGH SCHOOL READER

Unwatched along ClitumnusGrazes the milk-white steer;Unharmed the water-fowl may dipIn the Volsinian mere.The harvests of Arretium,This year, old men shall reap,This year young boys in UmbroShall plunge the struggling sheep;And in the vats of Luna,This year, the must shall foamRound the white feet of laughing girlsWhose sires have marched to Rome.

Words and phrases are emphatic quite as often through contrast implied as through contrast expressed. It is evident that such a sentence as: "Will you ride to town to-day?" may have a number of different meanings according to the words emphasized. This difference of meaning is due to an implied contrast. If "you" is emphatic, it is because there is a mental contrast between "you" and some other person. If "ride" is emphatic, it is because riding is being contrasted with walking or driving and so on. The following contain examples of emphasis through implied contrast:

Greatthings were ne'er begotten in an hour.

Butnowno sound of laughter was heard among the foes.

As already shown on page21, the emphasis, in the case of implied contrast, is brought out by the circumflex inflection.

ShadingandPerspective. These deal with the relative importance of words, phrases, or clauses. According as an idea suggested by a word or group of words is regarded as principal or subordinate, the voice either projects it or holds it in the back-ground as an artist shades his picture:

And, though the legend does not live,—for legends lightly die—

The peasant, as he sees the stream in winter rolling by,

And foaming o'er its channel-bed between him and the spot

Won by the warriors of the sword, still calls that deep and dangerous ford

The Passage of the Scot.

The principal statement, "The peasant still calls that deep and dangerous ford the Passage of the Scot," is projected or emphasized by higher pitch and stronger force, the thought being sustained, and the connection made between "The peasant" and "still calls" by means of the rising inflection. The subordinate statements, "though the legend does not live" and "as he sees the stream in winter rolling by ... sword," are kept in the back-ground by slightly lower pitch and moderate force. The parenthetical clause, "for legends lightly die," is subordinate to the subordinate statement and is thrown still more into the back-ground in the same way as the preceding.

Strictly speaking, the term "shading" is used to indicate the value of individual phrases or clauses; "perspective," to indicate the values of several phrases or clauses viewed relatively.

Thequality, or timbre, of the voice reveals the speaker's emotions, their character, number, and intensity. The voice is affected by the muscular texture of the throat, just as the tone of an instrument is affected by the texture of the material of which it is made. This muscular texture is affected by nerve and muscular vibrations which are caused by emotion, the result of mental impressions. Whatever be thequality of voice peculiar to the individual, it is greatly modified by his emotions. The man of few emotions has few vocal vibrations; hence his monotonous voice. The man whose emotions are habitually cruel, has a harsh, hard muscular texture through contraction of the muscles; hence the hard voice. It is plain that the natural voice is an index to the character. If the imagination and soul are cultivated, the voice will gain in richness and fulness. If, in reading that which expresses the sublime, noble, and grand, the imagination is kindled, the voice will express by its vibrations the largeness of our conception. This full, rich voice is called theorotund:

These are the gardens of the Desert, theseThe unshorn fields, boundless and beautiful,For which the speech of England has no name—The prairies.

For as the heaven is high above the earth, so great is his mercy toward them that fear him.

As far as the east is from the west, so far hath he removed our transgressions from us.

In thinking of what is stern, severe, harsh, cruel, or base, the muscles of the throat contract and produce the rigid, throaty tone known as theguttural:

On what compulsion must I? Tell me that."Curse on him!" quoth false Sextus"Will not the villain drown?But for this stay, ere close of day,We should have sacked the town!"

Certain states of mind, such as awe, caution, secrecy, fear, etc., produce in greater or less degree an aspirated or "breathy" quality, called thewhisperoraspirate:

When Jubal struck the chorded shell,His listening brethren stood around,And, wondering, on their faces fellTo worship that celestial sound.The red rose cries, "She is near, she is near;"And the white rose weeps, "She is late;"The larkspur listens, "I hear, I hear;"And the lily whispers, "I wait."

The atmosphere of hush and repose expresses itself by a partial whisper:

Ne'er saw I, never felt, a calm so deep!The river glideth at his own sweet will:Dear God! the very houses seem asleep;And all that mighty heart is lying still!

It must not be supposed that the whisper is always associated with moderate or with weak force as in the preceding examples. Strong force is used with the whisper to express intensity of feeling or vehemence:

Whispering with white lips: the foe! they come! they come!

Hush, I say, hush!

Other emotional states have their corresponding qualities of voice, such, for example, as the quality of oppressed feeling and the quality expressing agitation.

To conclude: it must be carefully borne in mind that the reader should never strive to produce a certain quality apart from the emotion which should precede. By force alone, for example, he will succeed in producing mere sound without the quality. Nor are any of the examples given above, in dealing with the various elements of vocal expression, intended for practice in voice gymnastics apart from the preliminary state of which they are the vocal expression. They are intended merely as illustrations of the laws which govern correct speech.

Words by Shapcott Wensley: music by Sir Edward Elgar

It comes from the misty ages,The banner of England's might,The blood-red cross of the brave St. George,That burns on a field of white!It speaks of the deathless heroes5On fame's bright page inscrolled,And bids great England ne'er forgetThe glorious deeds of old!O'er many a cloud of battleThe banner has floated wide;10It shone like a star o'er the valiant heartsThat dashed the Armada's pride!For ever amid the thundersThe sailor could do or die,While tongues of flame leaped forth below,15And the flag of St. George was high!O ne'er may the flag belovedUnfurl in a strife unblest,But ever give strength to the righteous arm,And hope to the hearts oppressed!20It says to the passing ages:"Be brave if your cause be right,Like the soldier saint whose cross of redStill burns on your banner white!"Great race, whose empire of splendour25Has dazzled the wondering world!May the flag that floats o'er thy wide domainsBe long to all winds unfurled!Three crosses in concord blended,The banner of Britain's might!30But the central gem of the ensign fairIs the cross of the dauntless Knight!

—By permission of the publishers, Novello & Co.

Preparatory—Divide the poem into two parts, giving to each part a descriptive title.What feelings are aroused by this poem?What lines in stanzas i and iv call up a mental picture of the flag?What three phrases in stanza i suggest the important ideas to be associated with the flag? How does the voice indicate the importance of these ideas? (Introduction, p.8.)Of what phrases in stanza i is stanza ii only an elaboration?What wish is contained in stanza iii? What sentences express it?What additional idea does stanza iv add to this wish?star, valiant, armada, central. Make a distinction in the sound of the letterain these words, and elsewhere in the poem. (AppendixA, 1.)George, cross, forget, forth, concord. What sound has the letteroin each word? (AppendixA, 1.)Articulate with energy the final consonantal combinations of all such words as:England's, burns, speaks, inscrolled, floated, hearts, dashed, leaped, unblest, strength, dazzled, unfurled, blended. (AppendixA, 3.)

Preparatory—Divide the poem into two parts, giving to each part a descriptive title.

What feelings are aroused by this poem?

What lines in stanzas i and iv call up a mental picture of the flag?

What three phrases in stanza i suggest the important ideas to be associated with the flag? How does the voice indicate the importance of these ideas? (Introduction, p.8.)

Of what phrases in stanza i is stanza ii only an elaboration?

What wish is contained in stanza iii? What sentences express it?

What additional idea does stanza iv add to this wish?

star, valiant, armada, central. Make a distinction in the sound of the letterain these words, and elsewhere in the poem. (AppendixA, 1.)

George, cross, forget, forth, concord. What sound has the letteroin each word? (AppendixA, 1.)

Articulate with energy the final consonantal combinations of all such words as:England's, burns, speaks, inscrolled, floated, hearts, dashed, leaped, unblest, strength, dazzled, unfurled, blended. (AppendixA, 3.)

From "Les Misérables"

At the bishop's house, his housekeeper, Mme. Magloire was saying:

"We say that this house is not safe at all; and, if Monseigneur will permit me, I will go on and tell the locksmith to come and put the old bolts in the door again. I say, than a door which opens by a latch on the outside to the first comer, nothing could be more horrible; and then Monseigneur has the habit of always saying: 'Come in,' even at midnight. But, my goodness, there is no need to even ask leave——"

At this moment there was a violent knock on the door.

"Come in!" said the bishop.

The door opened.

It opened quickly, quite wide, as if pushed by some one boldly and with energy.

A man entered.

That man we know already; it was the traveller we have seen wandering about in search of a lodging.

He came in, took one step, and paused, leaving the door open behind him. He had his knapsack on his back, his stick in his hand, and a rough, hard, and fierce look in his eyes. He was hideous.

The bishop looked upon the man with a tranquil eye. As he was opening his mouth to speak, doubtless to ask the stranger what he wanted, the man, leaning with both hands on his club, glanced from one to another in turn,and, without waiting for the bishop to speak, said, in a loud voice:

"See here! my name is Jean Valjean. I am a convict; I have been nineteen years in the galleys. Four days ago I was set free, and started for Pontarlier; during these four days I have walked from Toulon. To-day I have walked twelve leagues. When I reached this place this evening I went to an inn, and they sent me away on account of my yellow passport, which I had shown at the Mayor's office, as was necessary. I went to another inn; they said, 'Get out!' It was the same with one as with another; nobody would have me. I went to the prison and the turnkey would not let me in. I crept into a dog kennel, the dog bit me, and drove me away as if he had been a man; you would have said that he knew who I was. I went into the fields to sleep beneath the stars, there were no stars. I thought it would rain, and there was no good God to stop the drops, so I came back to the town to get the shelter of some doorway. There in the square I laid down upon a stone; a good woman showed me your house, and said: 'Knock there!' I have knocked. What is this place? Are you an inn? I have money; my savings, one hundred and nine francs and fifteen sous, which I have earned in the galleys by my work for nineteen years. I will pay. What do I care? I have money, I am very tired—twelve leagues on foot—and I am so hungry. Can I stay?"

"Mme. Magloire," said the bishop, "put on another plate."

The man took three steps and came near the lamp which stood on the table. "Stop," he exclaimed; as if he had not been understood; "not that, did you understand me? I am a galley slave—a convict—I am justfrom the galleys." He drew from his pocket a large sheet of yellow paper, which he unfolded. "There is my passport, yellow, as you see. That is enough to have me kicked out wherever I go. Will you read it? See, here is what they have put on my passport: Jean Valjean, a liberated convict; has been nineteen years in the galleys; five years for burglary; fourteen years for having attempted four times to escape. This man is very dangerous. There you have it! Everybody has thrust me out; will you receive me? Is this an inn? Can you give me something to eat and a place to sleep? Have you a stable?"

"Mme. Magloire," said the bishop, "put some sheets on the bed in the alcove."

The bishop turned to the man:

"Monsieur, sit down and warm yourself; we are going to take supper presently, and your bed will be made ready while you sup."

At last the man quite understood; his face, the expression of which till then had been gloomy, and hard, now expressed stupefaction, doubt and joy, and became absolutely wonderful. He began to stutter like a madman.

"True? What? You will keep me? you won't drive me away—a convict? You call me monsieur and don't say, 'Get out, dog!' as everybody else does. I shall have a supper! a bed like other people, with mattress and sheets—a bed! It is nineteen years that I have not slept on a bed. You are good people! Besides, I have money; I will pay well. I beg your pardon, M. Innkeeper, what is your name? I will pay all you say. You are a fine man. You are an innkeeper, is it not so?"

"I am a priest who lives here," said the bishop.

"A priest," said the man. "Oh, noble priest! Then you do not ask any money?"

"No," said the bishop, "keep your money. How much have you?"

"One hundred and nine francs and fifteen sous," said the man.

"One hundred and nine francs and fifteen sous. And how long did it take you to earn that?"

"Nineteen years."

"Nineteen years!"

The bishop sighed deeply, and shut the door, which had been left wide open.

Mme. Magloire brought in a plate and set it on the table.

"Mme Magloire," said the bishop, "put this plate as near the fire as you can." Then turning toward his guest he added: "The night wind is raw in the Alps; you must be cold, monsieur."

Every time he said the wordmonsieurwith his gentle, solemn and heartily hospitable voice, the man's countenance lighted up.Monsieurto a convict is a glass of water to a man dying of thirst at sea.

"The lamp," said the bishop, "gives a very poor light."

Mme. Magloire understood him, and, going to his bedchamber, took from the mantel the two silver candlesticks, lighted the candles and placed them on the table.

"M. le Curé," said the man, you are good; "you don't despise me. You take me into your house; you light your candles for me, and I haven't hid from you where I come from, and how miserable I am."

The bishop touched his hand gently and said: "You need not tell me who you are. This is not my house; itis the house of Christ. It does not ask any comer whether he has a name, but whether he has an affliction. You are suffering; you are hungry and thirsty; be welcome. And do not thank me; do not tell me that I take you into my house. This is the home of no man except him who needs an asylum. I tell you, who are a traveller, that you are more at home here than I; whatever is here is yours. What need have I to know your name? Besides, before you told me, I knew it."

The man opened his eyes in astonishment.

"Really? You knew my name?"

"Yes," answered the bishop, "your name is my brother."

"Stop, stop, M. le Curé," exclaimed the man, "I was famished when I came in, but you are so kind that now I don't know what I am; that is all gone."

The bishop looked at him again and said:

"You have seen much suffering?"

"Oh, the red blouse, the ball and chain, the plank you sleep on, the heat, the cold, the galley's screw, the lash, the double chain for nothing, the dungeon for a word—even when sick in bed, the chain. The dogs, the dogs are happier! nineteen years! and I am forty-six, and now a yellow passport. That is all."

"Yes," answered the bishop, "you have left a place of suffering. But listen, there will be more joy in heaven over the tears of a repentant sinner than over the white robes of a hundred good men. If you are leaving that sorrowful place with hate and anger against men, you are worthy of compassion; if you leave it with good-will, gentleness, and peace, you are better than any of us."

—Victor Hugo

This lesson can be used as an exercise on Pause springing from (1) Visualization and Grouping, (Introduction, pp.7and8); (2) Narrative which breaks in upon the direct discourse. (Introduction, p.24.)That man we know already. (Introduction, p.11.)"See here ... Can I stay?" This paragraph is an exercise on Emphasis. Make a list of the words which are emphatic (1) because they express new and important ideas, (2) because of contrast. Why isgalleysnot emphatic? Where is the emphasis placed in that sentence?

This lesson can be used as an exercise on Pause springing from (1) Visualization and Grouping, (Introduction, pp.7and8); (2) Narrative which breaks in upon the direct discourse. (Introduction, p.24.)

That man we know already. (Introduction, p.11.)

"See here ... Can I stay?" This paragraph is an exercise on Emphasis. Make a list of the words which are emphatic (1) because they express new and important ideas, (2) because of contrast. Why isgalleysnot emphatic? Where is the emphasis placed in that sentence?

A well there is in the west country,And a clearer one never was seen;There is not a wife in the west countryBut has heard of the well of St. Keyne.An oak and an elm-tree stand beside,5And behind doth an ash-tree grow,And a willow from the bank aboveDroops to the water below.A traveller came to the well of St. Keyne;Joyfully he drew nigh,10For from cock-crow he had been travelling,And there was not a cloud in the sky.He drank of the water so cool and clear,For thirsty and hot was he;And he sat down upon the bank,15Under the willow-tree.There came a man from the house hard by,At the well to fill his pail;On the well-side he rested it,And he bade the stranger hail.20"Now, art thou a bachelor, stranger?" quoth he;"For, an if thou hast a wife,The happiest draught thou hast drank this dayThat ever thou didst in thy life."Or has thy good woman, if one thou hast,25Ever here in Cornwall been?For, an if she have, I'll venture my lifeShe has drank of the well of St. Keyne.""I have left a good woman who never was here,"The stranger he made reply;30"But that my draught should be the better for that,I pray you answer me why.""St. Keyne," quoth the Cornish-man, many a timeDrank of this crystal well;And before the angel summoned her,35She laid on the water a spell,—"If the husband of this gifted wellShall drink before his wife,A happy man thenceforth is he,For he shall be master for life;40"But, if the wife should drink of it first,God help the husband then!"—The stranger stooped to the well of St. Keyne,And drank of the water again."You drank of the well, I warrant, betimes?"45He to the Cornish-man said;But the Cornish-man smiled as the stranger spake,And sheepishly shook his head:—"I hastened, as soon as the wedding was done,And left my wife in the porch;50But i' faith she had been wiser than me,For she took a bottle to church."

—Robert Southey

Preparatory.—Select the lines that (a) describe the scene, (b) indicate the action, (c) give the dialogue.Show by recasting this ballad into dramatic form that it is a miniature drama.Give examples of Pause springing from (a) Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (b) narrative which interrupts direct discourse, in ll. 21, 29, 33, 45.Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14, 21, 29, 31, 38, 45, 46? Give your reasons and show how they are made emphatic. (Introduction, p.30.)l. 3. What is the Inflection on 'country,' l. 3? (Introduction, p.17.)ll. 37-38. Note the Grouping and Pause. (Introduction, p.12.)

Preparatory.—Select the lines that (a) describe the scene, (b) indicate the action, (c) give the dialogue.

Show by recasting this ballad into dramatic form that it is a miniature drama.

Give examples of Pause springing from (a) Visualization, in ll. 1, 5, 6, 7, 9, 13, 17, 19, (b) narrative which interrupts direct discourse, in ll. 21, 29, 33, 45.

Which are the emphatic words in ll. 2, 3, 4, 10, 11, 14, 21, 29, 31, 38, 45, 46? Give your reasons and show how they are made emphatic. (Introduction, p.30.)

l. 3. What is the Inflection on 'country,' l. 3? (Introduction, p.17.)

ll. 37-38. Note the Grouping and Pause. (Introduction, p.12.)

1 Corinthians xiii

Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing.

Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up, doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth all things, believeth all things, hopeth all things, endureth all things.

Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away. When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man I put away childish things. For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.

And now abideth faith, hope and charity, these three; but the greatest of these is charity.

Charity, suffereth, profiteth.(AppendixA, 8and3.)Show by examples from this selection how completeness and incompleteness of thought affect the Inflection. (Introduction, pp.15and16.)What Inflection does a negative statement usually require? Give examples from the second paragraph. (Introduction, p.17.)Give examples, from the second paragraph, of momentary completeness. (Introduction, pp.15and16.)Select the words which are emphatic because they express (a) new and important ideas. (b) contrast.beareth all things, etc.How may the repetition of a word or phrase affect the Emphasis? (Introduction, pp.31and32.)How are the principal clauses in the first three sentences made prominent? (Introduction, p.33.)

Charity, suffereth, profiteth.(AppendixA, 8and3.)

Show by examples from this selection how completeness and incompleteness of thought affect the Inflection. (Introduction, pp.15and16.)

What Inflection does a negative statement usually require? Give examples from the second paragraph. (Introduction, p.17.)

Give examples, from the second paragraph, of momentary completeness. (Introduction, pp.15and16.)

Select the words which are emphatic because they express (a) new and important ideas. (b) contrast.

beareth all things, etc.How may the repetition of a word or phrase affect the Emphasis? (Introduction, pp.31and32.)

How are the principal clauses in the first three sentences made prominent? (Introduction, p.33.)

From "Tales of a Wayside Inn"

"Hadst thou stayed, I must have fled!"That is what the Vision said.In his chamber all alone,Kneeling on the floor of stone,Prayed the Monk in deep contrition5For his sins of indecision,Prayed for greater self-denialIn temptation and in trial;It was noonday by the dial,And the Monk was all alone.10Suddenly, as if it lightened,An unwonted splendour brightenedAll within him and without himIn that narrow cell of stone;And he saw the Blessed Vision15Of our Lord, with light ElysianLike a vesture wrapped about Him,Like a garment round Him thrown.Not as crucified and slain,Not in agonies of pain,20Not with bleeding hands and feet,Did the Monk his Master see;But as in the village street,In the house or harvest-field,Halt and lame and blind He healed,25When He walked in Galilee.In an attitude imploring,Hands upon his bosom crossed,Wondering, worshipping, adoring,Knelt the Monk in rapture lost.30Lord, he thought, in heaven that reignest,Who am I, that thus Thou deignestTo reveal Thyself to me?Who am I, that from the centreOf Thy glory Thou shouldst enter35This poor cell, my guest to be?Then amid his exaltation,Loud the convent bell appalling,From its belfry calling, calling,Rang through court and corridor40With persistent iterationHe had never heard before.It was now the appointed hourWhen alike in shine or shower,Winter's cold or summer's heat,45To the convent portals cameAll the blind and halt and lame,All the beggars of the street,For their daily dole of foodDealt them by the brotherhood;50And their almoner was heWho upon his bended knee,Rapt in silent ecstasyOf divinest self-surrender,Saw the Vision and the Splendour.55Deep distress and hesitationMingled with his adoration;Should he go or should he stay?Should he leave the poor to waitHungry at the convent gate,60Till the Vision passed away?Should he slight his radiant guest,Slight this visitant celestial,For a crowd of ragged, bestialBeggars at the convent gate?65Would the Vision there remain?Would the Vision come again?Then a voice within his breastWhispered, audible and clearAs if to the outward ear:70"Do thy duty; that is best;Leave unto thy Lord the rest!"Straightway to his feet he started,And with longing look intentOn the Blessed Vision bent,75Slowly from his cell departed,Slowly on his errand went.At the gate the poor were waiting,Looking through the iron grating,With that terror in the eye80That is only seen in thoseWho amid their wants and woesHear the sound of doors that close,And of feet that pass them by;Grown familiar with disfavour,85Grown familiar with the savourOf the bread by which men die!But to-day, they knew not why,Like the gate of ParadiseSeemed the convent gate to rise,90Like a sacrament divineSeemed to them the bread and wine.In his heart the Monk was praying,Thinking of the homeless poor,What they suffer and endure;95What we see not, what we see;And the inward voice was saying:"Whatsoever thing thou doestTo the least of Mine and lowest,That thou doest unto Me!"100Unto Me! but had the VisionCome to him in beggar's clothing,Come a mendicant imploring,Would he then have knelt adoring,Or have listened with derision,105And have turned away with loathing?Thus his conscience put the question,Full of troublesome suggestion,As at length, with hurried pace,Toward his cell he turned his face,110And beheld the convent brightWith a supernatural light,Like a luminous cloud expandingOver floor and wall and ceiling.But he paused with awestruck feeling115At the threshold of his door,For the Vision still was standingAs he left it there before,When the convent bell appalling,From its belfry calling, calling,120Summoned him to feed the poor.Through the long hour interveningIt had waited his return,And he felt his bosom burn,Comprehending all the meaning,125When the Blessed Vision said,"Hadst thou stayed, I must have fled!"

—Henry Wadsworth Longfellow

Hadst, lightened, brightened, reignest, deignest, divinest. (Appendix,A, 3.)ll. 29, 38-39, 78-79. (Appendix,A, 4.)How can the reader show that the first two lines are merely introductory?Divide the poem proper into five parts, giving to each part a suggestive title. How can the reader make each part stand out by itself? (Introduction, p.10.)Select the principal statement in each stanza and show how the voice may make it prominent. (Introduction, p.33.)What Inflection is placed on the principal statement? What Inflection on the subordinate phrases and clauses? (Introduction, p.15.)Select examples of momentary completeness from the poem.ll. 19-22. What is the Inflection on these negative phrases? (Introduction, pp.17and18.)What is the Inflection on the various questions throughout the poem? (Introduction, p.18.)

Hadst, lightened, brightened, reignest, deignest, divinest. (Appendix,A, 3.)

ll. 29, 38-39, 78-79. (Appendix,A, 4.)

How can the reader show that the first two lines are merely introductory?

Divide the poem proper into five parts, giving to each part a suggestive title. How can the reader make each part stand out by itself? (Introduction, p.10.)

Select the principal statement in each stanza and show how the voice may make it prominent. (Introduction, p.33.)

What Inflection is placed on the principal statement? What Inflection on the subordinate phrases and clauses? (Introduction, p.15.)

Select examples of momentary completeness from the poem.

ll. 19-22. What is the Inflection on these negative phrases? (Introduction, pp.17and18.)

What is the Inflection on the various questions throughout the poem? (Introduction, p.18.)

From "The Vicar of Wakefield"

1. Whatever might have been Sophia's sensations, the rest of the family was easily consoled for Mr. Burchell's absence by the company of our landlord, whose visits now became more frequent, and longer. Though he had been disappointed in procuring my daughters the amusements of the town, as he designed, he took every opportunity of supplying them with those little recreations which our retirement would admit of. He usually came in the morning; and while my son and I followed our occupations abroad, he sat with the family at home, and amused them by describing the town, with every part of which he was particularly acquainted. He could repeat all the observations that were retailed in the atmosphere of the play-houses, and had all the good things of the high wits by rote, long before they made their way into the jest-books. The intervals between conversation were employed in teaching my daughters piquet, or sometimes in setting my two little ones to box, to make themsharp, as he called it; but the hopes of having him for a son-in-law, in some measure blinded us to all his imperfections. It must be owned, that my wife laid a thousand schemes to entrap him; or, to speak it more tenderly, used every art to magnify the merit of her daughter. If the cakes at tea ate short and crisp, they were made by Olivia; if the gooseberry wine was well knit, the gooseberries were of her gathering;it was her fingers that gave the pickles their peculiar green; and in the composition of a pudding, it was her judgment that mixed the ingredients. Then the poor woman would sometimes tell the Squire that she thought him and Olivia extremely of a size, and would bid both stand up to see which was tallest. These instances of cunning, which she thought impenetrable, yet which everybody saw through, were very pleasing to our benefactor, who gave every day some new proofs of his passion, which, though they had not risen to proposals of marriage, yet we thought fell but little short of it; and his slowness was attributed sometimes to native bashfulness, and sometimes to his fear of offending his uncle. An occurrence, however, which happened soon after, put it beyond a doubt that he designed to become one of our family; my wife even regarded it as an absolute promise.

2. My wife and daughters happening to return a visit at neighbour Flamborough's, found that family had lately got their pictures drawn by a limner, who travelled the country, and took likenesses for fifteen shillings a head. As this family and ours had long a sort of rivalry in point of taste, our spirit took the alarm at this stolen march upon us; and notwithstanding all I could say, and I said much, it was resolved that we should have our pictures done too. Having, therefore, engaged the limner—for what could I do?—our next deliberation was to shew the superiority of our taste in the attitudes. As for our neighbour's family, there were seven of them, and they were drawn with seven oranges—a thing quite out of taste, novariety in life, no composition in the world. We desired to have something in a brighter style; and after many debates, at length came to an unanimous resolution of being drawn together, in one large historical family piece. This would be cheaper, since one frame would serve for all, and it would be infinitely more genteel; for all families of any taste were now drawn in the same manner. As we did not immediately recollect an historical subject to hit us, we were contented each with being drawn as independent historical figures. My wife desired to be represented as Venus, and the painter was desired not to be too frugal of his diamonds in her stomacher and hair. Her two little ones were to be as Cupids by her side; while I, in my gown and band, was to present her with my books on the Whistonian controversy. Olivia would be drawn as an Amazon, sitting upon a bank of flowers, dressed in a green joseph richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing; and Moses was to be dressed out with an hat and white feather. Our taste so much pleased the Squire that he insisted on being put in as one of the family, in the character of Alexander the Great, at Olivia's feet. This was considered by us all as an indication of his desire to be introduced into the family, nor could we refuse his request. The painter was therefore set to work, and as he wrought with assiduity and expedition, in less than four days the whole was completed. The piece was large, and it must be owned he did not spare his colours; for which my wife gave him great encomiums. We were all perfectly satisfied with his performance; but an unfortunate circumstancewhich had not occurred till the picture was finished, now struck us with dismay. It was so very large that we had no place in the house to fix it. How we all came to disregard so material a point is inconceivable; but certain it is, we had been all greatly remiss. The picture, therefore, instead of gratifying our vanity, as we hoped, leaned, in a most mortifying manner, against the kitchen wall, where the canvas was stretched and painted, much too large to be got through any of the doors, and the jest of all our neighbours. One compared it to Robinson Crusoe's long-boat, too large to be removed; another thought it more resembled a reel in a bottle; some wondered how it could be got out. but still more were amazed how it ever got in.

3. But though it excited the ridicule of some, it effectually raised more malicious suggestions in many. The Squire's portrait being found united with ours, was an honour too great to escape envy. Scandalous whispers began to circulate at our expense, and our tranquillity was continually disturbed by persons, who came as friends, to tell us what was said of us by enemies. These reports we always resented with becoming spirit; but scandal ever improves by opposition.

4. We once again, therefore, entered into a consultation upon obviating the malice of our enemies, and at last came to a resolution which had too much cunning to give me entire satisfaction. It was this: as our principal object was to discover the honour of Mr. Thornhill's addresses, my wife undertook to sound him, by pretending to ask his advice in the choice of an husband for her eldest daughter. If this was notfound sufficient to induce him to a declaration, it was then resolved to terrify him with a rival. To this last step, however, I would by no means give my consent, till Olivia gave me the most solemn assurances that she would marry the person provided to rival him upon this occasion, if he did not prevent it by taking her himself. Such was the scheme laid, which, though I did not strenuously oppose, I did not entirely approve.

5. The next time, therefore, that Mr. Thornhill came to see us, my girls took care to be out of the way, in order to give their mamma an opportunity of putting her scheme in execution; but they only retired to the next room, whence they could overhear the whole conversation. My wife artfully introduced it, by observing, that one of the Miss Flamboroughs was like to have a very good match of it in Mr. Spanker. To this the Squire assenting, she proceeded to remark, that they who had warm fortunes were always sure of getting good husbands: "But heaven help," continued she, "the girls that have none! What signifies beauty, Mr. Thornhill? or what signifies all the virtue, and all the qualifications in the world, in this age of self-interest? It is not, What is she? but, What has she? is all the cry."

6. "Madam," returned he, "I highly approve the justice, as well as the novelty, of your remarks, and if I were a king, it should be otherwise. It should then, indeed, be fine times for the girls without fortunes: our two young ladies should be the first for whom I would provide."

7. "Ah, sir," returned my wife, "you are pleased to be facetious: but I wish I were a queen, and then Iknow where my eldest daughter should look for an husband. But now that you have put it into my head, seriously, Mr. Thornhill, can't you recommend me a proper husband for her? She is now nineteen years old, well grown and well educated, and, in my humble opinion, does not want for parts."

8. "Madam," replied he, "if I were to choose, I would find out a person possessed of every accomplishment that can make an angel happy. One with prudence, fortune, taste, and sincerity; such, madam, would be, in my opinion, the proper husband."—"Ay, sir," said she, "but do you know of any such person?"—"No, Madam," returned he, "it is impossible to know any person that deserves to be her husband: she's too great a treasure for one man's possession: she's a goddess! Upon my soul, I speak what I think, she's an angel!"—"Ah, Mr. Thornhill, you only flatter my poor girl: but we have been thinking of marrying her to one of your tenants, whose mother is lately dead, and who wants a manager; you know whom I mean, Farmer Williams; a warm man, Mr. Thornhill, able to give her good bread; and who has several times made her proposals" (which was actually the case); "but, sir," concluded she, "I should be glad to have your approbation of our choice."—"How, Madam," replied he, "my approbation!—my approbation of such a choice! Never. What! Sacrifice so much beauty, and sense, and goodness, to a creature insensible of the blessing! Excuse me, I can never approve of such a piece of injustice. And I have my reasons."—"Indeed, sir," cried Deborah, "If you have your reasons, that's another affair; but I should be glad to know thosereasons."—"Excuse me, Madam," returned he, "they lie too deep for discovery" (laying his hand upon his bosom); "they remain buried, rivetted here."

9. After he was gone, upon a general consultation, we could not tell what to make of these fine sentiments. Olivia considered them as instances of the most exalted passion; but I was not quite so sanguine; yet, whatever they might portend, it was resolved to prosecute the scheme of Farmer Williams, who, from my daughter's first appearance in the country, had paid her his addresses.

—Oliver Goldsmith

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