THE SOLDIER'S DREAM

absolute, resolution, introduced, (Appendix,A, 2.)visits, native, infinitely, Cupids, vanity, gratifying, mortifying, sanguine. (Appendix,A, 8.)unfortunate, fortune, virtue. (Appendix,A, 9.)Show by numerous examples from this selection that the dependent clause of a sentence takes the rising Inflection—whilst the principal clause takes the falling. Which of the two has the heavier shading? (Introduction, p.33.)How are such parenthetical clauses asas he designed, in the second sentence, kept in the back-ground? (Introduction, pp.24and27.) Give similar examples from this selection.What Inflection is placed on the rhetorical questions in par. v? (Introduction, p.19.)How is the effect of the climax in par. viii brought out? (Introduction, p.31.)

absolute, resolution, introduced, (Appendix,A, 2.)visits, native, infinitely, Cupids, vanity, gratifying, mortifying, sanguine. (Appendix,A, 8.)unfortunate, fortune, virtue. (Appendix,A, 9.)

Show by numerous examples from this selection that the dependent clause of a sentence takes the rising Inflection—whilst the principal clause takes the falling. Which of the two has the heavier shading? (Introduction, p.33.)

How are such parenthetical clauses asas he designed, in the second sentence, kept in the back-ground? (Introduction, pp.24and27.) Give similar examples from this selection.

What Inflection is placed on the rhetorical questions in par. v? (Introduction, p.19.)

How is the effect of the climax in par. viii brought out? (Introduction, p.31.)

Our bugles sang truce—for the night-cloud had loweredAnd the sentinel stars set their watch in the sky;And thousands had sunk on the ground overpowered,The weary to sleep, and the wounded to die.When reposing that night on my pallet of straw,5By the wolf-scaring faggot that guarded the slain,At the dead of the night a sweet vision I saw,And thrice ere the morning I dreamt it again.Methought from the battlefield's dreadful array,Far, far I had roamed on a desolate track;10'Twas autumn—and sunshine arose on the wayTo the home of my fathers, that welcomed me back.I flew to the pleasant fields traversed so oftIn life's morning march, when my bosom was young;I heard my own mountain-goats bleating aloft,15And knew the sweet strain that the corn-reapers sung.Then pledged we the wine-cup, and fondly I sworeFrom my home and my weeping friends never to part;My little ones kissed me a thousand times o'er,And my wife sobbed aloud in her fulness of heart.20"Stay, stay with us—rest, thou art weary and worn;"And fain was their war-broken soldier to stay;But sorrow returned with the dawning of morn,And the voice in my dreaming ear melted away.

—Thomas Campbell

Preparatory.—Describe the picture suggested by this poem.Compare the soldier's dream with the vision ofThe Private of the Buffsin the hour of danger, or withThe Slave's Dreamin Longfellow's poem.Divide the poem into three distinct parts, giving to each a descriptive title.Expand the thoughts contained in the last two lines of the poem, using, if possible, illustrations from literature or real life. What feelings do these lines arouse?Observe the difficulties of Articulation in ll. 1, 2, 13 and 16. (AppendixA, 6and3.)How can each part of the poem be made to stand out by itself? (Introduction, p.10.)2.SENTINEL STARS.Select other phrases which call up mental images.How does the process of mental imagery affect the Time? (Introduction, p.12.)3. How can it be shown thatOVERPOWEREDandGROUNDare disconnected? (Introduction, p.7.)4. Why do we pause afterWEARYandwounded? (Introduction, p.10.)6. Why is there no pause afterFAGGOT? (Introduction, p.11.)What lines of stanza ii contain the leading thought? How does the voice indicate this? (Introduction, p.33.)9. How is the mind prepared for the description of the dream?21. What feeling does the voice express? Does Imitation play any part here? (Introduction, pp.5and6.)22. Expand the thought of this line, and show how your thinking affects the Time. (Introduction, p.14.) Compare with the Time of l. 21, and explain the difference.

Preparatory.—Describe the picture suggested by this poem.

Compare the soldier's dream with the vision ofThe Private of the Buffsin the hour of danger, or withThe Slave's Dreamin Longfellow's poem.

Divide the poem into three distinct parts, giving to each a descriptive title.

Expand the thoughts contained in the last two lines of the poem, using, if possible, illustrations from literature or real life. What feelings do these lines arouse?

Observe the difficulties of Articulation in ll. 1, 2, 13 and 16. (AppendixA, 6and3.)

How can each part of the poem be made to stand out by itself? (Introduction, p.10.)

2.SENTINEL STARS.Select other phrases which call up mental images.

How does the process of mental imagery affect the Time? (Introduction, p.12.)

3. How can it be shown thatOVERPOWEREDandGROUNDare disconnected? (Introduction, p.7.)

4. Why do we pause afterWEARYandwounded? (Introduction, p.10.)

6. Why is there no pause afterFAGGOT? (Introduction, p.11.)

What lines of stanza ii contain the leading thought? How does the voice indicate this? (Introduction, p.33.)

9. How is the mind prepared for the description of the dream?

21. What feeling does the voice express? Does Imitation play any part here? (Introduction, pp.5and6.)

22. Expand the thought of this line, and show how your thinking affects the Time. (Introduction, p.14.) Compare with the Time of l. 21, and explain the difference.

God spake three times and saved Van Elsen's soul;He spake by sickness first, and made him whole;Van Elsen heard him not,Or soon forgot.God spake to him by wealth; the world outpoured5Its treasures at his feet, and called him lord;Van Elsen's heart grew fatAnd proud thereat.God spake the third time when the great world smiled,And in the sunshine slew his little child;10Van Elsen like a treeFell hopelessly.Then in the darkness came a voice which said,"As thy heart bleedeth, so My heart hath bled;As I have need of thee15Thou needest Me."That night Van Elsen kissed the baby feet,And kneeling by the narrow winding-sheetPraised him with fervent breathWho conquered death.20

-Frederick George Scott(By permission)

By what means is the introductory line kept distinct from the rest of the poem? (Introduction, p.10.)How does the reader indicate the comparatively long space of time which elapses between the events of the first, second, and third stanzas respectively? (Introduction, p.9.)Show that each of the first three stanzas falls according to meaning, into two parts. How does the reader indicate this division?Why should the last two stanzas, in this respect, be together treated as one of the preceding? Illustrate by means of Pause.

By what means is the introductory line kept distinct from the rest of the poem? (Introduction, p.10.)

How does the reader indicate the comparatively long space of time which elapses between the events of the first, second, and third stanzas respectively? (Introduction, p.9.)

Show that each of the first three stanzas falls according to meaning, into two parts. How does the reader indicate this division?

Why should the last two stanzas, in this respect, be together treated as one of the preceding? Illustrate by means of Pause.

Pibroch of Donuil Dhu,Pibroch of Donuil,Wake thy wild voice anew,Summon Clan Conuil.Come away, come away,5Hark to the summons!Come in your war array,Gentles and commons.Come from deep glen, andFrom mountains so rocky,10The war-pipe and pennonAre at Inverlocky.Come every hill-plaid, andTrue heart that wears one,Come every steel blade, and15Strong hand that bears one.Leave untended the herd,The flock without shelter;Leave the corpse uninterr'dThe bride at the altar;20Leave the deer, leave the steer,Leave nets and barges:Come with your fighting gear,Broadswords and targes.Come as the winds come, when25Forests are rended,Come as the waves come, whenNavies are stranded;Faster come, faster come,Faster and faster,30Chief, vassal, page and groom,Tenant and master.Fast they come, fast they come;See how they gather!Wide waves the eagle plume,35Blended with heather.Cast your plaids, draw your blades,Forward each man set!Pibroch of Donuil DhuKnell for the onset!40

—Sir Walter Scott

HERD, UNINTERR'D.What sound has the vowele? (AppendixA, 1.)Gentles and commons;nets and barges;fighting gear;Broadswords and targes;Forests are rended;Navies are stranded. (AppendixA, 3andA, 6.)For Pause read (Introduction, pp.7and8.)How is the gradually increasing excitement and energy indicated in Time, Pitch, and Force? (Introduction, pp.13,23, and27.)

HERD, UNINTERR'D.What sound has the vowele? (AppendixA, 1.)

Gentles and commons;nets and barges;fighting gear;Broadswords and targes;Forests are rended;Navies are stranded. (AppendixA, 3andA, 6.)

For Pause read (Introduction, pp.7and8.)

How is the gradually increasing excitement and energy indicated in Time, Pitch, and Force? (Introduction, pp.13,23, and27.)

The day is done, and the darknessFalls from the wings of Night,As a feather is wafted downwardsFrom an eagle in its flight.I see the lights of the village5Gleam through the rain and the mist,And a feeling of sadness comes o'er me,That my soul cannot resist:A feeling of sadness and longing,That is not akin to pain,10And resembles sorrow onlyAs the mist resembles the rain.Come, read to me some poem,Some simple and heartfelt lay,That shall soothe this restless feeling,15And banish the thoughts of day.Not from the grand old masters,Not from the bards sublime,Whose distant footsteps echoThrough the corridors of Time.20For, like strains of martial music,Their mighty thoughts suggestLife's endless toil and endeavour;And to-night I long for rest.Read from some humbler poet,25Whose songs gushed from his heart,As showers from the clouds of summer,Or tears from the eyelids start;Who, through long days of labour,And nights devoid of ease,30Still heard in his soul the musicOf wonderful melodies.Such songs have power to quietThe restless pulse of care,And come like the benediction35That follows after prayer.Then read from the treasured volumeThe poem of thy choice,And lend to the rhyme of the poetThe beauty of thy voice.40And the night shall be filled with music,And the cares that infest the day,Shall fold their tents, like the Arabs,And as silently steal away.

—Henry Wadsworth Longfellow

What is the atmosphere of this poem? Compare it in this respect withPibroch of Donuil Dhu.How does it differ from the latter in expression, so far as Time, Pitch, and Force are concerned? (Introduction, pp.13,22and26.)WAFTED,AFTER,MASTERS,POEM,CORRIDORS,SORROW. (AppendixA, 1.)Observe the difficulties of Articulation in ll. 3, 11, 15, 18, 22, 26, 28 and 31. (AppendixA, 3andA, 6.)

What is the atmosphere of this poem? Compare it in this respect withPibroch of Donuil Dhu.

How does it differ from the latter in expression, so far as Time, Pitch, and Force are concerned? (Introduction, pp.13,22and26.)

WAFTED,AFTER,MASTERS,POEM,CORRIDORS,SORROW. (AppendixA, 1.)

Observe the difficulties of Articulation in ll. 3, 11, 15, 18, 22, 26, 28 and 31. (AppendixA, 3andA, 6.)

From "The Old Curiosity Shop"

1. The schoolmaster had scarcely arranged the room in due order, and taken his seat behind his desk, when a white-headed boy with a sunburnt face appeared at the door, and stopping there to make a rustic bow, came in and took his seat upon one of the forms. The white-headed boy then put an open book, astonishingly dog-eared, upon his knees, and thrusting his hands into his pockets, began counting the marbles with which they were filled. Soon afterwards another white-headed little boy came straggling in, and after him a red-headed lad, and after him two more with white heads, and then one with a flaxen poll, and so on until there were about a dozen boys in all, with heads of every colour but gray, and ranging in their ages from four years old to fourteen years or more; for the legs of the youngest were a long way from the floor when he sat upon the form, and the eldest was a heavy, good-tempered, foolish fellow, about half a head taller than the schoolmaster.

2. At the top of the first form—the post of honour in the school—was the vacant place of the little sick scholar, and at the head of the row of pegs on which the hats and caps were hung, one peg was left empty. No boy attempted to violate the sanctity of seat or peg, but many a one looked from the empty spaces to the schoolmaster, and whispered to his idle neighbour behind his hand.

3. Then began the hum of conning over lessons and getting them by heart, the whispered jest and stealthygame, and all the noise and drawl of school; and in the midst of the din sat the poor schoolmaster, the very image of meekness and simplicity, vainly attempting to fix his mind upon the duties of the day, and to forget his little sick friend. But the tedium of his office reminded him more strongly of the willing scholar, and his thoughts were rambling from his pupils—it was plain. None knew this better than the idlest boys, who, growing bolder with impunity, waxed louder and more daring—eating apples under the master's eye, pinching each other in sport or malice, and cutting their autographs in the very legs of his desk. The puzzled dunce, who stood beside it to say his lesson out of book, looked no longer at the ceiling for forgotten words, but drew closer to the master's elbow and boldly cast his eyes upon the page. If the master did chance to rouse himself and seem alive to what was going on, the noise subsided for a moment, and no eyes met his but wore a studious and deeply humble look; but, the instant he relapsed again, it broke out afresh, and ten times louder than before.

4. Oh, how some of those idle fellows longed to be outside, and how they looked at the open door and window, as if they half meditated rushing violently out, plunging into the woods, and being wild boys and savages from that time forth. What rebellious thoughts of the cool river, and some shady bathing-place beneath willow-trees with branches dipping in the water, kept tempting and urging that sturdy boy, who sat fanning his flushed face with a spelling-book wishing himself a whale, or a fly, or anything but a boy at school on that hot, broiling day!

5. Heat! Ask that other boy, whose seat beingnearest the door gave him opportunities of gliding out into the garden and driving his companions to madness by dipping his face into the bucket of the well and then rolling on the grass—ask him if there were ever such a day as that, when even the bees were diving deep down into the cups of flowers and stopping there, as if they had made up their minds to retire from business and be manufacturers of honey no more. The day was made for laziness, and lying on one's back in green places, and staring at the sky till its brightness forced one to shut one's eyes and go to sleep; and was this a time to be poring over musty books in a dark room, slighted by the very sun itself? Monstrous!

6. The lessons over, writing-time began; and there being but one desk and that the master's, each boy sat at it in turn and laboured at his crooked copy, while the master walked about. This was a quieter time; for he would come and look over the writer's shoulder, and tell him mildly to observe how such a letter was turned in such a copy on the wall, and bid him take it for his model. Then he would stop and tell them what the sick child had said last night, and how he had longed to be among them once again; and such was the schoolmaster's gentle and affectionate manner that the boys seemed quite remorseful that they had worried him so much, and were absolutely quiet; eating no apples, cutting no names, inflicting no pinches, for full two minutes afterwards.

7. "I think, boys," said the schoolmaster, when the clock struck twelve, "that I shall give an extra half-holiday this afternoon."

8. At this intelligence the boys, led on and headed by the tall boy, raised a great shout, in the midst of whichthe master was seen to speak, but could not be heard. As he held up his hand, however, in token of his wish that they should be silent, they were considerate enough to leave off, as soon as the longest-winded among them were quite out of breath.

9. "You must promise me first," said the schoolmaster, "that you 'll not be noisy, or, at least, if you are, that you'll go away and be so—away out of the village, I mean. I'm sure you wouldn't disturb your old playmate and companion."

10. There was a general murmur in the negative.

11. "Then, pray, don't forget—there's my dear scholars," said the schoolmaster—"what I have asked you, and do it as a favour to me. Be as happy as you can, and likewise be mindful that you are blessed with health. Good-bye, all!"

12. "Thank you, sir," and "Good-bye, sir," were said a great many times in a variety of voices, and the boys went out very slowly and softly.

13. But there was the sun shining and there were the birds singing, as the sun only shines and the birds only sing on holidays and half-holidays; there were the trees waving to all free boys to climb and nestle among their leafy branches; the hay, entreating them to come and scatter it in the pure air; the green corn, gently beckoning toward wood and stream; the smooth ground rendered smoother still by blending lights and shadows, inviting to runs and leaps, and long walks no one knows whither. It was more than boy could bear, and with a joyous whoop the whole company took to their heels and spread themselves about, shouting and laughing as they went.

14. "It's natural, thank heaven!" said the poorschoolmaster, looking after them. "I'm very glad they didn't mind me!"

—Charles Dickens

Par. 1.DUE. (AppendixA, 2.)Indicate the pauses required to allow time for the Imaging process. Discriminate between the short and the long pauses. (Introduction, pp.8and11.)ORDER,DESK,DOOR. Account for the Inflection on each of these words. (Introduction, pp.15and16.)What clause in the first sentence should be made most prominent? Indicate the relative value of each part of this sentence by the Shading. (Introduction, p.33.)Par. 2. What two phrases suggest the central idea of this paragraph?How does the voice indicate that the parenthetical clause is subordinate in thought? (Introduction, pp.24and33.)Par. 3.SIMPLICITY,IMPUNITY,STUDIOUS. (AppendixA, 8andA, 2.)DID CHANCE.What is the emphatic word? Why?Read the last two sentences with a view to Perspective. (Introduction, p.33.)NO EYES MET HIS ...How does the Inflection onHISindicate the exact meaning? (Introduction, p.16.)Par. 4. Give examples of Grouping in the last sentence and show how Grouping affects the Pause. (Introduction, p.11.)Par. 5.WHOSE SEAT—GRASS. What is the Shading? Indicate the pauses in this group of words giving your reason in each case.What Inflection is placed on the question in the last sentence? Account for it. (Introduction, p.19.)Par. 6.WRITER'S SHOULDER,BOYS SEEMED,ABSOLUTELY. (AppendixA, 6,A, 2.)Give examples of Grouping in the second sentence.BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic word? Why?Par. 7. How is ITHINK, BOYSconnected with the rest of the speech? Apply this principle to other examples of direct speech interrupted by narrative. (Introduction, p.24.)Par. 9.IF YOU ARE ... BE SO. Select the two emphatic Words and give your reason for emphasizing them, (Introduction, p.30.)

Par. 1.DUE. (AppendixA, 2.)

Indicate the pauses required to allow time for the Imaging process. Discriminate between the short and the long pauses. (Introduction, pp.8and11.)

ORDER,DESK,DOOR. Account for the Inflection on each of these words. (Introduction, pp.15and16.)

What clause in the first sentence should be made most prominent? Indicate the relative value of each part of this sentence by the Shading. (Introduction, p.33.)

Par. 2. What two phrases suggest the central idea of this paragraph?

How does the voice indicate that the parenthetical clause is subordinate in thought? (Introduction, pp.24and33.)

Par. 3.SIMPLICITY,IMPUNITY,STUDIOUS. (AppendixA, 8andA, 2.)

DID CHANCE.What is the emphatic word? Why?

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

NO EYES MET HIS ...How does the Inflection onHISindicate the exact meaning? (Introduction, p.16.)

Par. 4. Give examples of Grouping in the last sentence and show how Grouping affects the Pause. (Introduction, p.11.)

Par. 5.WHOSE SEAT—GRASS. What is the Shading? Indicate the pauses in this group of words giving your reason in each case.

What Inflection is placed on the question in the last sentence? Account for it. (Introduction, p.19.)

Par. 6.WRITER'S SHOULDER,BOYS SEEMED,ABSOLUTELY. (AppendixA, 6,A, 2.)

Give examples of Grouping in the second sentence.

BID HIM TAKE IT FOR HIS MODEL. Which is the emphatic word? Why?

Par. 7. How is ITHINK, BOYSconnected with the rest of the speech? Apply this principle to other examples of direct speech interrupted by narrative. (Introduction, p.24.)

Par. 9.IF YOU ARE ... BE SO. Select the two emphatic Words and give your reason for emphasizing them, (Introduction, p.30.)

From "Idylls of the King"

Blow trumpet, for the world is white with May;Blow trumpet, the long night hath roll'd away!Blow thro' the living world—Let the King reign.Shall Rome or Heathen rule in Arthur's realm?Flash brand and lance, fall battleaxe upon helm,5Fall battleaxe, and flash brand! Let the King reign.Strike for the King and live! his knights have heardThat God hath told the King a secret word.Fall battleaxe, and flash brand! Let the King reign.Blow trumpet! he will lift us from the dust!10Blow trumpet! live the strength, and die the lust!Clang battleaxe, and clash brand! Let the King reign.Strike for the King and die! and if thou diest,The King is King, and ever wills the highest.Clang battleaxe, and clash brand! Let the king reign.15Blow, for our Sun is mighty in his May!Blow, for our Sun is mightier day by day!Clang battleaxe, and clash brand! Let the King reign.The King will follow Christ, and we the KingIn whom high God hath breathed a secret thing.20Fall battleaxe, and flash brand! Let the King reign.

—Alfred Tennyson

How do you describe this poem from the standpoint of; (1) the amount of energy, (2) excitement or nervous tension? With what Force and in what Pitch should it be read? (Introduction, pp.22and25.)Account for the Time in which it is read. (Introduction, p.13.)What is the purpose of the question in stanza ii? How is this purpose indicated by the Inflection? (Introduction, p.19.)

How do you describe this poem from the standpoint of; (1) the amount of energy, (2) excitement or nervous tension? With what Force and in what Pitch should it be read? (Introduction, pp.22and25.)

Account for the Time in which it is read. (Introduction, p.13.)

What is the purpose of the question in stanza ii? How is this purpose indicated by the Inflection? (Introduction, p.19.)

A Tynemouth Ship

The Northern StarSail'd over the barBound to the Baltic Sea;In the morning grayShe stretched away:5'Twas a weary day to me!For many an hourIn sleet and showerBy the lighthouse rock I stray;And watch till dark10For the wingéd barkOf him that is far away.The castle's boundI wander roundAmidst the grassy graves:15But all I hearIs the north-wind drear,And all I see are the waves.The Northern StarIs set afar!20Set in the Baltic Sea:And the waves have spreadThe sandy bedThat holds my Love from me.

—Unknown

Preparatory.—Tell the story of the poem, making as vivid as possible the scenes depicted. Compare Kingsley'sThree Fishers, and Lucy Larcom'sHannah binding Shoes.Compare this poem withThe Knights' Chorusfrom the standpoint of the amount of energy. How is the difference between the two indicated vocally by the Force? (Introduction, p.26.)What is the difference in nervous tension between the last stanza and the preceding ones? What difference in Pitch? (Introduction, p.23.)Account for the Time in which it is read. (Introduction, p.14.)11.Wingéd, with sails15.Tynemouth Castleused as a graveyard.

Preparatory.—Tell the story of the poem, making as vivid as possible the scenes depicted. Compare Kingsley'sThree Fishers, and Lucy Larcom'sHannah binding Shoes.

Compare this poem withThe Knights' Chorusfrom the standpoint of the amount of energy. How is the difference between the two indicated vocally by the Force? (Introduction, p.26.)

What is the difference in nervous tension between the last stanza and the preceding ones? What difference in Pitch? (Introduction, p.23.)

Account for the Time in which it is read. (Introduction, p.14.)

11.Wingéd, with sails

15.Tynemouth Castleused as a graveyard.

When I see,High on the tip-top twig of a tree,Something blue by the breezes stirred,But so far up that the blue is blurred,So far up no green leaf flies.5Twixt its blue and the blue of the skies,Then I know, ere a note be heard,That is naught but the Indigo bird.Blue on the branch and blue in the sky,And naught between but the breezes high,10And naught so blue by the breezes stirredAs the deep, deep blue of the Indigo bird.When I hearA song like a bird laugh, blithe and clear,As though of some airy jest he had heard15The last and the most delightful word,A laugh as fresh in the August hazeAs it was in the full-voiced April days,Then I know that my heart is stirredBy the laugh-like song of the Indigo bird.20Joy in the branch and joy in the sky,And naught between but the breezes high;And naught so glad on the breezes heardAs the gay, gay note of the Indigo bird.

—Ethelwyn Wetherald(By permission)

Preparatory.—Suggest a picture which would serve as an illustration for this poem.How does the Imaging affect the Pitch in the first two stanzas?What feelings does the poem arouse? Where do these feelings reach a Climax? What is the effect on the Pitch?What other Climax is found in the poem besides the Climax of feeling?FAR,LAUGH,BRANCH,GLAD. (AppendixA, 1.)BREEZES STIRRED.(AppendixA, 6.)What is the Inflection on ll. 1-6 of stanza i and iii? (Introduction, p.17.) How does the Pitch of these lines differ from that of ll. 7 and 8 of these stanzas? Account for the change. (Introduction, p.23.)What are the contrasting words in l. 6, stanza i?Note the Grouping and Pause in ll. 3 and 4, stanza iii.

Preparatory.—Suggest a picture which would serve as an illustration for this poem.

How does the Imaging affect the Pitch in the first two stanzas?

What feelings does the poem arouse? Where do these feelings reach a Climax? What is the effect on the Pitch?

What other Climax is found in the poem besides the Climax of feeling?

FAR,LAUGH,BRANCH,GLAD. (AppendixA, 1.)

BREEZES STIRRED.(AppendixA, 6.)

What is the Inflection on ll. 1-6 of stanza i and iii? (Introduction, p.17.) How does the Pitch of these lines differ from that of ll. 7 and 8 of these stanzas? Account for the change. (Introduction, p.23.)

What are the contrasting words in l. 6, stanza i?

Note the Grouping and Pause in ll. 3 and 4, stanza iii.

When spring has burnedThe ragged robe of winter, stitch by stitch,And deftly turnedTo moving melody the wayside ditch,The pale-green pasture field behind the bars5Is goldened o'er with dandelion stars.When summer keepsQuick pace with sinewy white-shirted arms,And daily steepsIn sunny splendour all her spreading farms,10The pasture field is flooded foamy whiteWith daisy faces looking at the light.When autumn laysHer golden wealth upon the forest floor,And all the days15Look backward at the days that went before,A pensive company, the asters, stand,Their blue eyes brightening the pasture land.When winter liftsA sounding trumpet to his strenuous lips,20And shapes the driftsTo curves of transient loveliness, he slipsUpon the pasture's ineffectual brownA swan-soft vestment delicate as down.

—Ethelwyn Wetherald(By permission)

Preparatory.—Select the phrases which call into play the Imaging process.Describe four typical Canadian scenes suggested by this poem.Distinguish the sound ofainPASTURE,RAGGED,BARS, etc. (AppendixA, 1.)What words express the central ideas in each stanza, and at the same time form a contrast with one another?What Inflection is used in the first four lines of each stanza? (Introduction, p.16.)How does the Shading of these lines compare with that of the last two of each stanza? (Introduction, p.33.)

Preparatory.—Select the phrases which call into play the Imaging process.

Describe four typical Canadian scenes suggested by this poem.

Distinguish the sound ofainPASTURE,RAGGED,BARS, etc. (AppendixA, 1.)

What words express the central ideas in each stanza, and at the same time form a contrast with one another?

What Inflection is used in the first four lines of each stanza? (Introduction, p.16.)

How does the Shading of these lines compare with that of the last two of each stanza? (Introduction, p.33.)

From "Kidnapped"

1. The time I spent upon the island is still so horrible a thought to me that I must pass it lightly over. In all the books I have read of people cast away, either they had their pockets full of tools, or a chest of things would be thrown upon the beach along with them, as if on purpose. My case was very much different. I had nothing in my pockets but money and Alan's silver button; and being inland bred, I was as much short of knowledge as of means.

2. I knew indeed that shellfish were counted good to eat; and among the rocks of the isle I found a great plenty of limpets, which at first I could scarcely strike from their places, not knowing quickness to be needful. There were, besides, some of the little shells that we call buckies; I think periwinkle is the English name. Of these two I made my whole diet, devouring them cold and raw as I found them; and so hungry was I that at first they seemed to me delicious.

3. Perhaps they were out of season, or perhaps there was something wrong in the sea about my island. But at least I had no sooner eaten my first meal than I was seized with giddiness and retching, and lay for a long time no better than dead. A second trial of the same food (indeed, I had no other) did better with me and revived my strength.

4. But as long as I was on the island, I never knew what to expect when I had eaten; sometimes all waswell, and sometimes I was thrown into a miserable sickness; nor could I ever distinguish what particular fish it was that hurt me. All day it streamed rain; there was no dry spot to be found; and when I lay down that night, between two boulders that made a kind of roof, my feet were in a bog.

5. From a little up the hillside over the bay I could catch a sight of the great ancient church and the roofs of the people's houses in Iona. And on the other hand, over the low country of the Ross, I saw smoke go up, morning and evening, as if from a homestead in a hollow of the land.

6. I used to watch this smoke, when I was wet and cold and had my head half-turned with loneliness, and think of the fireside and of the company till my heart burned. Altogether, this sight I had of men's homes and comfortable lives, although it put a point on my own sufferings, yet it kept hope alive, and helped me to eat my raw shellfish (which had soon grown to be a disgust), and saved me from the sense of horror I had whenever I was quite alone with dead rocks, and fowls, and the rain, and the cold sea.

7. Charles the Second declared a man could stay outdoors more days in the year in the climate of England than in any other. That was very like a king with a palace at his back and changes of dry clothes. But he must have had better luck on his flight from Worcester than I had on that miserable isle. It was the height of summer; yet it rained for more than twenty-four hours, and did not clear until the afternoon of the third day.

8. There is a pretty high rock on the north-west of Earraid, which (because it had a flat top and overlooked the Sound) I was much in the habit of frequenting; notthat I ever stayed in one place, save when asleep, my misery giving me no rest. Indeed, I wore myself down with continual and aimless goings and comings in the rain.

9. As soon, however, as the sun came out, I lay down on the top of that rock to dry myself. The comfort of the sunshine is a thing I cannot tell. It set me thinking hopefully of my deliverance, of which I had begun to despair; and I scanned the sea and the Ross with a fresh interest. On the south of my rock a part of the island jutted out and hid the open ocean so that a boat could thus come quite near me upon that side and I be none the wiser.

10. Well, all of a sudden, a coble, with a brown sail and a pair of fishers aboard of it, came flying round that corner of the isle, bound for Iona. I shouted out, and then fell on my knees on the rock and prayed to them. They were near enough to hear—I could even see the colour of their hair—and there was no doubt but they observed me, for they cried out in the Gaelic tongue, and laughed. But the boat never turned aside, and flew right on, before my eyes, for Iona.

11. I could not believe such wickedness, and ran along the shore from rock to rock, crying on them piteously; even after they were out of reach of my voice I still cried and waved to them; and when they were quite gone I thought my heart would burst.

12. The next day (which was the fourth of this horrible life of mine) I found my bodily strength run very low. But the sun shone, the air was sweet, and what I managed to eat of the shellfish agreed well with me and revived my courage.

13. I was scarce back on my rock (where I wentalways the first thing after I had eaten) before I observed a boat coming down the Sound, and with her head, as I thought, in my direction.

14. I began at once to hope and fear exceedingly; for I thought these men might have thought better of their cruelty and be coming back to my assistance. But another disappointment, such as yesterday's, was more than I could bear. I turned my back accordingly upon the sea, and did not look again till I had counted many hundreds.

15. The boat was still heading for the island. The next time I counted the full thousand, as slowly as I could, my heart beating so as to hurt me. And then it was out of all question. She was coming straight to Earraid. I could no longer hold myself back, but ran to the seaside and out, from one rock to another, as far as I could go. It is a marvel I was not drowned; for when I was brought to a stand at last my legs shook under me, and my mouth was so dry I must wet it with the sea water before I was able to shout.

16. All this time the boat was coming on; and now I was able to perceive it was the same boat and the same two men as yesterday. This I knew by their hair, which the one had of bright yellow and the other black. But now there was a third man along with them, who looked to be of a better class.

17. As soon as they were come within easy speech, they let down their sail and lay quiet. In spite of my supplications, they drew no nearer in, and what frightened me most of all, the new man tee-heed with laughter as he talked and looked at me.

18. Then he stood up in the boat and addressed me a long while, speaking fast and with many wavings ofhis hand. I told him I had no Gaelic; and at this he became very angry, and I began to suspect he thought he was talking English. Listening very close, I caught the word "whateffer" several times; but all the rest was Gaelic, and might have been Greek and Hebrew for me.

19. "Whatever," said I, to show him I had caught a word. "Yes, yes—yes, yes," said he; and then he looked at the other men as much as to say, "I told you I spoke English," and began again as hard as ever in the Gaelic.

20. This time I picked out another word, "tide." Then I had a flash of hope. I remembered he was always waving his hand toward the mainland of the Ross.

21. "Do you mean when the tide is out?"—I cried, and could not finish.

22. "Yes, yes," said he. "Tide."

23. At that I turned tail upon their boat (where my adviser had once more begun to tee-hee with laughter), leaped back the way I had come, from one stone to another, and set off running across the isle as I had never run before. In about half an hour I came upon the shores of the creek, and, sure enough, it was shrunk into a little trickle of water, through which I dashed, not above my knees, and landed with a shout on the main island.

24. A sea-bred boy would not have stayed a day on Earraid, which is only what they call a tidal islet, and, except, in the bottom of the neaps, can be entered and left twice in every twenty-four hours, either dry-shod, or, at the most, by wading. Even I, who had seen the tide going out and in before me in the bay, and even watched for the ebbs, the better to get my shellfish—even I (I say), if I had sat down to think, instead of raging at my fate, must have soon guessed the secret and got free.

25. It was no wonder the fishers had not understood me. The wonder was rather that they had ever guessed my pitiful illusion, and taken the trouble to come back. I had starved with cold and hunger on that island for close upon one hundred hours. But for the fishers, I might have left my bones there, in pure folly. And even as it was, I had paid for it pretty dear, not only in past sufferings but in my present case, being clothed like a beggar man, scarce able to walk, and in great pain of my sore throat.

26. I have seen wicked men and fools—a great many of both—and I believe they both get paid in the end; but the fools first.

—Robert Louis Stevenson(By arrangement)

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