Chapter XI: Introduction

Tennyson and Arthur Hallam, as young men at college, were great friends. The bond of affection between them was probably as strong as it was possible for friendship between two men to be. When Hallam died in 1833, at twenty-two years of age, Tennyson said of him: "He was as near perfection as a mortal man could be". From time to time during the next seventeen years, Tennyson wrote short poems on themes which occurred to him in connection with his thoughts of Hallam. These he finally collected and published in one volume, called _In Memoriam_.

PURPOSE

The purpose of this lesson should be in harmony with the purpose of _In Memoriam_. It should, therefore, be a study of life within the comprehension of the pupils. The lesson should aid in securing the development of character and an appreciation of worthy ambition and enduring friendship.

ASSIGNMENT

The lesson should be assigned in such a way as to encourage the pupils' natural desire to learn something through their own efforts. A few questions should be given to be answered from their own study, for example:

1. What does the first line show regarding
Tennyson's present thought of Hallam?

2. What stanzas describe the progress of the
man who reminds him of Hallam?

3. What is described in the remaining stanzas?

4. What lines suggest something about this
man's feelings toward the scenes and friends of
his youth?

5. In what respect, according to the last
stanza, does Tennyson show that one of these
old-time friends is like himself?

CLASS WORK

What does Tennyson describe in the first four
stanzas?

Stanza I

Why does he call the man "divinely gifted"?
Because he has had great natural gifts.

When should we call a man of only ordinary
ability "divinely gifted"? What have you read
that illustrates this? (If the pupils cannot
answer this question, the teacher should tell
briefly the parable of the talents.)

What is meant by "Whose life in low estate
began"? Why are the details about his early
life mentioned? State briefly the thought
contained in this stanza.

Stanza II

What was the effect of his humble birth on his
progress in early life? In what ways did it act
as a bar: (1) upon his own mind; (2) upon the
good-will of others toward himself? Which of
these two do the following lines from
_[OE]none_ indicate that the poet would say
must be overcome first?

Self-reverence, self-knowledge, self-control,
These three alone lead life to sovereign power.

State in your own words, the full meaning of
"breaks his birth's invidious bar".
NOTE.--"Invidious" means likely to incur, or
bring on envy, ill-will, or hatred.

What idea is suggested in the second line as to
the opportunities which come to such a man?
Imagine him grasping these fleeting chances.
What were his probable feelings toward those
things which eluded his grasp? (Be careful in
answering this. Remember that the man has
gained the mastery of himself.)

What is meant by "blows of circumstance"? What
were some of these difficulties?

What does the action-word "breasts" suggest:
(1) about the character of these difficulties,
(2) about the character of the man? Explain
"grapples with his evil star". What is the
allusion? Tell, in the poet's own words, what
this "evil star" was. Imagine this man
grappling with it. What term do boys often use
for a similar action? Which is going to win
this wrestling match? Give reasons, from what
the man has already done, for thinking that he
will win. What does this action show about his
belief in luck?

What do the action-words in this stanza suggest
about the man's character? What sounds in each
of the words help to emphasize this grim
determination?

State briefly the relation of the thought of
this stanza to that of the first.

Stanza III

What effect did the man's early struggles have
on his mental power and character? What does
Tennyson call this increased energy and
strength of character? He calls it "force".
Now, explain "makes by force his merit known".

What position in the gift of the nation do the
next three lines show that he gained at last?
What words indicate the emblem of the Premier's
power?

"Clutch the golden keys." What does this action
suggest as to his character? What word is
generally used to denote such determination to
gain power and influence? What makes such
ambition lawful? What use does Tennyson show
this man made of his ambition? What is meant by
"mould a mighty state's decrees"? As Premier,
to whom would it be his duty to give advice?

The people know that the sovereign must act on
the advice of his ministers, of whom the
Premier is the most influential; but they
believe that the judgment of the sovereign
often modifies and improves this advice. To the
nation, this influence of the sovereign is a
silent force, but, like the silent forces in
nature, they believe it to be powerful.

In what words does Tennyson express this mutual
influence of the King and the Premier? What
features of this influence are expressed
respectively by the words "shape" and
"whisper"? What action-words in this stanza
suggest the relation (1) of effort, (2) of
time, to the magnitude of the work?

State in a single sentence the thought of this
stanza.

Stanza IV

What is the final test of the value of a law?
Its effects on the people. In what words does
Tennyson show the effect on the people of the
laws made through this man's influence?

Explain how this man became "The pillar of a
people's hope". What words show the
far-reaching extent of his influence? Which
shows the more force in the man, his influence
with the King or his later influence in the
whole nation? In what words does Tennyson show
which he thinks the greater? To which do "high"
and "higher" respectively refer? What does
"Fortune's crowning slope" suggest about (1)
the honour which the man has now gained, (2)
the nature of the road he has travelled?

Stanza V

Picture the man as he looks back after having
reached the height of his ambition. Describe
his mood. At what times does he indulge in
these dreamy memories? What does he seem to see
in these quiet hours? What hill and stream does
the poet mean? What feeling does each awaken?
Why is the "sweetness" called "secret"? Why is
the "dearness" called "distant"?

Stanza VI

What part of his life is meant by "his narrower
fate"? With what is he comparing that early
life, when he calls it "his narrower fate"?
Using similar language, what might his present
position of great influence be called?

Some think that the first line of this stanza
refers to the limitations or restrictions of
his early life, while others say the poet was
thinking simply of the stream, as the limit or
boundary of the things that influenced his
childhood. Which view is to be preferred? Which
meaning agrees with the use of the word "its"
in the next line? Would this man now look back
on those difficulties of his early life as
limitations and hindrances, or as things which
helped to make him what he is?

Now explain "The limit of his narrower fate".
Compare the direction in which he looks in his
day dreams now, with the direction in which he
looked in those of his boyhood. What is meant
by "vocal springs"?

In what way were the games of his youth
prophetic of his future work as a man? What do
people mean by saying, "The boy is father of
the man"?

Stanza VII

Describe the present occupation of the friend
of his boyhood. What information about his
friend does the word "native" give us? What
phrases show how he does his work?

Compare the farmer's query in the last line
with that in the first line of the poem.

SYNOPSIS OF DETAILS

Under the following heads, point out the
resemblance of Hallam to the statesman and of
Tennyson to the farmer:

1. Early friendship
2. Their separation
3. Progress since parting
4. Memories of each other.

It is hoped that no teacher will use these
questions as a substitute for his own
questioning. If they are accepted as suggestive
in regard to both interpretation and method,
they may be of real service, otherwise they
will be almost valueless.

WATERLOO

(Fourth Reader, page 311)

AIM

To lead the pupils to appreciate the music and imagery of the poem.

PREPARATION

Where is Waterloo situated? In Belgium. What
two armies were engaged in this battle? The
French and the English; with the latter were
some Prussian allies. Who were the French and
the English commanders? Napoleon and
Wellington. What was the result of the battle?
The overthrow of Napoleon and his banishment to
St. Helena. What would have been the
consequence if Wellington had been defeated?
Napoleon would possibly have had complete
mastery of Europe. Picture this struggle of
great commanders and disciplined armies, while
Europe waited breathlessly for the outcome.
(The pupils should read some good history of
this battle.)

PRESENTATION

Read the poem to the pupils in such a way as to make vivid the scenes depicted.

DEVELOPMENT

What has the poet described in this poem? Some of the events preceding the battle.

What are the main pictures found in each stanza? (Write on the black-board.)

1. The ball

2. The sound of the enemy's cannon

3. The Duke of Brunswick

4. The farewells

5. The muster

6. The gathering of the Highlanders

7. The march to battle

8. Summary of pictures and the result.

Do you see any stanza that interferes with the progress of the action? The third stanza anticipates the battle and destroys the continuity between the sounds of the approaching enemy and the hurried farewells.

Why does the poet devote a special stanza to the Highlanders? Were they more worthy of mention than the English and Irish regiments? The author, George Gordon, Lord Byron, belonged to a Scotch family. The muster of the Highlanders at midnight, combined with their stirring music, made a very picturesque incident.

Consider the elements which contribute to the various scenes:

Stanza I

What is described? The ball given by the
Duchess of Richmond. What is the emotion of
this stanza? Pleasure, gaiety. What is the
picture in the first line? The arrival of the
guests, the welcomes, and the "revelry" of the
assembly. Why does the author say "Belgium's
capital" rather than "Brussels"? It suggests
the capital of a nation with a noble people.
Who were the "Beauty" and the "Chivalry"? The
ladies, the officers of the army, and the
nobility. Describe the picture you see in
"bright the lamps shone o'er fair women and
brave men". The large ball-room, the
brilliantly lighted chandeliers, the beautiful
costumes of the ladies, the uniforms and
decorations of officers and nobles. Describe
the images that are suggested by "and when
music arose with its voluptuous swell". The
bands of the regiments are playing the music of
the dance. Notice how the poet changes the
rhythm to the foot of three syllables, to
indicate the music of the waltz. What contrast
do you find in the last two lines? "Marriage
bell" and "rising knell". What was the purpose
of this? To show the contrast between pleasure
and fear.

Stanza II

What is the theme? The sound of the enemy's
cannon. Why does the author use the dramatic
form? A conversation between two people of
opposite temperaments gives greater reality to
the picture. The first seems to expect danger,
but is, for a moment, silenced by the other's
upbraiding him for attempting to spoil the
pleasure of the evening. A repetition of the
"heavy sound" proves that he is right. The
second is a lover of pleasure, who would not
have the first speaker alarm the guests by his
gloomy anticipations. Show how the second
speaker indicates his impatience. His answers
are short, he speaks in ellipses. "On with the
dance", and "No sleep till morn". Notice the
positive tone of the first speaker in the
repetition, "It is--it is".

Stanza III

What is described here? The fate of Brunswick?
Why does the author single out Brunswick from
all the others who died? One specific case
appeals to the reader more effectually than the
report of the death of unknown thousands.
Brunswick's father had been a noted general in
the war with Napoleon. Explain, "Death's
prophetic ear". This refers to a common
superstition that "the veil of the future is
lifted to those near to death". Show how the
poet has broken the order of succession of the
pictures. Brunswick's death is recorded before
the breaking up of the ball is described.

Stanza IV

What is the theme? The farewells. What is the
emotion? Fear and anguish. What words show
this? "Gathering tears", "tremblings of
distress", "cheeks all pale", "sudden
partings", etc. Give a line in a preceding
stanza that expresses the same thought as
"mutual eyes". "Soft eyes looked love to eyes
which spake again."

Stanza V

What is described? The muster of the troops.
What is the prevailing feeling? The haste of
the soldiers and the terror of the citizens.
How does the poet show this haste? By the use
of such phrases as "hot haste", "mustering
squadron", "clattering car", "impetuous speed",
"swiftly forming", as well as by the rapid
movement of the verse. Why did the citizens of
Brussels fear, since they had not to fight?
They dreaded the pillage and ruin which would
follow a French victory. Describe the scene in
your own words--the cavalry forming in line,
the movements of the artillery, the noise of
distant cannon, the "alarming drum", and the
panic of the citizens.

Stanza VI

The gathering of the Highlanders. Does the poet
address the ear or the eye in this description?
Only the sound of the bagpipes is described,
though it may suggest a picture of the Highland
regiments. What words describe the music? "Wild
and high", "war-note", "thrills savage and
shrill". Why does the poet mention proper
names--"Lochiel", "Evan", "Donald"? The
bagpipes recall stirring memories of these men,
which inspire the clansmen to prove worthy of
their ancestors. What is the "Cameron's
gathering"? The war-song of the Cameron clan.
Were there only Camerons in the Highland
regiments? No, the Camerons were only one
famous clan, but are taken here as
representative of the heroism of all the
Highlanders. Again, the use of individual
specific cases produces a greater impression
than a more general term. What was the
"pibroch"? A wild, irregular species of music
played on the bagpipes, adapted particularly to
rouse a martial spirit among troops going to
battle.

Stanza VII

What is described in this stanza? The march to
the battle-field. What words show that? "As
they pass". They were going through the forest
of "Ardennes". What is the mood of this stanza?
Sadness. The trees are represented as shedding
tears when "Nature" thinks of the sad fate
awaiting so many brave men. What were those
tears? The expression refers to the dew of the
early morning on the leaves of the trees, but
the poet has called it "Nature's tear-drops".
It is only a fanciful presentation of a natural
phenomenon. Explain, "if aught inanimate e'er
grieves". If inanimate nature, such as trees or
grass, can express sorrow. Nature cannot
grieve, but we appreciate the beauty of the
imagery. Point out a contrast in this stanza.
"This fiery mass of living valour", and "shall
moulder cold and low".

Stanza VIII

What is the purpose of this stanza? It gives a
summary of the preceding ones. Which stanza
corresponds to line 2? Stanza I. Which
corresponds to line 3? Stanzas II, III, and IV.
Which stanzas picture the "marshalling in
arms"? Stanzas V and VI. What stanzas picture
"Battle's magnificently stern array"? Stanzas
V and VII. Now contrast all these pictures with
the last. The story is epitomized, and the end
described--"friend, foe,--in one red burial
blent!"

The pupils should now read the poem, in order that the teacher may judge by the varying tones and movements whether it has been properly appreciated.

THREE SCENES IN THE TYROL

(Fourth Reader, page 336)

AIM

To lead the pupils to appreciate the thrilling pictures and to understand the means by which the author has produced this vividness.

PREPARATION

The pupils have been required to read this lesson at their seats or at home.

Where is the Tyrol situated? It is a province
in the Austrian Alps directly east of
Switzerland. (Show its position on the map.)

The mountains are majestic, high, precipitous;
the people daring and independent. The Tyrol is
noted for the many accidents which happen to
mountain-climbers. Who are the chief persons
concerned in these three scenes? Maximilian I,
Charles V, and Napoleon.

The author wishes to give, amid the most
impressive surroundings, three stirring events
in the lives of three great Emperors. State
briefly the first story. The Emperor Maximilian
was hunting a chamois, when he slipped on the
edge of the precipice, rolled helplessly over,
and caught a jutting ledge of rock, which
interrupted his descent. An outlaw hastened to
his assistance and guided him to safety.

PRESENTATION

I

Yes, this story is often called "The Rescue".
Let us note how the author helps us to see the
picture. Where does he place the spectator? On
a "thread-like road" running between the rocky
bank of the Inn River and the foot of the
precipice of the Solstein.

What does the author ask you, as the imaginary
spectator, to do? To throw your head back and
look upward.

Why? The precipice towers perpendicularly many
hundred feet above you. He wishes you to
imagine you are standing on this road and the
scene is taking place before your eyes.

What do you see? A hunter in pursuit of a
chamois.

Describe this hunter. He is lofty and
chivalrous in his bearing.

What happens? He is bounding on after a chamois
toward the edge of a precipice, when he loses
his footing and falls.

How does the author make you see this plainly?
He uses the present tense, as if the scene were
happening now--"is bounding", "loses his
footing", "rolls helplessly".

Any other way? Yes, he utters exclamations,
"Mark!" "Ah!" Every act is told in the form of
an exclamation.

"What is it that arrests him?" This is a
question. Does the author expect an answer? No,
he asks the question as I would ask it of
myself if I saw the hunter stopped in his
descent.

Why does he not tell you who this hunter is? I
see now for the first time that it is the great
Emperor Maximilian who is in such peril.

Does any one else see him? Yes, the Abbot, or
head of a neighbouring monastery.

Why does the author mention him? To indicate
that, apparently, human aid could not save the
Emperor.

What has been told us in this first paragraph?
The peril of the Emperor.

What is told us in the next? His rescue.

Who else sees the danger? Zyps of Zirl.

Who is he? A famous hunter and outlaw.

Do you see him at first? No, I hear his cry.
The author says "Hark! there is a wild cry!"
Then I recognize the outlaw.

Why does he utter the cry? To encourage the
Emperor and let him know there is some one
coming to his rescue.

Again how does the author make the picture
vivid? By the use of the present tense, by
commands, questions, and exclamations, and by
making the spectator, in his excitement,
address the mountaineer directly; for example,
"thou hunted and hunting outlaw, art thou out
upon the heights?" etc.

By what means does the author show how the
outlaw comes to the Emperor's aid? By comparing
him with the chamois, the insect, and the
squirrel. This man combines in himself all
their powers of movement.

What does the spectator now do? He fears that
all may yet be lost, so he shouts to the
Emperor to have courage, that the hunter is
coming.

How does the author show his relief from the
strain of the last few moments? His sentences
are now longer and smoother.

How was this event afterwards regarded? The
peasants maintained that an angel came down to
their master's rescue.

What does the author seem to think? That his
rescue was due to the interposition of
Providence.

What is told in the next paragraph? Zyps'
reward.

What did he receive? He was created a Count and
received a pension from the Emperor.

What was his title? "Count Hallooer von
Hohenfeldsen."

To what does this refer? To his "wild cry" from
the high peaks, when he saw the Emperor in
danger.

How can you prove that this story is true? By
inspecting the pension list of the Royal House
of Hapsburg and by looking at a cross in the
mountains that has been erected on the very
spot where Maximilian was rescued.

II

Whom do you see in the second vision? The
Emperor Charles V. pursued by his enemies.

Who was he? One of the greatest monarchs in
Europe, greater even than his grandfather,
Maximilian I. In this scene he is ill; his army
has met with reverses; he has made his escape
from Innsbruck, the capital of the Tyrol, and
is being conveyed through the mountains to a
place of safety, closely pursued by Maurice of
Saxony.

Describe the scene. It is at night, the wind is
high, and is driving the rain against the
Emperor's litter, which is borne by
mountaineers and surrounded by his faithful
officers.

What is given in the first paragraph? A
description of the storm.

How does the author prepare you for the scene?
The night suggests danger and mystery, and the
moon looks out from a cloud, as though at
something taking place in the gorge. The
spectator hears something besides the roar of
the wind.

Select all the words that show what a fearful
night it is. "Night", "dark", "wild", "gusty
winds", "howling", "sheets of blinding rain",
"whirling", "hissing eddies", "rent asunder",
"ravings of the tempest".

Notice all the details the author has made use
of to convey the idea of terror and danger.

What is described in the next paragraph? The
passage of the litter through the dark gorge.

Is the spectator forgotten in this scene? No,
he first hears the "tramp of feet", then he
sees the torches, and, lastly, the Emperor's
litter surrounded by his attendants.

What words show you the difficulty of their
situation? "Hurried", "crowding", "crushing",
"steep and narrow gorge", "suppressed voices",
"fitful glancing of torches", "anxiously
shielded", "melee", "struggle onward".

Why are their voices suppressed? As a natural
result of their perilous position.

Why do they keep their torches burning? To find
their way through the enemy's country amid the
dangers by which they are surrounded.

What do the lamps look like? A "constellation"
of stars moving on in the same relative
position.

Does the author still refer to the storm? Yes,
in "derisive laughter", "rude wrath of the
tempest", and "plumes streaming on the wind".
The author wishes to picture continuously the
fitting surroundings for this adventure, and so
emphasizes these details.

Why does he speak of the "derisive laughter of
the storm"? He compares it to a fiend who mocks
the attempts of man to battle against his
power.

Who is described in the third paragraph of this
vision? The Emperor himself.

Why is he not described before, as he is more
important than either the storm or his
comrades? The story runs in a natural order.
First are seen the figures surrounding the
litter, and, as it approaches, the Emperor's
face is distinguishable.

What is first mentioned in connection with him?
His firmly set teeth.

What does this indicate? His great physical
pain, and his determination of character.

What is mentioned next? His age; he is but
fifty-three, but his wrinkles are deep and his
hair turning gray.

What are next described? His forehead, his
nose, his eye, his underlip.

Why does the author picture these features in
such detail? To show the character of the
Emperor.

What are we led to infer are some of his
characteristics? A strong intellect, imperious
manner, cruelty, and stubborn pride.

What strong contrast is drawn? The fugitive
invalid is the great Emperor. The author first
discusses his illness, his flight, his
suffering in the storm, his adverse fortune,
and then gives him his full titles--"Emperor of
Germany, King of Spain, Lord of the
Netherlands, of Naples, of Lombardy, and the
proud chief of the golden Western World".

Where does the author place the blame for his
present sufferings? On Charles himself, whose
sufferings, humiliation, and ultimate
deliverance were perhaps intended as a
discipline to lead him to repent for past
cruelties.

What is described in the last paragraph of this
scene? The escape.

Who is first mentioned? The pursuer, Maurice of
Saxony.

Describe him. He is first compared to an
"avenger of blood" in pursuit of a man fleeing
to the cities of refuge referred to in Joshua
xx. 3. He is next compared to the hound
relentlessly following his prey.

Who wins in this race? Charles eludes his
pursuer.

To whom should he show gratitude for his
escape? To Providence.

Does he acknowledge God's protection? No, he
gives all the credit to his "lucky star".

Explain this. Astrologers had said that the
"Star of Austria" was always at the highest
point in the heavens; and of this favoured
House of Austria, Charles was Archduke.

III

The first scene is called "The Rescue"; the
second, "The Run"; and the last, "The Ruin".
What is described in the last scene? The
destruction of the French Army.

Where is the scene laid? In the Tyrol, beside
the River Inn.

What is described in the first paragraph?
Bonaparte's decree that the strongholds of his
enemies--the Tyrolese warrior hunters--shall be
destroyed.

Why should he wish to do this? The Tyrolese
were an independent people, who would not
submit to conscription and taxation at the
hands of the Bavarians.

By what names does the author call Napoleon?
"Bonaparte." That was his surname. The French
Emperor had no hereditary right to the throne,
but he wished to be called Napoleon, instead of
Bonaparte, just as we speak of our King as
George V. and rarely refer to his surname of
Guelph.

Who advised Napoleon? "His own will is his sole
adviser." He ruled arbitrarily, consulting no
one.

What does he do in this case? He sends ten
thousand French and Bavarian soldiers to crush
the Tyrolese.

Why were the Bavarians taking part in the
struggle? They were at this time allies of
France, and Napoleon had given to their Elector
possession of this new but hostile province.

What does the second paragraph describe? The
army entering the narrow gorge in the
mountains.

How does the author give vividness to this
picture? He endows inanimate things such as the
"gorge" and the "river" with human attributes.
The "gorge" looks gloomy, forbidding, and
unfriendly, and the "river" seems to roar
indignantly, as though at the attempt of "the
mountain walls" to impede its progress.

The next sentence is in the form of a question
and its answer. Who is supposed to ask this
question? This is the question the leader of
the army would ask and the answer he would make
when he discovered the narrow road. The
construction of the sentence suggests the idea
of danger.

Why does the next sentence begin with "But"?
"But the glittering array winds on." It
suggests that some precautions for the safety
of the army should have been observed; but it
may have been impossible to take these
precautions, and the orders of Bonaparte had to
be obeyed at all hazards.

What is described in the next sentence? The
author gives full details of the progress of
this imposing army. The River Inn seems to
share the feelings of the Tyrolese themselves
and protest angrily against this invasion by a
foreign power.

How is the next sentence related to the
preceding? "But" marks a contrast. The noise of
the army and the river is contrasted with the
silence on the heights.

Why are the "eagles" mentioned? The silence is
rendered more impressive by the occasional
"shrill cry" of the eagles, and the "wings" of
the eagles hovering above are an omen of the
coming disaster which is to overtake "the
gilded eagles of France" below.

What is described in the next paragraph? The
"voice" from the "heights".

How does the author make this paragraph
impressive? As he wishes to indicate the
critical moment, he still uses the present
tense, direct narration, short sentences,
exclamation, and interrogation; he suggests,
through a mysterious voice far up the heights,
that supernatural agents are at work. The army,
in its helpless length, is compared to an
"uncoiled serpent".

What is the subject of the next paragraph? The
destruction of the entire army.

How is this ruin accomplished? Unseen in the
heights above, the Tyrolese peasantry hurl down
rocks, roots, and trunks of pine trees, as well
as sending a "deadly hail" from their rifles
along the "whole line" of the defenceless army
below.

Notice the richness of detail. What words help
to make the description of their destruction
more vivid? "Bounding", "thundering",
"gathering speed", "headlong way", "launched
down", "powerless foe", "deadly hail", "fearful
storm", "crushed to death", "tumbled, horse and
man, into the choked and swollen river".

Notice the contrast of this paragraph with the
picture in the second paragraph of this vision
of the gallant invading army.

What is the subject of the last paragraph? The
reflections of the author.

Of what does he speak? Of the wonders and
beauties of creation and the sad power that man
possesses of spoiling and staining these
wonders by giving rein to his own "evil
ambitions and fierce revenges".

How has he emphasized this? By the use of
exclamation, question, ellipses, and the
mention of the "serpent" as the symbol of evil.

How does the interrogative form of the sentence
give it vividness? Contrast the effect of
saying, "Who would willingly linger on the
hideous details?" with "No one would willingly
linger", etc. The author does not expect an
answer, he throws the sentence into the
question form for the rhetorical effect. The
reader pays more attention to the thought by
trying to find an answer to the question.

What is the value of the ellipses in "Sorrowful
that man ... should come"? It is stronger than
saying, "It is sorrowful that man ... should
come". The subject and verb are omitted, as
they are not strong words, and "Sorrowful" is
placed in the most prominent position on
account of its importance.

SUMMARY

In these three pictures, what is the constant
element? The scene used as the background. All
three visions take place in the Tyrol, two of
them on the banks of the Inn River. They are
three companion pictures of this historic
mountain province.

How does this style compare with that which you
find in other lessons? It is abrupt and abounds
in many rhetorical forms--ellipses, use of the
present tense, exclamation, direct address, and
accumulation of details.

Would it be suitable for all prose expression?
No; it is impassioned prose, full of emotion
and picturesque detail. The smoother, more
regulated sentence-structure, such as is in
place in ordinary narration, would be too cold
for these descriptions. On the other hand, this
style is not suitable for expressing a quiet
mood or giving a clear explanation. It is too
turbulent, and would pall upon the reader if
continued at too great length, but it is often
very suitable in an oratorical selection.

The pupils should finally read the lesson aloud, to show how they have appreciated the story.