Chapter IV: Appendix: A. Exercises in Vocalization and Articulation 306 (3)

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

--_Charles Dickens_

Par. 1. DUE. (Appendix A 2.)

Indicate the pauses required to allow time for the
Imaging process. Discriminate between the short and the
long pauses. (Introduction, pp. 8 and 11.)

ORDER, DESK, DOOR. Account for the Inflection on each of
these words. (Introduction, pp. 15 and 16.)

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. 24
and 33.)

Par. 3. SIMPLICITY, IMPUNITY, STUDIOUS. (Appendix A 8
and 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 on HIS
indicate 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.
(Appendix A, 6, 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 I THINK, BOYS connected 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.)

* * * * *

THE KNIGHTS' CHORUS

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, 5
Fall battleaxe, and flash brand! Let the King reign.

Strike for the King and live! his knights have heard
That 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! 10
Blow 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. 15

Blow, 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 King
In whom high God hath breathed a secret thing. 20
Fall 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. 22 and 25.)

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.)

* * * * *

THE NORTHERN STAR

A Tynemouth Ship

The Northern Star
Sail'd over the bar
Bound to the Baltic Sea;
In the morning gray
She stretched away:-- 5
'Twas a weary day to me!

For many an hour
In sleet and shower
By the lighthouse rock I stray;
And watch till dark 10
For the winged bark
Of him that is far away.

The castle's bound
I wander round
Amidst the grassy graves: 15
But all I hear
Is the north-wind drear,
And all I see are the waves.

The Northern Star
Is set afar! 20
Set in the Baltic Sea:
And the waves have spread
The sandy bed
That holds my Love from me.

--_Unknown_

PREPARATORY.--Tell the story of the poem, making as
vivid as possible the scenes depicted. Compare
Kingsley's _Three Fishers_, and Lucy Larcom's _Hannah
binding Shoes_.

Compare this poem with _The Knights' Chorus_ from 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. WINGED, with sails

15. TYNEMOUTH CASTLE used as a graveyard.

* * * * *

THE INDIGO BIRD

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. 5
Twixt 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, 10
And naught so blue by the breezes stirred
As the deep, deep blue of the Indigo bird.

When I hear
A song like a bird laugh, blithe and clear,
As though of some airy jest he had heard 15
The last and the most delightful word,
A laugh as fresh in the August haze
As it was in the full-voiced April days,
Then I know that my heart is stirred
By the laugh-like song of the Indigo bird. 20

Joy in the branch and joy in the sky,
And naught between but the breezes high;
And naught so glad on the breezes heard
As 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. (Appendix A, 1.)

BREEZES STIRRED. (Appendix A, 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.

* * * * *

THE PASTURE FIELD

When spring has burned
The ragged robe of winter, stitch by stitch,
And deftly turned
To moving melody the wayside ditch,
The pale-green pasture field behind the bars 5
Is goldened o'er with dandelion stars.

When summer keeps
Quick pace with sinewy white-shirted arms,
And daily steeps
In sunny splendour all her spreading farms, 10
The pasture field is flooded foamy white
With daisy faces looking at the light.

When autumn lays
Her golden wealth upon the forest floor,
And all the days 15
Look backward at the days that went before,
A pensive company, the asters, stand,
Their blue eyes brightening the pasture land.

When winter lifts
A sounding trumpet to his strenuous lips, 20
And shapes the drifts
To curves of transient loveliness, he slips
Upon the pasture's ineffectual brown
A 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 of _a_ in PASTURE, RAGGED, BARS,
etc. (Appendix A, 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.)

* * * * *

SHIPWRECKED

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 was well, 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; not that 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 went always 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 of his 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_)

How are the parenthetical clauses in this selection kept
in the back-ground? (Introduction, p. 24.)

11. I could not believe such wickedness ... heart would
burst. Observe the Climax. (Introduction, p. 31.)

19. Whatever, said I, ... How is the direct speech made
to stand out from the narration which interrupts it?
(Introduction, p. 24.)

* * * * *

ON HIS BLINDNESS

When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide,
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest He, returning, chide;
"Doth God exact day labour, light denied?"

I fondly ask. But Patience, to prevent
That murmur, soon replies, "God doth not need
Either man's work, or His own gifts. Who best
Bear His mild yoke, they serve Him best: His state
Is kingly; thousands at His bidding speed,
And post o'er land and ocean without rest:
They also serve who only stand and wait."

--_Milton_

PREPARATORY.--Divide the sonnet into two parts, giving
each part a title.

Read the first part in prose order, supplying the
ellipses.

How many distinct statements are there in the second
part?

Select the clauses of the first part that are equal in
rank and have the same Shading. Show which should be
made prominent, and which held in the background.

Read the first part of this sonnet, with a view to
Perspective. (Introduction, p. 33.)

1-4. With what do you connect WHEN ... SPENT, and
LODGED? How?

How do you make the statements of the second part stand
out singly? (Introduction, pp. 8 and 10.)

* * * * *

BRIGGS IN LUCK

From "Doctor Birch and his Young Friends"

_Enter the Knife-boy._ Hamper for Briggses! _Master Brown._ Hurray, Tom Briggs! I'll lend you my knife.

If this story does not carry its own moral, what fable does, I wonder? Before the arrival of that hamper, Master Briggs was in no better repute than any other young gentleman of the lower school; and in fact I had occasion myself, only lately, to correct Master Brown for kicking his friend's shins during the writing-lesson. But how this basket, directed by his mother's house-keeper, and marked "GLASS WITH CARE," whence I concluded that it contained some jam and some bottles of wine probably, as well as the usual cake and game-pie, and half a sovereign for the elder Master B., and five new shillings for Master Decimus Briggs--how, I say, the arrival of this basket alters all Master Briggs's circumstances in life, and the estimation in which many persons regard him!

If he is a good-hearted boy, as I have reason to think, the very first thing he will do, before inspecting the contents of the hamper, or cutting into them with the knife which Master Brown has so considerately lent him, will be to read over the letter from home which lies on top of the parcel. He does so, as I remarked to Miss Raby (for whom I happened to be mending pens when the little circumstance arose), with a flushed face and winking eyes. Look how the other boys are peering into the basket as he reads--I say to her, "Isn't it a pretty picture?" Part of the letter is in a very large hand. That is from his little sister. And I would wager that she netted the little purse which he has just taken out of it, and which Master Lynx is eyeing.

"You are a droll man, and remark all sorts of queer things," Miss Raby says, smiling, and plying her swift needle and fingers as quick as possible.

"I am glad we were both on the spot, and that the little fellow lies under our guns as it were, and so is protected from some such brutal school-pirate as young Duval for instance, who would rob him, probably, of some of those good things; good in themselves, and better because fresh from home. See, there is a pie as I said, and which I daresay is better than those which are served at our table (but you never take any notice of these kind of things, Miss Raby), a cake, of course, a bottle of currant wine, jam-pots, and no end of pears in the straw. With this money little Briggs will be able to pay the tick which that impudent child has run up with Mrs. Ruggles; and I shall let Briggs Major pay for the pencil-case which Bullock sold to him.--It will be a lesson to the young prodigal for the future.

"But, I say, what a change there will be in his life for some time to come, and at least until his present wealth is spent! The boys who bully him will mollify toward him and accept his pie and sweetmeats. They will have feasts in the bedroom; and that wine will taste more deliciously to them than the best out of the Doctor's cellar. The cronies will be invited. Young Master Wagg will tell his most dreadful story and sing his best song for a slice of that pie. What a jolly night they will have! When we go the rounds at night, Mr. Prince and I will take care to make a noise before we come to Briggs's room, so that the boys may have time to put the light out, to push the things away, and to scud into bed. Doctor Spry may be put in requisition the next morning."

"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I lay down the twelfth pen very nicely mended.

"Yes; after luxury comes the doctor, I say; after extravagance, a hole in the breeches pocket. To judge from his disposition, Briggs Major will not be much better off a couple of days hence than he is now, and, if I am not mistaken, will end life a poor man. Brown will be kicking his shins before a week is over, depend upon it. There are boys and men of all sorts, Miss R.--there are selfish sneaks who hoard until the store they daren't use grows mouldy--there are spendthrifts who fling away, parasites who flatter and lick its shoes, and snarling curs who hate and envy good fortune."

I put down the last of the pens, brushing away with it the quill chips from her desk first, and she looked at me with a kind, wondering face. I brushed them away, clicked the pen-knife into my pocket, made her a bow, and walked off--for the bell was ringing for school.

--_William Makepeace Thackeray_

MASTER, BASKET, GLASS, HALF, AFTER. (Appendix A, 1.)

FRIEND'S SHINS, SELFISH SNEAKS, SPENDTHRIFTS. (Appendix
A, 3 and 6.)

Make an analysis from the standpoint of Perspective of
the following sentences: BUT HOW THIS BASKET ... REGARD
HIM; IF HE IS A GOOD-HEARTED BOY ... PARCEL; HE DOES SO
... WINKING EYES; SEE THERE IS A PIE ... STRAW.

* * * * *

THE LAUGHING SALLY

A wind blew up from Pernambuco,
(Yeo heave ho! the _Laughing Sally_!
Hi yeo, heave away!)
A wind blew out of the east-sou'-east
And boomed at the break of day. 5

The _Laughing Sally_ sped for her life,
And a speedy craft was she.
The black flag flew at her top to tell
How she took toll of the sea.

The wind blew up from Pernambuco; 10
And in the breast of the blast
Came the King's black ship like a hound let slip
On the trail of the _Sally_ at last.

For a day and a night, a night and a day;
Over the blue, blue round, 15
Went on the chase of the pirate quarry,
The hunt of the tireless hound.

"Land on the port bow!" came the cry;
And the _Sally_ raced for shore,
Till she reached the bar at the river-mouth 20
Where the shallow breakers roar.

She passed the bar by a secret channel
With clear tide under her keel,--
For he knew the shoals like an open book,
The captain at the wheel. 25

She passed the bar, she sped like a ghost,
Till her sails were hid from view
By the tall, liana'd, unsunned boughs
O'erbrooding the dark bayou.

At moonrise up to the river-mouth 30
Came the King's black ship of war,
The red cross flapped in wrath at her peak,
But she could not cross the bar.

And while she lay in the run of the seas,
By the grimmest whim of chance, 35
Out of the bay to the north came forth
Two battle-ships of France.

On the English ship the twain bore down
Like wolves that range by night;
And the breakers' roar was heard no more 40
In the thunder of the fight.

The crash of the broadsides rolled and stormed
To the _Sally_ hid from view
Under the tall liana'd boughs
Of the moonless dark bayou. 45

A boat ran out for news of the fight,
And this was the word she brought--
"The King's ship fights the ships of France
As the King's ships all have fought!"

Then muttered the mate, "I'm a man of Devon!" 50
And the captain thundered then--
"There's English rope that bides for our necks,
But we all be Englishmen!"

The _Sally_ glided out of the gloom
And down the moon-white river. 55
She stole like a gray shark over the bar
Where the long surf seethes for ever.

She hove to under a high French hull,
And the red cross rose to her peak.
The French were looking for fight that night, 60
And they hadn't far to seek.

Blood and fire on the streaming decks,
And fire and blood below;
The heat of hell, and the reek of hell,
And the dead men laid a-row! 65

And when the stars paled out of heaven
And the red dawn-rays uprushed,
The oaths of battle, the crash of timbers,
The roar of the guns was hushed.

With one foe beaten under his bow, 70
The other far in flight,
The English captain turned to look
For his fellow in the fight.

The English captain turned and stared;--
For where the _Sally_ had been 75
Was a single spar upthrust from the sea
With the red cross flag serene!

A wind blew up from Pernambuco
(Yeo heave ho! the _Laughing Sally_!
Hi yeo, heave away!)
And boomed for the doom of the _Laughing Sally_!
Gone down at the break of day.

--_Charles G. D. Roberts_ (_By arrangement_)

PREPARATORY.--Divide the poem into sections giving to
each part a descriptive title. (Introduction, p. 10.)
How is each section made to stand out?

In what Time is the section which describes the flight
of the _Laughing Sally_ read? Give your reason.
(Introduction, pp. 5 and 13.)

Contrast the first and last stanzas from the standpoint
of feeling. How does the voice express the difference?

BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
A, 2, 3, 5, and 6.)

Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
(Appendix A, 1.)

8-9. Note the Grouping and Pause. (Introduction, p. 11.)

11-13. Observe the Grouping. Which phrases have the
heaviest Shading? (Introduction, p. 33.)

16. Where is the Pause? Why?

18. LAND ON THE PORT BOW. What change is made in Pitch
and Force? Account for it. (Introduction, pp. 22 and
25.)

24. What is the Inflection on this line?

30-37. Observe the Grouping and Shading throughout these
stanzas.

38-45. What sense is appealed to in these stanzas? How
is the Time affected?

46-53. How are the transitions to direct discourse
indicated? (Introduction, p. 24.)

What is the difference in Pitch between the mate's and
the captain's speech? (Introduction, p. 23.)

66-67. Note the contrast with the preceding stanza and
with the two following lines.

* * * * *

THE PRODIGAL SON

Luke xv 11-32

A certain man had two sons: And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.

And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living. And when he had spent all, there arose a mighty famine in that land; and he began to be in want. And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine. And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him. And when he came to himself, he said, How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants.

And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him. And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son. But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet: And bring hither the fatted calf, and kill it; and let us eat, and be merry; For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.

Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing. And he called one of the servants, and asked what these things meant. And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound. And he was angry, and would not go in: therefore came his father out, and intreated him. And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment; and yet thou never gavest me a kid, that I might make merry with my friends: But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf. And he said unto him, Son, thou art ever with me, and all that I have is thine. It was meet that we should make merry, and be glad, for this thy brother was dead, and is alive again; and was lost, and is found.

PREPARATORY.--Divide this parable into four parts,
giving each part a descriptive title.

Describe pictures to illustrate each part.

Connect the parable with any similar story drawn from
modern life. Fill in details to account for (_a_) the
prodigal's desire to leave home, (_b_) the father's
great joy at his return, (_c_) the elder brother's
jealousy.

HOW MANY HIRED SERVANTS, ETC. What are the prodigal's
feelings? What new feeling is introduced with (_a_) I
WILL ARISE, ETC.? (_b_) FATHER, I HAVE SINNED, ETC.?

In what Time and Pitch do you read the passages which
describe the father's joy? (Introduction, pp. 12 and
22.)

What feeling pervades the speech of the elder son? What
is the motive of the father's reply?

Explain the Emphasis in the following; (_a_) AND HE SENT
HIM; (_b_) AND I PERISH; (_c_) NOW HIS ELDER SON; (_d_)
THEREFORE CAME HIS FATHER OUT; (_e_) THOU NEVER GAVEST
ME A KID. (Introduction, pp. 30 and 31.)

Explain the Inflection on DEAD, ALIVE, LOST, FOUND.

* * * * *

CHRISTMAS AT SEA

The sheets were frozen hard, and they cut the naked hand;
The decks were like a slide, where a seaman scarce could stand;
The wind was a nor'-wester, blowing squally off the sea;
And cliffs and spouting breakers were the only things a-lee.

They heard the surf a-roaring before the break of day; 5
But 'twas only with the peep of light we saw how ill we lay.
We tumbled every hand on deck instanter, with a shout,
And we gave her the maintops'l, and stood by to go about.

All day we tacked and tacked between the South Head and the North;
All day we hauled the frozen sheets, and got no further forth; 10
All day as cold as charity, in bitter pain and dread,
For very life and nature we tacked from Head to Head.

We gave the South a wider berth, for there the tide-race roared,
But every tack we made we brought the North Head close aboard;
So's we saw cliffs and houses, and the breakers running high, 15
And the coast-guard in his garden, with his glass against his eye.

The frost was on the village roofs as white as ocean foam;
The good red fires were burning bright in every 'longshore home;
The windows sparkled clear, and the chimneys volleyed out;
And I vow we sniffed the victuals, as the vessel went about. 20

The bells upon the church were rung with a mighty jovial cheer;
For it's just that I should tell you how (of all days in the year)
This day of our adversity was blessed Christmas morn,
And the house above the coast-guard's was the house where I was born.

O well I saw the pleasant room, the pleasant faces there, 25
My mother's silver spectacles, my father's silver hair;
And well I saw the firelight, like a flight of homely elves,
Go dancing round the china plates that stand upon the shelves.

And well I knew the talk they had, the talk that was of me,
Of the shadow on the household and the son that went to sea; 30
And O the wicked fool I seemed, in every kind of way,
To be here and hauling frozen ropes on blessed Christmas day.

They lit the high sea-light, and the dark began to fall.
"All hands to loose topgallant sails," I heard the captain call.
"Captain, she'll never stand it," our first mate, Jackson, cried. 35
"It's the one way or the other, Mr. Jackson," he replied.

She staggered to her bearings, but the sails were new and good,
And the ship smelt up to windward just as though she understood.
As the winter's day was ending, in the entry of the night,
We cleared the weary headland, and passed below the light. 40

And they heaved a mighty breath, every soul on board but me,
As they saw her nose again pointing handsome out to sea;
But all that I could think of, in the darkness and the cold,
Was just that I was leaving home, and my folks were growing old.

--_Robert Louis Stevenson_ (_By arrangement_)

PREPARATORY.--Supply an introduction and a conclusion
for the story suggested by this poem.

Indicate the pauses which should be made in this poem
after words and phrases: (_a_) because of the Imaging
process, (_b_) in order to conceive the thought more
fully, (_c_) in passing from the narration of one action
to that of another, (_d_) because of direct speech
interrupted by narrative. (Introduction, pp. 7, 24, and
27.)

20 and 22. Indicate the Pause before phrases to prepare
the mind for what is coming. (Introduction, p. 8.) What
Inflection is used as a connecting link? (Introduction,
p. 16.)

27. FIRELIGHT. With what should it be connected? How?
(Introduction, p. 24.)

34. ALL HANDS ... SAILS. What change in Pitch and Force?
(Introduction, pp. 22 and 26.)

40. What is the Shading? (Introduction, p. 33.)

Compare the mental state of the captain with that of the
first mate. How is the difference indicated in the Pitch
of their respective speeches? (Introduction, p. 22.)

Connect stanzas vii and viii with the last two lines of
the poem. What background of thought is suggested? How
is the rate of reading affected by the thoughts
suggested? (Introduction, p. 14.)

* * * * *

THE EVENING WIND

Spirit that breathest through my lattice, thou
That cool'st the twilight of the sultry day,
Gratefully flows thy freshness round my brow:
Thou hast been out upon the deep at play,
Riding all day the wild blue waves till now, 5
Roughening their crests, and scattering high their spray,
And swelling the white sail. I welcome thee
To the scorched land, thou wanderer of the sea!

Nor I alone;--a thousand bosoms round
Inhale thee in the fulness of delight; 10
And languid forms rise up, and pulses bound
Livelier at coming of the wind of night;
And, languishing to hear thy grateful sound,
Lies the vast inland stretched beyond the sight.
Go forth into the gathering shade; go forth, 15
God's blessing breathed upon the fainting earth!

Go, rock the little wood-bird in his nest,
Curl the still waters, bright with stars, and rouse
The wide old wood from his majestic rest,
Summoning from the innumerable boughs 20
The strange deep harmonies that haunt his breast:
Pleasant shall be thy way, where meekly bows
The shutting flower and darkling waters pass,
And where the o'ershadowing branches sweep the grass.

The faint old man shall lean his silver head 25
To feel thee; thou shalt kiss the child asleep,
And dry the moistened curls that overspread
His temples, while his breathing grows more deep;
And they who stand about the sick man's bed
Shall joy to listen to thy distant sweep, 30
And softly part his curtains to allow
Thy visit, grateful to his burning brow.

Go,--but the circle of eternal change,
Which is the life of nature, shall restore,
With sounds and scents from all thy mighty range, 35
Thee to thy birthplace of the deep once more;
Sweet odours in the sea-air, sweet and strange,
Shall tell the home-sick manner of the shore;
And, listening to thy murmur, he shall dream
He hears the rustling leaf and running stream. 40

--_William Cullen Bryant_

PREPARATORY.--Describe fully the picture suggested by
(_a_) the first three lines of stanza i, (_b_) the last
four lines of stanza i, (_c_) stanza ii. Give to each a
suitable title.

1, 2, and 6. (Appendix A, 3, 4, and 8.)

1. THOU. What is the Inflection?

6. How does the sound accord with the sense?

15. GO FORTH ... GO FORTH. Where is the Emphasis?
(Introduction, p. 31.)

19-21. What feeling is aroused? How is the Quality of
voice affected? (Introduction, p. 34.)

25-32. What change in Time? Account for it.
(Introduction, p. 13.)

31. What atmosphere is created in this line? What
Quality of voice is the result? What lines in the last
stanza have the same atmosphere? (Introduction, p. 34.)

36. With what should THEE be connected? In what way?

33-36. What portions are read in lighter Shading?
(Introduction, p. 33.)

* * * * *

PARADISE AND THE PERI

From "Lalla Rookh"

One morn a Peri at the gate
Of Eden stood, disconsolate;
And as she listened to the Springs
Of Life within, like music flowing,
And caught the light upon her wings 5
Through the half-open portal glowing,
She wept to think her recreant race
Should e'er have lost that glorious place!
"How happy," exclaimed this child of air,
"Are the holy spirits who wander there, 10
'Mid flowers that never shall fade or fall;
Though mine are the gardens of earth and sea,
And the stars themselves have flowers for me,
One blossom of Heaven out-blooms them all!"

The glorious Angel, who was keeping 15
The Gates of Light, beheld her weeping;
And, as he nearer drew and listened
To her sad song, a tear-drop glistened
Within his eyelids, like the spray
From Eden's fountain, when it lies 20
On the blue flower, which--Brahmins say--
Blooms nowhere but in Paradise.
"Nymph of a fair, but erring line!"
Gently he said,--"One hope is thine.
'Tis written in the Book of Fate, 25
_The Peri yet may be forgiven
Who brings to this Eternal Gate
The Gift that is most dear to Heaven!_
Go, seek it, and redeem thy sin:
'Tis sweet to let the Pardoned in!" 30

Downward the Peri turns her gaze,
And, through the war-field's bloody haze,
Beholds a youthful warrior stand
Alone, beside his native river,--
The red blade broken in his hand, 35
And the last arrow in his quiver.
"Live," said the conqueror, "live to share
The trophies and the crowns I bear!"
Silent that youthful warrior stood--
Silent he pointed to the flood 40
All crimson with his country's blood,
Then sent his last remaining dart,
For answer, to th' invader's heart.

False flew the shaft, though pointed well;
The tyrant lived, the hero fell! 45
Yet marked the Peri where he lay,
And when the rush of war was past,
Swiftly descending on a ray
Of morning light, she caught the last,
Last glorious drop his heart had shed, 50
Before its free-born spirit fled!

"Be this," she cried, as she winged her flight,
"My welcome gift at the Gates of Light."
"Sweet," said the Angel, as she gave
The gift into his radiant hand, 55
"Sweet is our welcome of the brave
Who die thus for their native land.--
But see--alas!--the crystal bar
Of Eden moves not--holier far
Than e'en this drop the boon must be, 60
That opes the Gates of Heaven for thee!"

But nought can charm the luckless Peri;
Her soul is sad, her wings are weary.
When, o'er the vale of Balbec winging
Slowly, she sees a child at play, 65
Among the rosy wild-flowers singing,
As rosy and as wild as they;
Chasing, with eager hands and eyes,
The beautiful blue damsel-flies
That fluttered round the jasmine stems, 70
Like-winged flowers or flying gems:
And, near the boy, who, tired with play,
Now nestling 'mid the roses lay,
She saw a wearied man dismount
From his hot steed, and on the brink 75
Of a small imaret's rustic fount
Impatient fling him down to drink.
Then swift his haggard brow he turned
To the fair child, who fearless sat,
Though never yet hath daybeam burned 80
Upon a brow more fierce than that.

But hark! the vesper call to prayer,
As slow the orb of daylight sets,
Is rising sweetly on the air,
From Syria's thousand minarets! 85
The boy has started from the bed
Of flowers, where he had laid his head,
And down upon the fragrant sod
Kneels, with his forehead to the south,
Lisping th' eternal name of God 90
From purity's own cherub mouth.

And how felt he, the wretched man,
Reclining there--while memory ran
O'er many a year of guilt and strife,
Flew o'er the dark flood of his life, 95
Nor found one sunny resting-place,
Nor brought him back one branch of grace?
"There was a time," he said, in mild,
Heart-humbled tones, "thou blessed child!
When, young and haply pure as thou, 100
I looked and prayed like thee--but now--"
He hung his head--each nobler aim,
And hope, and feeling, which had slept
From boyhood's hour, that instant came
Fresh o'er him, and he wept--he wept! 105

And now, behold him kneeling there
By the child's side, in humble prayer,
While the same sunbeam shines upon
The guilty and the guiltless one,
And hymns of joy proclaim through Heaven 110
The triumph of a soul forgiven!

'Twas when the golden orb had set,
While on their knees they lingered yet,
There fell a light, more lovely far
Than ever came from sun or star, 115
Upon the tear that, warm and meek,
Dewed that repentant sinner's cheek:
To mortal eye that light might seem
A northern flash or meteor beam--
But well th' enraptured Peri knew 120
'Twas a bright smile the Angel threw
From Heaven's gate, to hail that tear--
Her harbinger of glory near!
"Joy, joy for ever! my task is done:
The Gates are passed, and Heaven is won!" 125

--_Thomas Moore_

PREPARATORY.--Divide this selection into four scenes,
describing minutely each scene, and pointing out what
part of the poem it covers. (Introduction, p. 10.)

What feelings are aroused by each scene?

SPIRIT, NATIVE, PURITY. (Appendix A, 8.)

1-4. Give two examples of Grouping from these lines.
Give numerous other examples throughout the selection,
and show how Grouping affects the Inflection and Pause.
(Introduction, pp. 10-12.)

3-7. Read with a view to Perspective. Select other
examples, noting especially ll. 17-22, 47-51, 72-77, and
112-117. (Introduction, p. 33.)

9. EXCLAIMED THIS CHILD OF AIR. (Introduction, pp. 24
and 27.) Give other examples of direct discourse broken
by narration.

54 and 56. SWEET ... SWEET. Which word is more emphatic?
(Introduction, p. 31.) Compare l. 105.

84. With what should IS RISING be connected? How?
Compare UPON THE TEAR, l. 116.

* * * * *

THE LADY OF SHALOTT