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They wept, and turning homeward, cried,

“ In heaven we all shall meet,' When in the snow the mother spied

The print of Lucy's feet. In this verse, it will have to be explained to the reader that he must make a pause after snow and then allow the sense to run into the next line. Nothing is more common than this necessity; and were poetry written otherwise, it would become intolerably monotonous. This is a case in which there is only an apparent pause-a pause made by the printer, and yet no real pause in the sense.

The general rule may be laid down thus : Take care of the SENSE; and the verse will take care of itself.

But it is excellent practice an will conduce to early formation of good taste in reading, if the teacher will make a selection of verses in which the sense overflows from one line to another. This can easily be done by making a certain mark against such verses in the ordinary Reading-book, and by having them read separately now and then as practice. The following are a few examples * which may serve for introductory practice:




No mate, no comrade, Lucy knew;

She dwelt on a wide moor;
The sweetest thing that ever grew

Beside a human door.
You yet may spy the fawn at play,

The bare upon the green;
But the sweet face of Lucy Gray

Will never more be seen.
And all the neighbourhood could tell

His granaries were furnished well:
'Twas autumn-and sunshine arose on the way
To the home of my fathers, that welcomed me back.
'Twas evening, and the frozen streets

Were cheerless to behold.




* It would be well if the teacher gave some information to place the pupil in the right mental attitude for reading them. See p. 22.





no answer



And therefore was it she was sent

Abroad to beg for bread.
We saw a woman sitting down

· Upon a stone to rest.
She turned her head, and bade the child

That screamed behind be still.
And therefore to her parish she

Was begging back her way.
Sudden and swift a wbistling ball
Came out of a wood, and the voice

was still,
Something I heard in the darkness fall,

And for a moment my blood grew chill ;
I spake in a whisper, as he who speaks
In a room

where some one is lying dead;
But he made

to what I said.
A mile or so

On a little mound, Napoleon

Stood on our storming day.
Just as perhaps he mused, “ My plans

That soar, to earth may fall,
Let once my army-leader Lannes

Waver at yonder wall."
You looked twice ere you saw his breast

Was all-but shot in two.
The chief's eye flashed; but presently

Softened itself, as sheathes
A film the mother eagle's eye.
“ What is it p” said I, “that you bear
Beneath the covert of


cloak ?"
“ The bird and cage they both were his ;

'Twas my son's bird, and neat and trim
He kept it: many voyages

The singing bird had gone with him.”
For—when the morn came, dim and sad,

And chill with early showers,
Her quiet eyelids closed—sbe had

Another morn than ours !
“Is he there nowp” said Mahmoud.—No;-he left

The house when I did, of my wits bereft;
And laughed me down the street, because I vowed
I'd bring the prince himself to lay him in bis shroud."







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Now light the light, the Sultan cried aloud.
'Twas done; he took it in his hand and bow'd
Over the corpse, and looked upon

the face;
Then turned and knelt beside it in the place,
And said a prayer, and from his lips, there crept
Some gentle words of pleasure, and he wept.

That was the grandest funeral

That ever passed on earth.
We may shut our eyes, but we cannot help knowing
That skies are clear and grass is growing.

The skeletons of nations

Around that lonely man.
Up to the throne of God is borne:
The voice of praise at early morn..
Nor will He turn His ear aside
From holy offerings at noon-tide.
A church in every grove that spreads

Its living roof above our heads.
“ 'Tis well that such seditious words are sung
Only by priests and in the Latin tongue.
"I am the king and come to claim my own
From an impostor who usurps my throne!”

The passion of his woe
Burst from him in resistless overflow
And lifting high his forehead he would fling
The haughty answer back, “I am,


the king
The Pope received them with great pomp and blare
Of bannered trumpets on Saint Peter's Square.

And through the chant a second melody
Rose like the throbbing of a single string.

Some belovëd mother, bending
O'er the infant she is tending.
Or that other pleasures be

Sweeter even than gaiety.
These, these are things that may demand
Dread memories for years.

But, lovely child! thy magic stole
At once









into my inmost soul.


35. They love thee well; thou art the queen

Of all their sports, in bower or green. Pauses, then, have a two-fold use : 1°, They throw the words of each sentence into certain groups, and thus enable the ear to catch more quickly the relations of the clauses to each other; and

2°, They enable the reader to express and the listener to sympathize with the feeling of each sentence.

3. From Southey's Ballad of Bishop Hatto. 11. This and the next three are from Mr. Browning's poem, Incident in the French Camp. 18. This and the next are from Leigh Hunt's poem, Mahmoud. 20. Said of the funeral of Moses. 22. Said of the Last Man, by T. Campbell.

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If we see a compary of soldiers marching past, we know, or we find out, that all the soldiers are not of equal rank, and have not the same function, but that, while most of them are private soldiers, some are captains, some lieutenants, some sergeants, and some corporals. And as, in war, these higher officers form the centres and the pivots round which all movements of importance take place, so—in the case of a sentence—the emphatic words are the words round which the others cluster, on which they depend for their power and force, and without which, the other words are nothing. The emphatic words in a sentence are the words which carry

the greatest weight of meaning.

The same is the case with a word. Every word of two or more syllables has one syllable which is much more important than the others—which, in fact, is the syllable to which the others attach themselves and on which they depend. This important syllable is the accented syllable. Thus remark'able, habitual, contem'porary, have the accent on the second syllable. Now, what takes place with a certain syllable in a word takes place also with a certain word in a clause or sentence. There is always one word which has a certain stress or accent upon it, and which attracts and supports all the others. Even in a sentence so simple as: “This is my brother," there is a slight accent upon this, and the word this

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