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packed packed-up unpacked

puff puffy puffed-up

muff mufiled unmuffied

minds minding mindful

plural plurality rural

pounds pounder pounding

quick quicker quick-set

quaked quaker quacked

quiet
quieter
quietness

queen
queenly
queen-dowager

quiver
quivering
quiverful

question questioning questionable

saith

raillery
rail-fence
rail-road

ruler
ruling
misrule

roller
rolling
unroll

says
sayest

shelv'd
shelving
shelf-like

send'st
wend'st
wended'st

sixth
sixths
sixtieths

strands stranded stranding

slash
slasher
slashing

sloth
slothful
unslothful

slipped
slipper
slippery

strict strictar stricture

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CHAPTER XIII. INTERJECTIONAL OR EXCLAMATORY STATEMENTS.

THESE statements are still more impassioned, and in a more excited key, than the questions of appeal. The “rising inflection ” is there. fore predominant; and the main point to be observed the chief difficulty to be got over-is to settle on what word this inflection ought to culminate. An indiscriminate raising of the voice becomes mere “spouting,” which destroys all right feeling in the listener, and therefore defeats its own object. The reader must try never to forget that he is addressing an object; but he must and ought at the same time to forget the presence of any listeners in the room-he must have his mind full of the object he is supposed to be speaking to. 1. “ Come back! come back!” he cried in grief,

“Across this stormy water;
And I'll forgive your Highland chief,

My daughter!-O my daughter!”
2. Oh, by thy father's head! by thine own soul !

Art thou not Rustum? Speak ! art thou not he? 3.

Farewell, happy fields,
Where joy for ever dwells ! Hail, horrors ! hail,

Infernal world ! 3 4.

Awake! arise! or be for ever fallen ! 4 5. How beautiful upon the mountains are the feet of him that

bringeth good tidings !5 6.

I abjure all roofs !* 7.

O sacred rest! Sweet pleasing sleep! of all the powers the best! * This is said by King Lear, when his madness is beginning. He thinks that under some roof or other, one of his undutiful daughters may be found.

/

INTERJECTIONAL OR EXCLAMATORY STATEMENTS.

71

8.

9.

10.

11.

O peace of mind! repairer of decay,
Whose balms renew the limbs to labours of the day;
Care shuns thy soft approach, and sullen flies away.

DRYDEN.
Thou unassuming common place?
Of Nature, with that homely face,
And yet with something of a grace,

Which love makes for thee!
Happy the man, and happy he alone,
He who can call to-day his own!
He who
secure within

can say,
To-morrow, do thy worst, for I have lived to-day.

DRYDEN.
Eternal Hope! when yonder spheres' sublime
Pealed their first notes to sound the march of time
Thy joyous youth began-but not to fade.

CAMPBELL.
Beautiful objects10 of the wild bee's love!

The wild bird joys your opening bloom to see,
And in your native woods and wilds to be;
All hearts to nature true ye strangely move;
Ye are so passing fair-so passing free.

ROBERT NICOLL.
To A BEE.
Burly, dozing humble bee!
Where thou art is clime for me;
Let them sail for Porto Rique,
Far-off heats through seas to seek,-
I will follow thee alone,
Thou animated torrid zone!
Zig-zag steerer, desert cheerer,

Let me chase thy waving lines;
Keep me nearer, me thy hearer,
Singing over shrubs and vines !

EMERSON.
EVENING HYMN.
God, that madest earth and heaven,

Darkness and light!
Who the day for toil hast given,

For rest the night;
May Thine angel-guards defend us,

Slumber sweet Thy mercy send us,
Holy dreams and hopes attend us,
This livelong night!

HEBER.

12.

13.

14.

TO THE RAINBOW.
How glorious is thy girdle cast
O’er mountain, tower, and town,
Or mirrored in the ocean vast,
A thousand fathoms down!
As fresh in yon horizon dark,
As young thy beauties seem,
As when the eagle from the ark
First sported in thy beam.

CAMPBELL.

But now
His rays

A SUMMER EVENING.
15. How fine has the day been, how bright was the sun,

How lovely and joyful the course that he run,
Though he rose in a mist when his race he begun,
And there followed

some droppings of rain !
the fair traveller's come to the west,

are all gold, and his beauties are best; He paints the sky gay, as he sinks to his rest, And foretells a bright rising again.

DR. WATTS. RAIN IN SUMMER. 16.

How beautiful is the rain !
After the dust and the heat,
In the broad and fiery street,
In the narrow lane,
How beautiful is the rain !

How it clatters along the roofs,
Like the tramp of hoofs !
How it gushes and struggles out
From the throat of the overflowing spout!
Across the window-pane
It pours and pours;
And swift and wide,
With a muddy tide,
Like a river down the gutter roars
The rain, the welcome rain !

LONGFELLOW.

1. The loch, or arm of the sea which the two runaways were crossing. 2. Of heaven. 3. These lines are uttered by Satan, after he has been cast down. 4. This is the last line of Satan's address to the fallen angels. 5. News. 6. Anxiety produces sleeplessness. 7. Spoken to the daisy. 8. Secure-used here in the old sense of free from care. 9. The stars and planets, which were believed to make celestial music. 10. Spoken to the flowers. (To p. 70 and 71.)

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This kind of statement might have been classed under the head of Level Affirmative. But the books on “elocution” all agree in stating that a simile ought to be read in a lower tone, and at a quicker pace, than the rest of the statement. This direction, if mechanically and unthinkingly obeyed, might produce bad reading. The right direction to be given here is, that the pupil should have a due sense of the proportion which the simile bears to the chief statement; and, as the simile can never be equal to the chief statement, that proportion must be fractional or inferior. (No. 9 is an exception to this general view.)

Before reading these sentences aloud, it would be well to have the similes explained and questioned upon. 1.

Blue were her eyes as the fairy flax,

Her cheeks like the dawn of day,
And her bosom white as the hawthorn buds,

That ope in the month of May.' 2.

Thy dress was like the lilies,

And thy heart as pure as they;
One of God's holy messengers

Did walk with me that day.
3. True ease in writing comes from art, not chance,

As those move easiest who have learnt to dance, 4. The illusion that great men and great events came oftener in early times than now, is partly due to historical perspectire. As in a range of equi-distant columns, the farthest off look the closest;

the conspicuous objects of the past seem more thickly clustered the more remote they are.

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