Here the last two lines, which are not c_The Grammar of English Grammars

tetrameters; and it may be observed, that, if each two of the short lines

were printed as one, the eight which are here scanned otherwise, would

become four of the same sort, except that these would each begin with an

iambus. Hence the specimen _sounds_ essentially as anapestic verse.

_Example III.--Woman on the Field of Battle_.

"Gentle and | lovely form,

What didst | thou here,

When the fierce | battle storm

Bore down | the spear?

Banner and | shiver'd crest,

Beside | thee strown,

Tell that a |-midst the best

Thy work was done!

Low lies the | stately head,

Earth-bound | the free:

How gave those | haughty dead

A place | to thee?

Slumb'rer! thine | early bier

Friends should | have crown'd,

Many a |flow'r and tear

Shedding | around.

Soft voices, | dear and young,

Mingling | their swell,

Should o'er thy | dust have sung

Earth's last | farewell.

Sisters a |-bove the grave

Of thy | repose

Should have bid | vi'lets wave

With the | white rose.

Now must the | trumpet's note.

Savage | and shrill,

For requi'm | o'er thee float,

Thou fair | and still!

And the swift | charger sweep,

In full | career,

Trampling thy | place of sleep--

Why cam'st | thou here?

Why?--Ask the | true heart why

Woman | hath been

Ever, where | brave men die,

Unshrink |-ing seen.

Unto this | harvest ground,

Proud reap |-ers came,

Some for that | stirring sound,

A warr |-ior's name:

Some for the | stormy play,

And joy | of strife,

And some to | fling away

A wea |-ry life.

But thou, pale | sleeper, thou,

With the | slight frame,

And the rich | locks, whose glow

Death can |-not tame;

Only one | thought, one pow'r,

_Thee_ could | have led,

So through the | tempest's hour

To lift | thy head!

Only the | true, the strong,

The love | whose trust

Woman's deep | soul too long

Pours on | the dust."

HEMANS: _Poetical Works_, Vol. ii, p. 157.

Here are fourteen stanzas of composite dimeter, each having two sorts of

lines; the first sort consisting, with a few exceptions, of a dactyl and an

amphimac; the second, mostly, of two iambs; but, in some instances, of a

trochee and an iamb;--the latter being, in such a connexion, much the more

harmonious and agreeable combination of quantities.

_Example IV.--Airs from a "Serenata."_

Air 1.

"Love sounds | the alarm,

And fear | is a-fly~ing;

When beau |-ty's the prize,

What mor |-tal fears dy |-~ing?

In defence | of my treas |-~ure,

I'd bleed | at each vein;

Without | her no pleas |-ure;

For life | is a pain."

Air 2.

"Consid |-er, fond shep |-h~erd,

How fleet |-ing's the pleas |-~ure,

That flat |-ters our hopes

In pursuit | of the fair:

The joys | that attend | ~it,

By mo |-ments we meas |-~ure;

But life | is too lit |-tle

To meas |-ure our care."

GAY'S POEMS: _Johnson's Works of the Poets_, VoL vii, p. 378.

These verses are essentially either anapestic or amphibrachic. The anapest

divides two of them in the middle; the amphibrach will so divide eight. But

either division will give many iambs. By the present scansion, the _first

foot_ is an iamb in all of them but the two anapestics.

_Example V.--"The Last Leaf."_

"I saw | him once | before

As he pass |-~ed by | the door,

And again

The pave |-ment stones | resound

As he tot |-ters o'er | the ground

With his cane.

They say | that in | his prime,

Ere the prun |-ing knife of Time

Cut him down,

Not a bet |-ter man | was found

By the cri |-er on | his round

Through the town.

But now | he walks | the streets,

And he looks | at all | he meets

So forlorn;

And he shakes | his fee |-ble head,

That it seems | as if | he said,

They are gone.

The mos |-sy mar |-bles rest

On the lips | that he | has press'd

In their bloom;

And the names | he lov'd | to hear

Have been carv'd | for man |-y a year

On the tomb.

My grand |-mamma | has said,--

Poor old La |-dy! she | is dead

Long ago,--

That he had | a Ro |-man nose,

And his cheek | was like | a rose

In the snow.

But now | his nose | is thin,

And it rests | upon | his chin

Like a staff;

And a crook | is in | his back

And a mel |-anchol |-y crack

In his laugh.

I know | it is | a sin

For me [thus] | to sit | and grin

At him here;

But the old | three-cor |-ner'd hat,

And the breech |-es, and | all that,

Are so queer!

And if I | should live | to be

The last leaf | upon | the tree

In the spring,--

Let them smile, | as I | do now,

At the old | forsak |-en bough

Where I cling."

OLIVER W. HOLMES: _The Pioneer_, 1843, p. 108.

OBSERVATIONS.

OBS. 1.--Composite verse, especially if the lines be short, is peculiarly

liable to uncertainty, and diversity of scansion; and that which does not

always abide by one chosen order of quantities, can scarcely be found

agreeable; it must be more apt to puzzle than to please the reader. The

eight stanzas of this last example, have eight lines of _iambic trimeter_;

and, since seven times in eight, this metre holds the first place in the

stanza, it is a double fault, that one such line seems strayed from its

proper position. It would be better to prefix the word _Now_ to the fourth

line, and to mend the forty-third thus:--

"And should | I live | to be"--

The trissyllabic feet of this piece, as I scan it, are numerous; being the

sixteen short lines of monometer, and the twenty-four initial feet of the

lines of seven syllables. Every one of the forty--(except the thirty-sixth,

"_The_ last leaf"--) begins with a monosyllable which may be varied in

quantity; so that, with stress laid on this monosyllable, the foot becomes

an _amphimac_; without such stress, an _anapest_.

OBS. 2.--I incline to read this piece as composed of iambs and anapests;

but E. A. Poe, who has commended "the effective harmony of these lines,"

and called the example "an excellently well conceived and well managed

specimen of versification," counts many syllables long, which such a

reading makes short, and he also divides all but the iambics in a way quite

different from mine, thus: "Let us scan the first stanza.

'I s=aw | h~im =once | b~ef=ore

As h~e | p=ass~ed | b=y th~e | d=oor,

And ~a- | g=ain

Th~e p=ave- | m~ent st=ones | r~es=ound

As h~e | t=ott~ers | =o'er th~e | gr=ound

W=ith h~is c=ane.'

This," says he, "is the general scansion of the poem. We have first three

iambuses. The second line shifts the _rhythm_ into the _trochaic_, giving

us three trochees, with a cæsura equivalent, in this case, to a trochee.

The third line is a trochee and equivalent cæsura."--POE'S NOTES UPON

ENGLISH VERSE: _Pioneer_, p. 109. These quantities are the same as those by

which the whole piece is made to consist of iambs and amphimacs.

OBS. 3.--In its _rhythmical effect_ upon the ear, a supernumerary short

syllable at the end of a line, may sometimes, perhaps, compensate for the

want of such a syllable at the beginning of the next line, as may be seen

in the fourth example above; but still it is unusual, and seems improper,

to suppose such syllables to belong to the scansion of the subsequent line;

for the division of lines, with their harmonic pauses, is greater than the

division of feet, and implies that no foot can ever actually be split by

it. Poe has suggested that the division into lines may be disregarded in

scanning, and sometimes must be. He cites for an example the beginning of

Byron's "Bride of Abydos,"--a passage which has been admired for its easy

flow, and which, he says, has greatly puzzled those who have attempted to

scan it. Regarding it as essentially anapestic tetrameter, yet as having

some initial iambs, and the first and fifth lines dactylic, I shall here

divide it accordingly, thus:--

"Kn=ow y~e th~e | l=and wh~ere th~e | c=ypr~ess ~and | m=yrtl~e

Ar~e =em | -bl~ems ~of d=eeds | th~at ~are d=one

| ~in th~eir cl=ime--

Where the rage | of the vul | -ture, the love | of the tur | -tle,

Now melt | into soft | -ness, now mad | -den to crime?

Know ye the | land of the | cedar and | vine.

Where the flow'rs | ever blos | -som, the beams | ever shine,

And the light | wings of Zeph | -yr, oppress'd | with perfume,

Wax faint | o'er the gar | -dens of Gul | in her bloom?

Where the cit | -ron and ol | -ive are fair | -est of fruit,

And the voice | of the night | -ingale nev | -er is mute?

Where the vir | -gins are soft as the ros | -es they twine,

And all, | save the spir | -it of man, | is divine?

'Tis the land | of the East- | 't is the clime | of the Sun--

Can he smile | on such deeds | as his chil | -dren have done?

Oh, wild | as the ac | -cents of lov | -ers' farewell,

Are the hearts | that they bear, | and the tales | that they tell."

OBS. 4.--These lines this ingenious prosodist divides not thus, but,

throwing them together like prose unpunctuated, finds in them "a regular

succession of _dactylic rhythms_, varied only at three points by equivalent

_spondees_, and separated into two distinct divisions by equivalent

terminating _cæsuras_." He imagines that, "By all who have ears--not over

long--this will be acknowledged as the true and the sole true

scansion."--_E. A. Poe: Pioneer_, p. 107. So it may, for aught I know; but,

having dared to show there is an other way quite as simple and plain, and

less objectionable, I submit both to the judgement of the reader:--

"Kn=ow y~e th~e | l=and wh~ere th~e | c=ypr~ess ~and | m=yrtl~e ~are |

=embl~ems ~of | d=eeds th~at ~are | d=one ~in th~eir | cl=ime wh~ere th~e |

r=age ~of th~e | v=ult~ure th~e | l=ove ~of th~e | t=urtl~e n~ow | m=elt

~int~o | s=oftn~ess n~ow | madd~en t~o | _crime_. Kn=ow y~e th~e | l=and

~of th~e | c=ed~ar ~and | v=ine wh~ere th~e | fl=ow'rs ~ev~er | bl=oss~om

th~e | b=eams ~ev~er | sh=ine wh~ere th=e | l=ight w~ings =of | z=eph=yr

~op | -pr=ess'd w~ith p~er | -_f=ume w=ax_ | f=aint ~o'er th~e | g=ard~ens

f=air~est ~of | fr=uit ~and th~e | v=oice ~of th~e | n=ight~ing~ale |

n=ev~er ~is | m=ute wh~ere th~e | v=irg~ins ~are | s=oft ~as th~e | r=os~es

v=ine 't~is th~e | l=and ~of th~e | E=ast 't~is th~e | cl=im~e ~of th~e |

S=un c~an h~e | sm=ile ~on s~uch | d=eeds ~as h~is | ch=ildr~en h~ave |

_d~one =oh_ w=ild ~as th~e | =acc~ents ~of | l=ov~ers' f~are- | w=ell ~are

th~e | h=earts th~at th~ey | be=ar and th~e | t=ales th~at th~ey |

_t=ell_."--_Ib._

OBS. 5.--In the sum and proportion of their quantities, the anapest, the

dactyl, and the amphibrach, are equal, each having two syllables short to

one long; and, with two short quantities between two long ones, lines may

be tolerably accordant in rhythm, though the order, at the commencement, be

varied, and their number of syllables be not equal. Of the following

sixteen lines, nine are pure anapestic tetrameters; one _may_ be reckoned

dactylic, but it may quite as well be said to have a trochee, an iambus,

and two anapests or two amphimacs; one is a spondee and three anapests; and

the rest _may_ be scanned as amphibrachics ending with an iambus, but are

more properly anapestics commencing with an iambus. Like the preceding

example from Byron, they lack the uniformity of proper composites, and are

rather to be regarded as anapestics irregularly diversified.

THE ALBATROSS.

"'Tis said the Albatross never rests."--_Buffon_.

"Wh~ere th~e f=ath | -~oml~ess w=aves | in magnif | -icence toss,

H=omel~ess | ~and h=igh | soars the wild | Albatross;

Unwea | -ried, undaunt | -ed, unshrink | -ing, alone,

The o | -cean his em | -pire, the tem | -pest his throne.

When the ter | -rible whirl | -wind raves wild | o'er the surge,

And the hur | -ricane howls | out the mar | -iner's dirge,

In thy glo | -ry thou spurn | -est the dark | -heaving sea,

Pr=oud b=ird | of the o | -cean-world, home | -less and free.

When the winds | are at rest, | and the sun | in his glow,

And the glit | -tering tide | sleeps in beau | -ty below,

In the pride | of thy pow | -er trium | -phant above,

With thy mate | thou art hold | -ing thy rev | -els of love.

Untir | -ed, unfet | -tered, unwatched, | unconfined,

Be my spir | -it like thee, | in the world | of the mind;

No lean | -ing for earth, | e'er to wea | -ry its flight,

And fresh | as thy pin | -ions in re | -gions of light."

SAMUEL DALY LANGTREE: _North American Reader_, p. 443.

OBS. 6.--It appears that the most noted measures of the Greek and Latin

poets were not of any simple order, but either composites, or mixtures too

various to be called composites. It is not to be denied, that we have much

difficulty in reading them rhythmically, according to their stated feet and

scansion; and so we should have, in reading our own language rhythmically,

in any similar succession of feet. Noticing this in respect to the Latin

Hexameter, or Heroic verse, Poe says, "Now the discrepancy in question is

not observable in English metres; where the scansion coincides with the

reading, _so far as the rhythm is concerned_--that is to say, if we pay no

attention to the _sense_ of the passage. But these facts indicate _a

radical difference_ in the genius of the two languages, as regards their

capacity for modulation. In truth, * * * the Latin is a far more _stately_

tongue than our own. It is essentially spondaic; the English is as

essentially dactylic."--_Pioneer_, p. 110. (See the marginal note in §3d.

at Obs. 22d, above.) Notwithstanding this difference, discrepance, or

difficulty, whatever it may be, some of our poets have, in a few instances,

attempted imitations of certain Latin metres; which imitations it may be

proper briefly to notice under the present head. The Greek or Latin

Hexameter line has, of course, six feet, or pulsations. According to the

Prosodies, the first four of these may be either dactyls or spondees; the

fifth is always, or nearly always, a dactyl; and the sixth, or last, is

always a spondee: as,

"L=ud~er~e | qu=æ v=el | -l=em c~al~a | -m=o p=er | -m=is~it ~a

| -gr=est=i."--_Virg._

"Inf=an- | d=um, R=e | -g=in~a, j~u | -b=es r~en~o | -v=ar~e d~o

| -l=or=em."--_Id._

Of this sort of verse, in English, somebody has framed the following very

fair example:--

"M=an ~is ~a | c=ompl=ex, | c=omp=ound | c=omp=ost, | y=et ~is h~e

| G=od-b=orn."

OBS. 7.--Of this species of versification, which may be called Mixed or

Composite Hexameter, the most considerable specimen that I have seen in

English, is Longfellow's Evangeline, a poem of one thousand three hundred

and eighty-two of these long lines, or verses. This work has found

admirers, and not a few; for, of these, nothing written by so distinguished

a scholar could fail: but, surely, not many of the verses in question

exhibit truly the feet of the ancient Hexameters; or, if they do, the

ancients contented themselves with very imperfect rhythms, even in their

noblest heroics. In short, I incline to the opinion of Poe, that, "Nothing

less than the deservedly high reputation of Professor Longfellow, could

have sufficed to give currency to his lines as to Greek Hexameters. In

general, they are neither one thing nor another. Some few of them are

dactylic verses--English dactylics. But do away with the division into

lines, and the most astute critic would never have suspected them of any

thing more than prose."--_Pioneer_, p. 111. The following are the last ten

lines of the volume, with such a division into feet as the poet is presumed

to have contemplated:--

"Still stands the | forest pri | -meval; but | under the | shade of its

| branches

Maidens still | wear their | Norman | caps and their | kirtles of

| homespun,

And by the | evening | fire re | -peat E | -vangeline's story,

While from its | rocky | caverns the | deep-voiced, | neighbouring

| ocean

Speaks, and in | accents dis | -consolate | answers the | wail of the

| forest."

HENRY W. LONGFELLOW: _Evangeline_, p. 162.

OBS. 8.--An other form of verse, common to the Greeks and Romans, which has

sometimes been imitated--or, rather, which some writers have _attempted to

imitate_--in English, is the line or stanza called Sapphic, from the

inventress, Sappho, a Greek poetess. The Sapphic verse, according to

Fabricius, Smetius, and all good authorities, has eleven syllables, making

"five feet--the first a trochee, the second a spondee, the third a dactyl,

and the fourth and fifth trochees." The Sapphic stanza, or what is

sometimes so called, consists of three Sapphic lines and an Adonian, or

Adonic,--this last being a short line composed of "a dactyl and a spondee."

Example from Horace:--

"=Int~e | -g=er v=i | -tæ, sc~el~e | -r=isqu~e | p=ur~us

Non e | -get Mau | -ri jacu | -lis ne | -qu' arcu,

Nec ven | -ena | -tis gravi | -dâ sa | -gittis,

Fusce, pha | -retra."

To arrange eleven syllables in a line, and have half or more of them to

form trochees, is no difficult matter; but, to find _rhythm_ in the

succession of "a trochee, a spondee, and a dactyl," as we read words, seems

hardly practicable. Hence few are the English Sapphics, if there be any,

which abide by the foregoing formule of quantities and feet. Those which I

have seen, are generally, if not in every instance, susceptible of a more

natural scansion as being composed of trochees, with a dactyl, or some

other foot of three syllables, at the _beginning_ of each line. The cæsural

pause falls sometimes after the fourth syllable, but more generally, and

much more agreeably, after the fifth. Let the reader inspect the following

example, and see if he do not agree with me in laying the accent on only

the first syllable of each foot, as the feet are here divided. The accent,

too, must be carefully laid. Without considerable care in the reading, the

hearer will not suppose the composition to be any thing but prose:--

"THE WIDOW."--(IN "SAPPHICS.")

"Cold was the | night-wind, | drifting | fast the | snow fell,

Wide were the | downs, and | shelter | -less and | naked,

When a poor | Wanderer | struggled | on her | journey,

Weary and | way-sore.

Drear were the | downs, more | dreary | her re | -flections;

Cold was the | night-wind, | colder | was her | bosom;

She had no | home, the | world was | all be | -fore her;

She had no | shelter.

Fast o'er the | heath a | chariot | rattlee | by her;

'Pity me!' | feebly | cried the | lonely | wanderer;

'Pity me, | strangers! | lest, with | cold and | hunger,

Here I should | perish.

'Once I had | friends,--though | now by | all for | -saken!

'Once I had | parents, | --they are | now in | heaven!

'I had a | home once, | --I had | once a | husband--

Pity me, | strangers!

'I had a | home once, | --I had | once a | husband--

'I am a | widow, | poor and | broken | -hearted!'

Loud blew the | wind; un | -heard was | her com | -plaining;

On drove the | chariot.

Then on the | snow she | laid her | down to | rest her;

She heard a | horseman; | 'Pity | me!' she | groan'd out;

Loud was the | wind; un | -heard was | her com | -plaining;

On went the | horseman.

Worn out with | anguish, | toil, and | cold, and | hunger,

Down sunk the | Wanderer; | sleep had | seized her | senses;

There did the | traveller | find her | in the | morning;

God had re | -leased her."

ROBERT SOUTHEY: _Poems_, Philad., 1843, p. 251.

Among the lyric poems of Dr. Watts, is one, entitled, "THE DAY OF

JUDGEMENT; _an Ode attempted in English Sapphic_." It is perhaps as good an

example as we have of the species. It consists of nine stanzas, of which I

shall here cite the first three, dividing them into feet as above:--

"When the fierce | North Wind, | with his | airy | forces,

Rears up the | Baltic | to a | foaming | fury;

And the red | lightning | with a | storm of | hail comes

Rushing a | -main down;

How the poor | sailors | stand a | -maz'd and | tremble!

While the hoarse | thunder, | like a bloody | trumpet,

Roars a loud | onset | to the | gaping | waters,

Quick to de | -vour them.

Such shall the | noise be, | and the | wild dis | -order,

(If things e | -ternal | may be | like these | earthly,)

Such the dire | terror, | when the | great Arch | -angel

Shakes the cre | -ation."--_Horæ Lyricæ_, p. 67.

"These lines," says Humphrey, who had cited the first four, "are good

English Sapphics, and contain the essential traits of the original as

nearly as the two languages, Greek and English, correspond to each other.

This stanza, together with the poem, from which this was taken, may stand

for a model, in our English compositions."--_Humphrey's E. Prosody_, p. 19.

This author erroneously supposed, that the trissyllabic foot, in any line

of the Sapphic stanza, must occupy the second place: and, judging of the

ancient feet and quantities by what he found, or supposed he found, in the

English imitations, and not by what the ancient prosodists say of them, yet

knowing that the ancient and the modern Sapphics are in several respects

unlike, he presented forms of scansion for both, which are not only

peculiar to himself, but not well adapted to either. "We have," says he,

"no established rule for this kind of verse, in our English compositions,

which has been uniformly adhered to. The rule for which, in Greek and Latin

verse, _as far as I can ascertain_, was this: = ~ | = = = | ~ ~ |= ~ | = =

a trochee, a _moloss_, a _pyrrhic_, a trochee, and [a] _spondee_; and

_sometimes, occasionally_, a trochee, instead of a spondee, at the end. But

as our language is not favourable to the use of the spondee and moloss, the

moloss is seldom or never used in our English Sapphics; but, instead of

which, some other _trissyllable_ foot is used. Also, instead of the

spondee, a trochee is commonly used; and sometimes a trochee instead of the

pyrrhic, in the third place. As some prescribed rule, or model for

imitation, may be necessary, in this case, I will cite a stanza from one of

our best English poets, which may serve for a model.

'Wh=en th~e | fi=erce n=orth-w~ind, | w~ith h~is | =air~y | f=orc~es [,]

R=ears ~up | th~e B=alt~ic | t~o ~a | f=oam~ing | f=ur~y;

And th~e | r=ed l=ightn~ing | w~ith ~a | st=orm ~of | h=ail c~omes

R=ush~ing | ~am=ain d=own.'--Watts."--_Ib._, p. 19.

OBS. 12.--In "the Works of George Canning," a small book published in 1829,

there is a poetical dialogue of nine stanzas, entitled, "The Friend of

Humanity and the Knife-Grinder," said to be "a burlesque on Mr. Southey's

Sapphics." The metre appears to be near enough like to the foregoing. But

these verses I divide, as I have divided the others, into trochees with

initial dactyls. At the commencement, the luckier party salutes the other

thus:--

"'Needy knife | -grinder! | whither | are you | going?

Rough is the | road, your | wheel is | out of | order--

Bleak blows the | blast;--your | hat has | got a | hole in't,

So have your | breeches!

'Weary knife | -grinder! | little | think the | proud ones

Who in their | coaches | roll a | -long the | turnpike--

Road, what hard | work 'tis, | crying | all day, | 'Knives and

Scissors to | grind O!'"--P. 44.

OBS. 13.--Among the humorous poems of Thomas Green Fessenden, published

under the sobriquet of Dr. Caustic, or "Christopher Caustic, M. D.," may be

seen an other comical example of Sapphics, which extends to eleven stanzas.

It describes a contra-dance, and is entitled, "Horace Surpassed." The

conclusion is as follows:--

"Willy Wagnimble dancing with Flirtilla,

Almost as light as air-balloon inflated,

Rigadoons around her, 'till the lady's heart is

Forced to surrender.

Benny Bamboozle cuts the drollest capers,

Just like a camel, or a hippopot'mus;

Jolly Jack Jumble makes as big a rout as

Forty Dutch horses.

See Angelina lead the mazy dance down;

Never did fairy trip it so fantastic;

How my heart flutters, while my tongue pronounces,

'Sweet little seraph!'

Such are the joys that flow from contra-dancing,

Pure as the primal happiness of Eden,

Love, mirth, and music, kindle in accordance

Raptures extatic."--_Poems_, p. 208.

SECTION V.--ORAL EXERCISES.

IMPROPRIETIES FOR CORRECTION.

FALSE PROSODY, OR ERRORS OF METRE.

LESSON I.--RESTORE THE RHYTHM.

"The lion is laid down in his lair."--_O. B. Peirce's Gram._, p. 134.

[FORMULE.--Not proper, because the word "_lion_," here put for Cowper's

word "_beast_" destroys the metre, and changes the line to prose. But,

according to the definition given on p. 827, "Verse, in opposition to

prose, is language arranged into metrical lines of some determinate length

and rhythm--language so ordered as to produce harmony by a due succession

of poetic feet." This line was composed of one iamb and two anapests; and,

to such form, it should be restored, thus: "The _beast_ is laid down in his

lair."--_Cowper's Poems_, Vol. i, p. 201.]

"Where is thy true treasure? Gold says, not in me."

--_Hallock's Gram._, 1842, p. 66.

"Canst thou grow sad, thou sayest, as earth grows bright?"

--_Frazee's Gram._, 1845, p. 140.

"It must be so, Plato, thou reasonest well."

--_Wells's Gram._, 1846, p. 122.

"Slow rises merit, when by poverty depressed."

--_Ib._, p. 195; _Hiley_, 132; _Hart_, 179.

"Rapt in future times, the bard begun."

--_Wells's Gram._, 1846, p. 153.

"Is there not rain enough in the sweet heavens

To wash it white as snow? Whereunto serves mercy,

But to confront the visage of offence!"

--_Hallock's Gram._, 1842, p. 118.

"Look! in this place ran Cassius's dagger through."

--_Kames, El. of Cr._, Vol. i, p. 74.

"----When they list their lean and flashy songs,

Harsh grate on their scrannel pipes of wretched straw."

--_Jamieson's Rhet._, p. 135.

"Did not great Julius bleed for justice's sake?"

--_Dodd's Beauties of Shak._, p. 253.

"Did not great Julius bleed for justice sake?"

--_Singer's Shakspeare_, Vol. ii, p. 266.

"May I, unblam'd, express thee? Since God is light."

--_O. B. Peirce's Gram._, p. 290.

"Or hearest thou, rather, pure ethereal stream!"

--_2d Perversion, ib._

"Republics; kingdoms; empires, may decay;

Princes, heroes, sages, sink to nought."

--_O. B. Peirce's Gram._, p. 287.

"Thou bringest, gay creature as thou art,

A solemn image to my heart."

--_E. J. Hallock's Gram._, p. 197.

"Know thyself presume not God to scan;

The proper study of mankind is Man."

--_O. B. Peirce's Gram._, p. 285.

"Raised on a hundred pilasters of gold."

--_Charlemagne_, C. i, St. 40.

"Love in Adalgise's breast has fixed his sting."

--_Ib._, C. i, St. 30.

"Thirty days hath September,

April, June, and November,

February twenty-eight alone,

All the rest thirty and one."

_Colet's Grammar, or Paul's Accidence_. Lond., 1793, p. 75.

LESSON II.--RESTORE THE RHYTHM.

"'Twas not the fame of what he once had been,

Or tales in old records and annals seen."

--_Rowe's Lucan_, B. i, l. 274.

"And Asia now and Afric are explor'd,

For high-priced dainties, and citron board."

--_Eng. Poets: ib._, B. i, l. 311.

"Who knows not, how the trembling judge beheld

The peaceful court with arm'd legions fill'd?"

--_Eng. Poets; ib._, B. i, l. 578.

"With thee the Scythian wilds we'll wander o'er,

With thee burning Libyan sands explore."

--_Eng. Poets: ib._, B. i, l. 661.

"Hasty and headlong different paths they tread,

As blind impulse and wild distraction lead."

--_Eng. Poets: ib._, B. i, l. 858.

"But Fate reserv'd to perform its doom,

And be the minister of wrath to Rome."

--_Eng. Poets: ib._, B. ii, l. 136.

"Thus spoke the youth. When Cato thus exprest

The sacred counsels of his most inmost breast."

--_Eng. Poets: ib._, B. ii, l. 435.

"These were the strict manners of the man,

And this the stubborn course in which they ran;

The golden mean unchanging to pursue,

Constant to keep the proposed end in view."

--_Eng. Poets: ib._, B. ii, l. 580.

"What greater grief can a Roman seize,

Than to be forc'd to live on terms like these!"

--_Eng. Poets: ib._, B. ii, l. 782.

"He views the naked town with joyful eyes,

While from his rage an arm'd people flies."

--_Eng. Poets: ib._, B. ii, l. 880.

"For planks and beams he ravages the wood,

And the tough bottom extends across the flood."

--_Eng. Poets: ib._, B. ii, l. 1040.

"A narrow pass the horned mole divides,

Narrow as that where Euripus' strong tides

Beat on Euboean Chalcis' rocky sides."

--_Eng. Poets: ib._, B. ii, l. 1095.

"No force, no fears their hands unarm'd bear,

But looks of peace and gentleness they wear."

--_Eng. Poets: ib._, B. iii, l. 112.

"The ready warriors all aboard them ride,

And wait the return of the retiring tide."

--_Eng. Poets: ib._, B. iv, l. 716.

"He saw those troops that long had faithful stood,

Friends to his cause, and enemies to good,

Grown weary of their chief, and satiated with blood."

--_Eng. Poets: ib._, B. v, l. 337.

CHAPTER V.--QUESTIONS.

ORDER OF REHEARSAL, AND METHOD OF EXAMINATION.

PART FOURTH, PROSODY.

[Fist][The following questions call the attention of the student to the

main doctrines in the foregoing code of Prosody, and embrace or demand

those facts which it is most important for him to fix in his memory; they

may, therefore, serve not only to aid the teacher in the process of

examining his classes, but also to direct the learner in his manner of

preparation for recital.]

LESSON I.--OF PUNCTUATION.

1. Of what does Prosody treat? 2. What is _Punctuation?_ 3. What are the

principal points, or marks? 4. What pauses are denoted by the first four

points? 5. What pauses are required by the other four? 6. What is the

general use of the Comma? 7. How many rules for the Comma are there, and

what are their heads? 8. What says Rule 1st of _Simple Sentences?_ 9. What

says Rule 2d of _Simple Members?_ 10. What says Rule 3d of _More than Two

Words?_ 11. What says Rule 4th of _Only Two Words?_ 12. What says Rule 5th

of _Words in Pairs?_ 13. What says Rule 6th of _Words put Absolute?_ 14.

What says Rule 7th of _Words in Apposition?_ 15. What says Rule 8th of

_Adjectives?_ 16. What says Rule 9th of _Finite Verbs?_ 17. What says Rule

10th of _Infinitives?_ 18. What says Rule 11th of _Participles?_ 19. What

says Rule 12th of _Adverbs?_ 20. What says Rule 13th of _Conjunctions?_ 21.

What says Rule 14th of _Prepositions?_ 22. What says Rule 15th of

_Interjections?_ 23. What says Rule 16th of _Words Repeated?_ 24. What says

Rule 17th of _Dependent Quotations?_

LESSON II.--OF THE COMMA.

1. How many exceptions, or forms of exception, are there to Rule 1st for

the comma? 2.--to Rule 2d? 3.--to Rule 3d? 4.--to Rule 4th? 5.--to Rule

5th? 6.--to Rule 6th? 7.--to Rule 7th? 8.--to Rule 8th? 9.--to Rule 9th?

10.--to Rule 10th? 11.--to Rule 11th? 12.--to Rule 12th? 13.--to Rule 13th?

14.--to Rule 14th? 15.--to Rule 15th? 16.--to Rule 16th? 17.--to Rule 17th?

18. What says the Exception to Rule 1st of a _Long Simple Sentence?_ 19.

What says Exception 1st to Rule 2d of _Restrictive Relatives?_ 20. What

says Exception 2d to Rule 2d of _Short Terms closely Connected?_ 21. What

says Exception 3d to Rule 2d of _Elliptical Members United?_ 22. What says

Exception 1st to Rule 4th of _Two Words with Adjuncts?_ 23. What says

Exception 2d to Rule 4th of _Two Terms Contrasted?_ 24. What says Exception

3d to Rule 4th of a mere _Alternative of Words?_ 25. What says Exception

4th to Rule 4th of _Conjunctions Understood?_

LESSON III.--OF THE COMMA.

1. What rule speaks of the separation of _Words in Apposition?_ 2. What

says Exception 1st to Rule 7th of _Complex Names?_ 3. What says Exception

2d to Rule 7th of _Close Apposition?_ 4. What says Exception 3d to Rule 7th

of _a Pronoun without a Pause?_ 5. What says Exception 4th to Rule 7th of

_Names Acquired?_ 6. What says the Exception to Rule 8th of _Adjectives

Restrictive?_ 7. What is the rule which speaks of a finite _Verb

Understood?_ 8. What says the Exception to Rule 9th of a _Very Slight

Pause?_ 9. What is the Rule for the pointing of _Participles?_ 10. What

says the Exception to Rule 11th of _Participles Restrictive?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Comma in Section First.]

LESSON IV.--OF THE SEMICOLON.

1. What is the general use of the Semicolon? 2. How many rules are there

for the Semicolon? 3. What are their heads? 4. What says Rule 1st of

_Complex Members?_ 5. What says Rule 2d of _Simple Members?_ 6. What says

Rule 3d of _Apposition, &c.?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Semicolon in Section Second.]

LESSON V.--OF THE COLON.

1. What is the general use of the Colon? 2. How many rules are there for

the Colon? 3. What are their heads? 4. What says Rule 1st of _Additional

Remarks?_ 5. What says Rule 2d of _Greater Pauses?_ 6. What says Rule 3d of

_Independent Quotations?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Colon in Section Third.]

LESSON VI.--OF THE PERIOD.

1. What is the general use of the Period? 2. How many rules are there for

the Period? 3. What are their heads? 4. What says Rule 1st of _Distinct

Sentences?_ 5. What says Rule 2d of _Allied Sentences?_ 6. What says Rule

3d of _Abbreviations?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Period in Section Fourth.]

LESSON VII.--OF THE DASH.

1. What is the general use of the Dash? 2. How many rules are there for the

Dash? 3. What are their heads? 4. What says Rule 1st of _Abrupt Pauses?_ 5.

What says Rule 2d of _Emphatic Pauses?_ 6. What says Rule 3d of _Faulty

Dashes?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Dash in Section Fifth.]

LESSON VIII.--OF THE EROTEME.

1. What is the use of the Eroteme, or Note of Interrogation? 2. How many

rules are there for this mark? 3. What are their heads? 4. What says Rule

1st of _Questions Direct?_ 5. What says Rule 2d of _Questions United?_ 6.

What says Rule 3d of _Questions Indirect?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Eroteme in Section Sixth.]

LESSON IX--OF THE ECPHONEME.

1. What is the use of the Ecphoneme, or Note of Exclamation? 2. How many

rules are there for this mark? 2. What are their heads? 4. What says Rule

1st of _Interjections?_ 5. What says Rule 2d of _Invocations?_ 6. What says

Rule 3d of _Exclamatory Questions?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Ecphoneme in Section Seventh.]

LESSON X.--OF THE CURVES.

1. What is the use of the Curves, or Marks of Parenthesis? 2. How many

rules are there for the Curves? 3. What are their titles, or heads? 4. What

says Rule 1st of _the Parenthesis?_ 5. What says Rule 2d of _Included

Points?_

[Now, if you please, you may correct orally, according to the formules

given, some or all of the various examples of _False Punctuation_, which

are arranged under the rules for the Curves in Section Eighth.]

LESSON XI.--OF THE OTHER MARKS.

1. What is the use of the Apostrophe? 2. What is the use of the Hyphen? 3.

What is the use of the Diæresis, or Dialysis? 4. What is the use of the

Acute Accent? 5. What is the use of the Grave Accent? 6. What is the use of

the Circumflex? 7. What is the use of the Breve, or Stenotone? 8. What is

the use of the Macron, or Macrotone? 9. What is the use of the Ellipsis, or

Suppression? 10. What is the use of the Caret? 11. What is the use of the

Brace? 12. What is the use of the Section? 13. What is the use of the

Paragraph? 14. What is the use of the Guillemets, or Quotation Points? 15.

How do we mark a quotation within a quotation? 16. What is the use of the

Crotchets, or Brackets? 17. What is the use of the Index, or Hand? 18. What

are the six Marks of Reference in their usual order? 19. How can

references be otherwise made? 20. What is the use of the Asterism, or the

Three Stars? 21. What is the use of the Cedilla?

[Having correctly answered the foregoing questions, the pupil should be

taught to apply the principles of punctuation; and, for this purpose, he

may be required to read a portion of some accurately pointed book, or may

be directed to turn to the _Fourteenth Praxis_, beginning on p. 821,--and

to assign a reason for every mark he finds.]

LESSON XII.--OF UTTERANCE.

1. What is _Utterance?_ 2. What does it include? 3. What is articulation?

4. How does articulation differ from pronunciation? 5. How does Comstock

define it? 6. What, in his view, is a good articulation? 7. How does Bolles

define articulation? 8. Is a good articulation important? 9. What are the

faults opposite to it? 10. What says Sheridan, of a good articulation? 11.

Upon what does distinctness depend? 13. Why is just articulation better

than mere loudness? 13. Do we learn to articulate in learning to speak or

read?

LESSON XIII.--OF PRONUNCIATION.

1. What is pronunciation? 2. What is it that is called _Orthoëpy?_ 3. What

knowledge does pronunciation require? 4. What are the just powers of the

letters? 5. How are these learned? 6. Are the just powers of the letters in

any degree variable? 7. What is quantity? 8. Are all long syllables equally

long, and all short ones equally short? 9. What has stress of voice to do

with quantity? 10. What is accent? 11. Is every word accented? 12. Do we

ever lay two equal accents on one word? 13. Have we more than one sort of

accent? 14. Can any word have the secondary accent, and not the primary?

15. Can monosyllables have either? 16. What regulates accent? 17. What four

things distinguish the elegant speaker?

LESSON XIV.--OF ELOCUTION.

1. What is elocution? 2. What does elocution require? 3. What is emphasis?

4. What comparative view is taken of accent and emphasis? 5. How does L.

Murray connect emphasis with quantity? 6. Does emphasis ever affect accent?

7. What is the guide to a right emphasis? 8. Can one read with too many

emphases? 9. What are pauses? 10. How many and what kinds of pauses are

there? 11. What is said of the duration of pauses, and the taking of

breath? 12. After what manner should pauses be made? 13. What pauses are

particularly ungraceful? 14. What is said of rhetorical pauses? 15. How are

the harmonic pauses divided? 16. Are such pauses essential to verse?

LESSON XV.--OF ELOCUTION.

17. What are inflections? 18. What is called the rising or upward

inflection? 19. What is called the falling or downward inflection? 20. How

are these inflections exemplified? 21. How are they used in asking

questions? 22. What is said of the notation of them? 23. What constitutes a

circumflex? 24. What constitutes the rising, and what the falling,

circumflex? 25. Can you give examples? 26. What constitutes a monotone, in

elocution? 27. Which kind of inflection is said to be most common? 28.

Which is the best adapted to strong emphasis? 29. What says Comstock of

rules for inflections? 30. Is the voice to be varied for variety's sake?

31. What should regulate the inflections? 32. What is cadence? 33. What

says Rippingham about it? 34. What says Murray? 35. What are tones? 36. Why

do they deserve particular attention? 37. What says Blair about tones? 38.

What says Hiley?

LESSON XVI.--OF FIGURES.

1. What is a _Figure_ in grammar? 2. How many kinds of figures are there?

3. What is a figure of orthography? 4. What are the principal figures of

orthography? 5. What is Mimesis? 6. What is an Archaism? 7. What is a

figure of etymology? 8. How many and what are the figures of etymology? 9.

What is Aphæresis? 10. What is Prosthesis? 11. What is Syncope? 12. What is

Apocope? 13. What is Paragoge? 14. What is Diæresis? 15. What is Synæresis?

16. What is Tmesis? 17. What is a figure of syntax? 18. How many and what

are the figures of syntax? 19. What is Ellipsis, in grammar? 20. Are

sentences often elliptical? 21. What parts of speech can be omitted, by

ellipsis? 22. What is Pleonasm? 23. When is this figure allowable? 24. What

is Syllepsis? 25. What is Enallage? 26. What is Hyperbaton? 27. What is

said of this figure?

LESSON XVII.--OF FIGURES.

28. What is a figure of rhetoric? 29. What peculiar name have some of

these? 30. Do figures of rhetoric often occur? 31. On what are they

founded? 32. How many and what are the principal figures of rhetoric? 33.

What is a Simile? 34. What is a Metaphor? 35. What is an Allegory? 36. What

is a Metonymy? 37. What is Synecdoche? 38. What is Hyperbole? 39. What is

Vision? 40. What is Apostrophe? 41. What is Personification? 42. What is

Erotesis? 43. What is Ecphonesis? 44. What is Antithesis? 45. What is

Climax? 46. What is Irony? 47. What is Apophasis, or Paralipsis? 48. What

is Onomatopoeia?

[Now, if you please, you may examine the quotations adopted for the

_Fourteenth Praxis_, and may name and define the various figures of grammar

which are contained therein.]

LESSON XVIII.--OF VERSIFICATION.

1. What is _Versification_? 2. What is verse, as distinguished from prose?

3. What is the rhythm of verse? 4. What is the quantity of a syllable? 5.

How are poetic quantities denominated? 6. How are they proportioned? 7.

What quantity coincides with accent or emphasis? 8. On what but the vowel

sound does quantity depend? 9. Does syllabic quantity always follow the

quality of the vowels? 10. Where is quantity variable, and where fixed, in

English? 11. What is rhyme? 12. What is blank verse? 13. What is remarked

concerning the rhyming syllables? 14. What is a stanza? 15. What uniformity

have stanzas? 16. What variety have they?

LESSON XIX.--OF VERSIFICATION.

17. Of what does a verse consist? 18. Of what does a poetic foot consist?

19. How many feet do prosodists recognize? 20. What are the principal feet

in English? 21. What is an Iambus? 22. What is a Trochee? 23. What is an

Anapest? 24. What is a Dactyl? 25. Why are these feet principal? 26. What

orders of verse arise from these? 27. Are these kinds to be kept separate?

28. What is said of the secondary feet? 29. How many and what secondary

feet are explained in this code? 30. What is a Spondee? 31. What is a

Pyrrhic? 32. What is a Moloss? 33. What is a Tribrach? 34. What is an

Amphibrach? 35. What is an Amphimac? 36. What is a Bacchy? 37. What is an

Antibachy? 38. What is a Cæsura?

LESSON XX.--OF VERSIFICATION.

39. What are the principal kinds, or orders, of verse? 40. What other

orders are there? 41. Does the composite order demand any uniformity? 42.

Do the simple orders admit any diversity? 43. What is meant by _scanning_

or _scansion_? 44. What mean the technical words, _catalectic,

acatalectic_, and _hypermeter_? 45. In scansion, why are the principal feet

to be preferred to the secondary? 46. Can a single foot be a line? 47. What

are the several combinations that form dimeter, trimeter, tetrameter,

pentameter, hexameter, heptameter, and octometer? 48. What syllables have

stress in a pure iambic line? 49. What are the several measures of iambic

verse? 50. What syllables have stress in a pure trochaic line? 51. Can it

be right, to regard as hypermeter the long rhyming syllables of a line? 52.

Is the number of feet in a line to be generally counted by that of the long

syllables? 53. What are the several measures of trochaic verse?

LESSON XXI.--OF VERSIFICATION.

54. What syllables have stress in a pure anapestic line? 55. What variation

may occur in the first foot? 56. Is this frequent? 57. Is it ever uniform?

58. What is the result of a uniform mixture? 59. Is the anapest adapted to

single rhyme? 60. May a surplus ever make up for a deficiency? 61. Why are

the anapestic measures few? 62. How many syllables are found in the

longest? 63. What are the several measures of anapestic verse? 64. What

syllables have stress in a pure dactylic line? 65. With what does

single-rhymed dactylic end? 66. Is dactylic verse very common? 67. What are

the several measures of dactylic verse? 68. What is composite verse? 69.

Must composites have rhythm? 70. Are the kinds of composite verse numerous?

71. Why have we no exact enumeration of the measures of this order? 72.

Does this work contain specimens of different kinds of composite verse?

[It may now be required of the pupil to determine, by reading and scansion,

the metrical elements of any good English poetry which may be selected for

the purpose--the feet being marked by pauses, and the long syllables by

stress of voice. He may also correct orally the few _Errors of Metre_ which

are given in the Fifth Section of Chapter IV.]

CHAPTER VI.--FOR WRITING.

EXERCISES IN PROSODY.

[Fist] [When the pupil can readily answer all the questions on Prosody, and

apply the rules of punctuation to any composition in which the points are

rightly inserted, he should _write out_ the following exercises, supplying

what is required, and correcting what is amiss. Or, if any teacher choose

to exercise his classes _orally_, by means of these examples, he can very

well do it; because, to read words, is always easier than to write them,

and even points or poetic feet may be quite as readily named as written.]

EXERCISE I.--PUNCTUATION.

_Copy the following sentences, and insert the_ COMMA _where it is

requisite_.

EXAMPLES UNDER RULE I.--OF SIMPLE SENTENCES.

"The dogmatist's assurance is paramount to argument." "The whole course of

his argumentation comes to nothing." "The fieldmouse builds her garner

under ground."

EXC.--"The first principles of almost all sciences are few." "What he gave

me to publish was but a small part." "To remain insensible to such

provocation is apathy." "Minds ashamed of poverty would be proud of

affluence." "To be totally indifferent to praise or censure is a real

defect in character."--_Wilson's Punctuation_, p. 38.

UNDER RULE II.--OF SIMPLE MEMBERS.

"I was eyes to the blind and feet was I to the lame." "They are gone but

the remembrance of them is sweet." "He has passed it is likely through

varieties of fortune." "The mind though free has a governor within itself."

"They I doubt not oppose the bill on public principles." "Be silent be

grateful and adore." "He is an adept in language who always speaks the

truth." "The race is not to the swift nor the battle to the strong."

EXC. I.--"He that has far to go should not hurry." "Hobbes believed the

eternal truths which he opposed." "Feeble are all pleasures in which the

heart has no share." "The love which survives the tomb is one of the

noblest attributes of the soul."--_Wilson's Punctuation_, p. 38.

EXC. II.--"A good name is better than precious ointment." "Thinkst thou

that duty shall have dread to speak?" "The spleen is seldom felt where

Flora reigns."

UNDER RULE III.--OF MORE THAN TWO WORDS.

"The city army court espouse my cause." "Wars pestilences and diseases are

terrible instructors." "Walk daily in a pleasant airy and umbrageous

garden." "Wit spirits faculties but make it worse." "Men wives and

children stare cry out and run." "Industry, honesty, and temperance are

essential to happiness."--_Wilson's Punctuation_, p. 29. "Honor, affluence,

and pleasure seduce the heart."--_Ib._, p. 31.

UNDER RULE IV.--OF TWO TERMS CONNECTED.

"Hope and fear are essentials in religion." "Praise and adoration are

perfective of our souls." "We know bodies and their properties most

perfectly." "Satisfy yourselves with what is rational and attainable."

"Slowly and sadly we laid him down."

EXC. I.--"God will rather look to the inward motions of the mind than to

the outward form of the body." "Gentleness is unassuming in opinion and

temperate in zeal."

EXC. II.--"He has experienced prosperity and adversity." "All sin

essentially is and must be mortal." "Reprove vice but pity the offender."

EXC. III.--"One person is chosen chairman or moderator." "Duration or time

is measured by motion." "The governor or viceroy is chosen annually."

EXC. IV.--"Reflection reason still the ties improve." "His neat plain

parlour wants our modern style." "We are fearfully wonderfully made."

UNDER RULE V.--OF WORDS IN PAIRS.

"I inquired and rejected consulted and deliberated." "Seed-time and harvest

cold and heat summer and winter day and night shall not cease."

EXERCISE II.--PUNCTUATION.

_Copy the following sentences, and insert the_ COMMA _where it is

requisite_.

EXAMPLES UNDER RULE VI.--OF WORDS PUT ABSOLUTE.

"The night being dark they did not proceed." "There being no other coach we

had no alternative." "Remember my son that human life is the journey of a

day." "All circumstances considered it seems right." "He that overcometh to

him will I give power." "Your land strangers devour it in your presence."

"Ah sinful nation a people laden with iniquity!"

"With heads declin'd ye cedars homage pay;

Be smooth ye rocks ye rapid floods give way!"

UNDER RULE VII.--OF WORDS IN APPOSITION.

"Now Philomel sweet songstress charms the night." "'Tis chanticleer the

shepherd's clock announcing day." "The evening star love's harbinger

appears." "The queen of night fair Dian smiles serene." "There is yet one

man Micaiah the son of Imlah." "Our whole company man by man ventured

down." "As a work of wit the Dunciad has few equals."

"In the same temple the resounding wood

All vocal beings hymned their equal God."

EXC. I.--"The last king of Rome was Tarquinius Superbus." "Bossuet highly

eulogizes Maria Theresa of Austria." "No emperor has been more praised than

Marcus Aurelius, Antoninus."

EXC. II.--"For he went and dwelt by the brook Cherith." "Remember the

example of the patriarch Joseph." "The poet, Milton, excelled in prose as

well as in verse."

EXC. III.--"I wisdom dwell with prudence." "Ye fools be ye of an

understanding heart." "I tell you that which you yourselves do know."

EXC. IV.--"I crown thee king of intimate delights" "I count the world a

stranger for thy sake." "And this makes friends such miracles below." "God

has pronounced it death to taste that tree." "Grace makes the slave a

freeman."

UNDER RULE VIII.--OF ADJECTIVES.

"Deaf with the noise I took my hasty flight." "Him piteous of his youth

soft disengage." "I played a while obedient to the fair." "Love free as air

spreads his light wings and flies." "Physical science separate from morals

parts with its chief dignity."

"Then active still and unconfined his mind

Explores the vast extent of ages past."

"But there is yet a liberty unsung

By poets and by senators unpraised."

EXC.--"I will marry a wife beautiful as the Houries." "He was a man able to

speak upon doubtful questions." "These are the persons, anxious for the

change." "Are they men worthy of confidence and support?" "A man,

charitable beyond his means, is scarcely honest."

UNDER RULE IX.--OF FINITE VERBS.

"Poverty wants some things--avarice all things." "Honesty has one

face--flattery two." "One king is too soft and easy--an other too fiery."

"Mankind's esteem they court--and he his own:

Theirs the wild chase of false felicities;

His the compos'd possession of the true."

EXERCISE III.--PUNCTUATION.

_Copy the following sentences, and insert the COMMA where it is

requisite._

EXAMPLES UNDER RULE X.--OF INFINITIVES.

"My desire is to live in peace." "The great difficulty was to compel them

to pay their debts." "To strengthen our virtue God bids us trust in him."

"I made no bargain with you to live always drudging." "To sum up all her

tongue confessed the shrew." "To proceed my own adventure was still more

laughable."

"We come not with design of wasteful prey

To drive the country force the swains away."

UNDER RULE XI.--OF PARTICIPLES.

"Having given this answer he departed." "Some sunk to beasts find pleasure

end in pain." "Eased of her load subjection grows more light." "Death still

draws nearer never seeming near." "He lies full low gored with wounds and

weltering in his blood." "Kind is fell Lucifer compared to thee." "Man

considered in himself is helpless and wretched." "Like scattered down by

howling Eurus blown." "He with wide nostrils snorting skims the wave."

"Youth is properly speaking introductory to manhood."

EXC.--"He kept his eye fixed on the country before him." "They have their

part assigned them to act." "Years will not repair the injuries done by

him."

UNDER RULE XII.--OF ADVERBS.

"Yes we both were philosophers." "However Providence saw fit to cross our

design." "Besides I know that the eye of the public is upon me." "The fact

certainly is much otherwise." "For nothing surely can be more

inconsistent."

UNDER RULE XIII.--OF CONJUNCTIONS.

"For in such retirement the soul is strengthened." "It engages our desires;

and in some degree satisfies them also." "But of every Christian virtue

piety is an essential part." "The English verb is variable--_as love lovest

loves_."

UNDER RULE XIV.--OF PREPOSITIONS.

"In a word charity is the soul of social life." "By the bowstring I can

repress violence and fraud." "Some by being too artful forfeit the

reputation of probity." "With regard to morality I was not indifferent."

"Of all our senses sight is the most perfect and delightful."

UNDER RULE XV.--OF INTERJECTIONS.

"Behold I am against thee O inhabitant of the valley!" "O it is more like a

dream than a reality," "Some wine ho!" "Ha ha ha; some wine eh?"

"When lo the dying breeze begins to fail,

And flutters on the mast the flagging sail."

UNDER RULE XVI.--OF WORDS REPEATED.

"I would never consent never never never." "His teeth did chatter chatter

chatter still." "Come come come--to bed to bed to bed."

UNDER RULE XVII.--OF DEPENDENT QUOTATIONS.

"He cried 'Cause every man to go out from me.'" "'Almet' said he 'remember

what thou hast seen.'" "I answered 'Mock not thy servant who is but a worm

before thee.'"

EXERCISE IV.--PUNCTUATION.

I. THE SEMICOLON.--_Copy the following sentences, and insert the Comma and

the SEMICOLON where they are requisite._

EXAMPLES UNDER RULE I.--OF COMPOUND MEMBERS.

"'Man is weak' answered his companion 'knowledge is more than equivalent to

force.'" "To judge rightly of the present we must oppose it to the past for

all judgement is compartive [sic--KTH] and of the future nothing can be

known." "'Contentment is natural wealth' says Socrates to which I shall add

'luxury is artificial poverty.'"

"Converse and love mankind might strongly draw

When love was liberty and nature law."

UNDER RULE II.--OF SIMPLE MEMBERS.

"Be wise to-day 'tis madness to defer." "The present all their care the

future his." "Wit makes an enterpriser sense a man." "Ask thought for joy

grow rich and hoard within." "Song soothes our pains and age has pains to

soothe." "Here an enemy encounters there a rival supplants him." "Our

answer to their reasons is; 'No' to their scoffs nothing."

"Here subterranean works and cities see

There towns aerial on the waving tree."

UNDER RULE III.--OF APPOSITION.

"In Latin there are six cases namely the nominative the genitive the dative

the accusative the vocative and the ablative." "Most English nouns form the

plural by taking _s_; as _boy boys nation nations king kings bay bays_."

"Bodies are such as are endued with a vegetable soul as plants a sensitive

soul as animals or a rational soul as the body of man."

II. THE COLON.--_Copy the following sentences, and insert the Comma, the

Semicolon, and the COLON, where they are requisite._

UNDER RULE I.--OF ADDITIONAL REMARKS.

"Indulge not desires at the expense of the slightest article of virtue pass

once its limits and you fall headlong into vice." "Death wounds to cure we

fall we rise we reign." "Beware of usurpation God is the judge of all."

"Bliss!--there is none but unprecarious bliss

That is the gem sell all and purchase that."

UNDER RULE II.--OF GREATER PAUSES.

"I have the world here before me I will review it at leisure surely

happiness is somewhere to be found." "A melancholy enthusiast courts

persecution and when he cannot obtain it afflicts himself with absurd

penances but the holiness of St. Paul consisted in the simplicity of a

pious life."

"Observe his awful portrait and admire

Nor stop at wonder imitate and live."

UNDER RULE III.--OF INDEPENDENT QUOTATIONS.

"Such is our Lord's injunction 'Watch and pray.'" "He died praying for his

persecutors 'Father forgive them they know not what they do.'" "On the old

gentleman's cane was inscribed this motto '_Festina lente_.'"

III.--THE PERIOD.--_Copy the following sentences, and insert the Comma, the

Semicolon, the Colon, and the PERIOD, where they are requisite._

UNDER RULE I.--OF DISTINCT SENTENCES.

"Then appeared the sea and the dry land the mountains rose and the rivers

flowed the sun and moon began their course in the skies herbs and plants

clothed the ground the air the earth and the waters were stored with their

respective inhabitants at last man was made in the image of God"

"In general those parents have most reverence who most deserve it for he

that lives well cannot be despised"

UNDER RULE II.--OF ALLIED SENTENCES.

"Civil accomplishments frequently give rise to fame but a distinction is to

be made between fame and true honour the statesman the orator or the poet

may be famous while yet the man himself is far from being honoured"

UNDER RULE III.--OF ABBREVIATIONS.

"Glass was invented in England by Benalt a monk A D 664" "The Roman era U C

commenced A C 1753 years" "Here is the Literary Life of S T Coleridge Esq"

"PLATO a most illustrious philosopher of antiquity died at Athens 348 B C

aged 81 his writings are very valuable his language beautiful and correct

and his philosophy sublime"--See _Univ. Biog. Dict._

EXERCISE V.--PUNCTUATION.

I. THE DASH.--_Copy the following sentences, and insert, in their proper

places, the_ DASH, _and such other points as are necessary_.

EXAMPLES UNDER RULE I.--OF ABRUPT PAUSES.

"You say _famous_ very often and I don't know exactly what it means a

_famous_ uniform _famous_ doings What does famous mean"

"O why _famous_ means Now don't you know what _famous_ means It means It is

a word that people say It is the fashion to say it It means it means

_famous_."

UNDER RULE II.--OF EMPHATIC PAUSES.

"But this life is not all there is there is full surely another state

abiding us And if there is what is thy prospect O remorseless obdurate Thou

shalt hear it would be thy wisdom to think thou now nearest the sound of

that trumpet which shall awake the dead Return O yet return to the Father

of mercies and live"

"The future pleases Why The present pains

But that's a secret yes which all men know"

II. THE EROTEME.--_Copy the following sentences, and insert rightly the_

EROTEME, _or_ NOTE OF INTERROGATION, _and such other points as are

necessary_.

UNDER RULE I.--OF QUESTIONS DIRECT.

"Does Nature bear a tyrant's breast

Is she the friend of stern control

Wears she the despot's purple vest

Or fetters she the freeborn soul"

"Why should a man whose blood is warm within

Sit like his grandsire cut in alabaster"

"Who art thou courteous stranger and from whence

Why roam thy steps to this abandon'd dale"

UNDER RULE II.--OF QUESTIONS UNITED.

"Who bid the stork Columbus-like explore

Heav'ns not his own and worlds unknown before

Who calls the council states the certain day

Who forms the phalanx and who points the way"

UNDER RULE III.--OF QUESTIONS INDIRECT.

"They asked me who I was and whither I was going." "St. Paul asked king

Agrippa if he believed the prophets? But he did not wait for an answer."

"Ask of thy mother Earth why oaks are made

Taller and stronger than the weeds they shade"

III. THE ECPHONEME.--_Copy the following sentences, and insert rightly the_

ECPHONEME, _or_ NOTE OF EXCLAMATION, _and such other points as are

necessary_.

UNDER RULE I.--OF INTERJECTIONS.

"Oh talk of hypocrisy after this Most consummate of all hypocrites After

instructing your chosen official advocate to stand forward with such a

defence such an exposition of your motives to dare utter the word hypocrisy

and complain of those who charged you with it" _Brougham_

"Alas how is that rugged heart forlorn"

"Behold the victor vanquish'd by the worm"

"Bliss sublunary Bliss proud words and vain"

UNDER RULE II.--OF INVOCATIONS.

"O Popular Applause what heart of man

Is proof against thy sweet seducing charms"

"More than thy balm O Gilead heals the wound"

UNDER RULE III.--OF EXCLAMATORY QUESTIONS.

With what transports of joy shall I be received In what honour in what

delightful repose shall I pass the remainder of my life What immortal glory

shall I have acquired" _Hooke's Roman History_.

"How often have I loiter'd o'er thy green

Where humble happiness endear'd each scene"

IV.--THE CURVES.--_Copy the following sentences, and insert rightly the

CURVES, or MARKS OF PARENTHESIS, and such other points as are necessary_.

UNDER RULE I.--OF THE PARENTHESIS.

"And all the question wrangle e'er so long

Is only this If God has plac'd him wrong"

"And who what God foretells who speaks in things

Still louder than in words shall dare deny"

UNDER RULE II.--OF INCLUDED POINTS.

"Say was it virtue more though Heav'n ne'er gave

Lamented Digby sunk thee to the grave"

"Where is that thrift that avarice of time

O glorious avarice thought of death inspires"

"And oh the last last what can words express

Thought reach the last last silence of a friend"

EXERCISE VI.--PUNCTUATION.

_Copy the following MIXED EXAMPLES, and insert the points which they

require._

"As one of them opened his sack he espied his money" "They cried out the

more exceedingly Crucify him" "The soldiers' counsel was to kill the

prisoners" "Great injury these vermin mice and rats do in the field" "It is

my son's coat an evil beast hath devoured him" "Peace of all worldly

blessings is the most valuable" "By this time the very foundation was

removed" "The only words he uttered were I am a Roman citizen" "Some

distress either felt or feared gnaws like a worm" "How then must I

determine Have I no interest If I have not I am stationed here to no

purpose" _Harris_ "In the fire the destruction was so swift sudden vast and

miserable as to have no parallel in story" "Dionysius the tyrant of Sicily

was far from being happy" "I ask now Verres what thou hast to advance"

"Excess began and sloth sustains the trade" "Fame can never reconcile a man

to a death bed" "They that sail on the sea tell of the danger" "Be doers of

the word and not hearers only" "The storms of wintry time will quickly

pass" "Here Hope that smiling angel stands" "Disguise I see thou art a

wickedness" "There are no tricks in plain and simple faith" "True love

strikes root in reason passion's foe" "Two gods divide them all Pleasure

and Gain" "I am satisfied My son has done his duty" "Remember Almet the

vision which thou hast seen" "I beheld an enclosure beautiful as the

gardens of paradise" "The knowledge which I have received I will

communicate" "But I am not yet happy and therefore I despair" "Wretched

mortals said I to what purpose are you busy" "Bad as the world is respect

is always paid to virtue" "In a word he views men as the clear sunshine of

charity" "This being the case I am astonished and amazed" "These men

approached him and saluted him king" "Excellent and obliging sages these

undoubtedly" "Yet at the same time the man himself undergoes a change" "One

constant effect of idleness is to nourish the passions" "You heroes regard

nothing but glory" "Take care lest while you strive to reach the top you

fall" "Proud and presumptuous they can brook no opposition" "Nay some awe

of religion may still subsist" "Then said he Lo I come to do thy will O

God" _Bible_ "As for me behold I am in your hand" _Ib._ "Can any hide

himself in secret places that I shall not see him saith the Lord" _Jer_

xxiii 24 "Now I Paul myself beseech you" "Now for a recompense in the same

I speak as unto my children be ye also enlarged" _2 Cor_ vi 13 "He who

lives always in public cannot live to his own soul whereas he who retires

remains calm" "Therefore behold I even I will utterly forget you" "This

text speaks only of those to whom it speaks" "Yea he warmeth himself and

saith Aha I am warm" "King Agrippa believest thou the prophets"

EXERCISE VII.--PUNCTUATION.

_Copy the following MIXED EXAMPLES, and insert the points which they

require._

To whom can riches give repute or trust

Content or pleasure but the good and just _Pope_

To him no high no low no great no small

He fills he bounds connects and equals all _Id_

Reasons whole pleasure all the joys of sense

Lie in three words health peace and competence _Id_

Not so for once indulged they sweep the main

Deaf to the call or hearing hear in vain _Anon_

Say will the falcon stooping from above

Smit with her varying plumage spare the dove _Pope_

Throw Egypts by and offer in its stead

Offer the crown on Berenices head _Id_

Falsely luxurious will not man awake

And springing from the bed of sloth enjoy

The cool the fragrant and the silent hour _Thomson_

Yet thus it is nor otherwise can be

So far from aught romantic what I sing _Young_

Thyself first know then love a self there is

Of virtue fond that kindles at her charms _Id_

How far that little candle throws his beams

So shines a good deed in a naughty world _Shakspeare_

You have too much respect upon the world

They lose it that do buy it with much care _Id_

How many things by season seasoned are

To their right praise and true perfection _Id_

Canst thou descend from converse with the skies

And seize thy brothers throat For what a clod _Young_

In two short precepts all your business lies

Would you be great--_be virtuous_ and _be wise Denham_

But sometimes virtue starves while vice is fed

What then is the reward of virtue bread _Pope_

A life all turbulence and noise may seem

To him that leads it wise and to be praised

But wisdom is a pearl with most success

Sought in still waters and beneath clear skies _Cowper_

All but the swellings of the softened heart

That waken not disturb the tranquil mind _Thomson_

Inspiring God who boundless spirit all

And unremitting energy pervades

Adjusts sustains and agitates the whole _Id_

Ye ladies for indifferent in your cause

I should deserve to forfeit all applause

Whatever shocks or gives the least offence

To virtue delicacy truth or sense

Try the criterion tis a faithful guide

Nor has nor can have Scripture on its side. _Cowper_

EXERCISE VIII.--SCANNING.

_Divide the following_ VERSES _into the feet which compose them, and

distinguish by marks the long and the short syllables_.

_Example I.--"Our Daily Paths"--By F. Hemans_.

"There's Beauty all around our paths, if but our watchful eyes

Can trace it 'midst familiar things, and through their lowly guise;

We may find it where a hedgerow showers its blossoms o'er our way,

Or a cottage-window sparkles forth in the last red light of day."

_Example II.--"Fetching Water"--Anonymous_.

"Early on a sunny morning, while the lark was singing sweet,

Came, beyond the ancient farmhouse, sounds of lightly-tripping feet.

'Twas a lowly cottage maiden, going,--why, let young hearts tell,--

With her homely pitcher laden, fetching water from the well."

_Example III.--Deity_.

Alone thou sitst above the everlasting hills

And all immensity of space thy presence fills:

For thou alone art God;--as God thy saints adore thee;

Jehovah is thy name;--they have no gods before thee.--_G. Brown_.

_Example IV.--Impenitence_.

The impenitent sinner whom mercy empowers,

Dishonours that goodness which seeks to restore;

As the sands of the desert are water'd by showers.

Yet barren and fruitless remain as before.--_G. Brown_.

_Example V.--Piety_.

Holy and pure are the pleasures of piety,

Drawn from the fountain of mercy and love;

Endless, exhaustless, exempt from satiety,

Rising unearthly, and soaring above.--_G. Brown_.

_Example VI.--A Simile_.

The bolt that strikes the tow'ring cedar dead,

Oft passes harmless o'er the hazel's head.--_G. Brown_.

_Example VII.--A Simile_.

"Yet to their general's voice they soon obey'd

Innumerable. As when the potent rod

Of Amram's son, in Egypt's evil day,

Wav'd round the coast, up call'd a pitchy cloud

Of locusts, warping on the eastern wind,

That o'er the realm of impious Pharaoh hung

Like night, and darken'd all the land of Nile."--_Milton_.

_Example VIII.--Elegiac Stanza._

Thy name is dear--'tis virtue balm'd in love;

Yet e'en thy name a pensive sadness brings.

Ah! wo the day, our hearts were doom'd to prove,

That fondest love but points affliction's stings!--_G. Brown_.

_Example IX.--Cupid._

Zephyrs, moving bland, and breathing fragrant

With the sweetest odours of the spring,

O'er the winged boy, a thoughtless vagrant,

Slumb'ring in the grove, their perfumes fling.--_G. Brown_.

_Example X.--Divine Power._

When the winds o'er Gennesaret roar'd,

And the billows tremendously rose,

The Saviour but utter'd the word,

They were hush'd to the calmest repose.--_G. Brown_.

_Example XI.--Invitation._

Come from the mount of the leopard, spouse,

Come from the den of the lion;

Come to the tent of thy shepherd, spouse,

Come to the mountain of Zion.--_G. Brown_.

_Example XII.--Admonition_.

In the days of thy youth,

Remember thy God:

O! forsake not his truth,

Incur not his rod.--_G. Brown._

_Example XIII.--Commendation._

Constant and duteous,

Meek as the dove,

How art thou beauteous,

Daughter of love!--_G. Brown._

EXERCISE IX.--SCANNING.

_Mark the feet and syllables which compose the following lines--or mark a

sample of each metre._

_Edwin, an Ode_.

I. STROPHE.

Led by the pow'r of song, and nature's love,

Which raise the soul all vulgar themes above,

The mountain grove

Would Edwin rove,

In pensive mood, alone;

And seek the woody dell,

Where noontide shadows fell,

Cheering,

Veering,

Mov'd by the zephyr's swell.

Here nurs'd he thoughts to genius only known,

When nought was heard around

But sooth'd the rest profound

Of rural beauty on her mountain throne.

Nor less he lov'd (rude nature's child)

The elemental conflict wild;

When, fold on fold, above was pil'd

The watery swathe, careering on the wind.

Such scenes he saw

With solemn awe,

As in the presence of the Eternal Mind.

Fix'd he gaz'd,

Tranc'd and rais'd,

Sublimely rapt in awful pleasure undefin'd.

II. ANTISTROPHE

Reckless of dainty joys, he finds delight

Where feebler souls but tremble with affright.

Lo! now, within the deep ravine,

A black impending cloud

Infolds him in its shroud,

And dark and darker glooms the scene.

Through the thicket streaming,

Lightnings now are gleaming;

Thunders rolling dread,

Shake the mountain's head;

Nature's war

Echoes far,

O'er ether borne,

That flash

The ash

Has scath'd and torn!

Now it rages;

Oaks of ages,

Writhing in the furious blast,

Wide their leafy honours cast;

Their gnarled arms do force to force oppose

Deep rooted in the crevic'd rock,

The sturdy trunk sustains the shock,

Like dauntless hero firm against assailing foes.

III. EPODE.

'0 Thou who sitst above these vapours dense,

And rul'st the storm by thine omnipotence!

Making the collied cloud thy ear,

Coursing the winds, thou rid'st afar,

Thy blessings to dispense.

The early and the latter rain,

Which fertilize the dusty plain,

Thy bounteous goodness pours.

Dumb be the atheist tongue abhorr'd!

All nature owns thee, sovereign Lord!

And works thy gracious will;

At thy command the tempest roars,

At thy command is still.

Thy mercy o'er this scene sublime presides;

'Tis mercy forms the veil that hides

The ardent solar beam;

While, from the volley'd breast of heaven,

Transient gleams of dazzling light,

Flashing on the balls of sight,

Make darkness darker seem.

Thou mov'st the quick and sulphurous leven--

The tempest-driven

Cloud is riven;

And the thirsty mountain-side

Drinks gladly of the gushing tide.'

So breath'd young Edwin, when the summer shower,

From out that dark o'erchamb'ring cloud,

With lightning flash and thunder loud,

Burst in wild grandeur o'er his solitary bower.--_G. Brown._

THE END OF PART FOURTH.

KEY TO THE IMPROPRIETIES FOR CORRECTION, CONTAINED IN THE GRAMMAR OF

ENGLISH GRAMMARS, AND DESIGNED FOR ORAL EXERCISES UNDER ALL THE RULES AND

NOTES OF THE WORK.

[Fist][The various examples of error which are exhibited for oral

correction, in the Grammar of English Grammars, are all here explained, in

their order, by full amended readings, sometimes with authorities

specified, and generally with references of some sort. They are intended to

be corrected orally by the pupil, according to the formules given under

corresponding heads in the Grammar. Some portion, at least, under each rule

or note, should be used in this way; and the rest, perhaps, may be read and

compared more simply.]

THE KEY.--PART I.--ORTHOGRAPHY.

CHAPTER I.--OF LETTERS. CORRECTIONS RESPECTING CAPITALS.

UNDER RULE I.--OF BOOKS.

"Many a reader of the _Bible_ knows not who wrote the _Acts_ of the

_Apostles_"--G. B. "The sons of Levi, the chief of the fathers, were

written in the book of the _Chronicles_."--ALGER'S BIBLE: _Neh._, xii, 23.

"Are they not written in the book of the _Acts_ of Solomon?"--FRIENDS'

BIBLE: I _Kings_, xi, 41. "Are they not written in the book of the

Chronicles of the _Kings_ of Israel?"--ALGER CORRECTED: I _Kings_, xxii,

39. "Are they not written in the book of the _Chronicles_ of the _Kings_ of

Judah."--See ALGER: _ib., ver_. 45. "Which were written in the law of

Moses, and in the prophets, and in the _Psalms_."--ALGER, ET AL.: _Luke_,

xxiv, 44. "The narrative of which maybe seen in Josephus's History of the

_Jewish War_"--_Dr. Scott cor._ [Obs.--The word in Josephus is "_War_," not

"_Wars_."--_G. Brown._] "This _History of the Jewish War_ was Josephus's

first work, and published about A. D. 75."--_Whiston cor._ "'I have read,'

says Photius, 'the Chronology of Justus of Tiberias.'"--_Id._ "_A

Philosophical Grammar_, written by James Harris, Esquire."--_Murray cor._

"The reader is referred to Stroud's _Sketch_ of the _Slave Laws_"--_A. S.

Mag. cor._ "But God has so made the _Bible_ that it interprets

itself."--_Idem_. "In 1562, with the help of Hopkins, he completed the

_Psalter_."--_Gardiner cor._ "Gardiner says this of Sternhold; of whom the

_Universal Biographical Dictionary_ and the American _Encyclopedia_ affirm,

that he died in 1549."--_G. B._ "The title of a book, to wit: 'English

Grammar in _Familiar Lectures_,'" &c.--_Kirkham cor._ "We had not, at that

time, seen Mr. Kirkham's 'Grammar in _Familiar_ Lectures.'"--_Id._ "When

you parse, you may spread the Compendium before you."--_Id. right_.[516]

"Whenever you parse, you may spread the _Compendium_ before you."--_Id.

cor._ "Adelung was the author of a _Grammatical_ and _Critical

Dictionary_ of the German _Language_, and other works." _Biog. Dict. cor._

"Alley, William, author of '_The Poor Man's Library_,' and a translation of

the Pentateuch, died in 1570."--_Id._

UNDER RULE II.--OF FIRST WORDS.

"Depart instantly;"--"_Improve_ your time;"--"_Forgive_ us our

sins."--_Murray corrected_. EXAMPLES:--"Gold is corrupting;"--"_The_ sea is

green;"--"_A_ lion is bold."--_Mur. et al. cor._ Again: "It may

rain;"--"_He_ may go or stay;"--"_He_ would walk;;"--"_They_ should

learn."--_Iidem_. Again: "Oh! I have alienated my friend;"--"_Alas_! I fear

for life."--_Iidem._ See _Alger's Gram._, p. 50. Again: "He went from

London to York;"--"_She_ is above disguise;" "_They_ are supported by

industry."--_Iidem_. "On the foregoing examples, I have a word to say.

_They_ are better than a fair specimen of their kind. _Our_ grammars abound

with worse illustrations. _Their_ models of English are generally spurious

quotations. _Few_ of their proof-texts have any just parentage.

_Goose-eyes_ are abundant, but names scarce. _Who_ fathers the foundlings?

_Nobody. Then_ let their merit be nobody's, and their defects his who could

write no better."--_Author_. "_Goose-eyes_!" says a bright boy; "pray, what

are they? _Does_ this Mr. Author make new words when he pleases?

_Dead-eyes_ are in a ship. _They_ are blocks, with holes in them. _But_

what are goose-eyes in grammar?" ANSWER: "_Goose-eyes_ are quotation

points. _Some_ of the Germans gave them this name, making a jest of their

form. _The_ French call them _guillemets_, from the name of their

inventor."--_Author_. "_It_ is a personal pronoun, of the third person

singular."--_Comly cor._ "_Ourselves_ is a personal pronoun, of the first

person plural."--_Id._ "_Thee_ is a personal pronoun, of the second person

singular."--_Id._ "_Contentment_ is a _common noun_, of the third person

singular."--_Id._ "_Were_ is a neuter verb, of the indicative mood,

imperfect tense."--_Id._

UNDER RULE III.--OF DEITY.

"O thou _Dispenser_ of life! thy mercies are boundless."--_Allen cor._

"Shall not the _Judge_ of all the earth do right?"--ALGER, FRIENDS, ET AL.:

_Gen._, xviii, 25. "And the _Spirit of God_ moved upon the face of the

waters."--SCOTT, ALGER, FRIENDS, ET AL.: _Gen._, i, 2. "It is the gift of

_Him_, who is the great _Author_ of good, and the Father of

mercies."--_Murray cor._ "This is thy _God_ that brought thee up out of

Egypt."--FRIENDS' BIBLE: _Neh._, ix, 18. "For the LORD is our defence; and

the _Holy One_ of Israel is our _King_."--_Psal._. lxxxix, 18. "By making

him the responsible steward of _Heaven's_ bounties."--_A. S. Mag. cor._

"Which the Lord, the righteous _Judge_, shall give me at that day."--ALGER:

_2 Tim._, iv, 8. "The cries of them ... entered into the ears of the Lord

of _Sabaoth_."--ALGER, FRIENDS: _James_, v, 4. "In Horeb, the _Deity_

revealed himself to Moses, as the _Eternal_ 'I AM,' the _Self-existent

One_; and, after the first discouraging interview of his messengers with

Pharaoh, he renewed his promise to them, by the awful name, JEHOVAH--a name

till then unknown, and one which the Jews always held it a fearful

profanation to pronounce."--_G. Brown_. "And _God_ spake unto Moses, and

said unto him, I am the LORD: and I appeared unto Abraham, unto Isaac, and

unto Jacob, by the name of _God Almighty_; but by my name JEHOVAH was I not

known to them."--SCOTT, ALGER, FRIENDS: _Exod._, vi, 2. "Thus saith the

LORD[517] the _King_ of Israel, and his _Redeemer_ the LORD of hosts; I am

the _First_, and I am the _Last_; and besides me there is no _God_."--See

_Isa._, xliv, 6.

"His impious race their blasphemy renew'd,

And nature's _King_, through nature's optics view'd."--_Dryden cor._

UNDER RULE IV.--OF PROPER NAMES.

"Islamism prescribes fasting during the month _Ramadan_."--_Balbi cor._

"Near _Mecca_, in _Arabia_, is _Jebel Nor_, or the _Mountain of Light_, on

the top of which the _Mussulmans_ erected a mosque, that they might perform

their devotions where, according to their belief, _Mohammed_ received from

the angel _Gabriel_ the first chapter of the Koran."--_G. Brown_. "In the

_Kaaba_ at _Mecca_ there is a celebrated block of volcanic basalt, which

the _Mohammedans_ venerate as the gift of _Gabriel_ to _Abraham_, but their

ancestors once held it to be an image of _Remphan_, or _Saturn_; so 'the

image which fell down from _Jupiter_,' to share with _Diana_ the homage of

the _Ephesians_, was probably nothing more than a meteoric stone."--_Id._

"When the _Lycaonians_ at _Lystra_ took _Paul_ and _Barnabas_ to be gods,

they called the former _Mercury_, on account of his eloquence, and the

latter _Jupiter_, for the greater dignity of his appearance."--_Id._ "Of

the writings of the apostolic fathers of the first century, but few have

come down to us; yet we have in those of _Barnabas, Clement_ of _Rome,

Hermas, Ignatius_, and _Polycarp_, very certain evidence of the

authenticity of the New Testament, and the New Testament is a voucher for

the Old."--_Id._ "It is said by _Tatian_, that _Theagenes_ of _Rhegium_, in

the time of _Cambyses, Stesimbrotus_ the _Thracian, Antimachus_ the

_Colophonian, Herodotus_ of _Halicarnassus, Dionysius_ the _Olynthian,

Ephorus_ of _Cumæ, Philochorus_ the _Athenian, Metaclides_ and _Chamæleon_

the _Peripatetics_, and _Zenodotus, Aristophanes, Callimachus, Crates,

Eratosthenes, Aristarchus_, and _Apollodorus_, the grammarians, all wrote

concerning the poetry, the birth, and the age of _Homer_."--See

_Coleridge's Introd._, p. 57. "Yet, for aught that now appears, the life of

_Homer_ is as fabulous as that of _Hercules_; and some have even suspected,

that, as the son of _Jupiter_ and _Alcmena_ has fathered the deeds of forty

other _Herculeses_, so this unfathered son of _Critheis, Themisto_, or

whatever dame--this _Melesigenes, Mæonides, Homer_--the blind schoolmaster,

and poet, of _Smyrna, Chios, Colophon, Salamis, Rhodes, Argos, Athens_, or

whatever place--has, by the help of _Lycurgus, Solon, Pisistratus_, and

other learned ancients, been made up of many poets or _Homers_, and set so

far aloft and aloof on old _Parnassus_, as to become a god in the eyes of

all _Greece_, a wonder in those of all _Christendom_."--_G. Brown_.

"Why so sagacious in your guesses?

Your _Effs_, and _Tees_, and _Ars_, and _Esses_?"--_Swift corrected_.

UNDER RULE V.--OF TITLES.

"The king has conferred on him the title of _Duke_."--_Murray cor._ "At the

court of _Queen_ Elizabeth."--_Priestley's E. Gram._, p. 99; see

_Bullions's_, p. 24. "The laws of nature are, truly, what _Lord_ Bacon

styles his aphorisms, laws of laws."--_Murray cor._ "Sixtus the Fourth was,

if I mistake not, a great collector of books."--_Id._ "Who at that time

made up the court of _King_ Charles the _Second_"--_Id._ "In case of his

_Majesty's_ dying without issue."--_Kirkham cor._ "King Charles the _First_

was beheaded in 1649."--_W. Allen cor._ "He can no more impart, or (to use

_Lord_ Bacon's word) _transmit_ convictions."--_Kirkham cor._ "I reside at

_Lord_ Stormont's, my old patron and benefactor." Better: "I reside _with

Lord Stormont_, my old patron and benefactor."--_Murray cor._ "We staid a

month at _Lord Lyttelton's_, the ornament of his country." Much better: "We

stayed a month at _the seat of Lord Lyttelton, who is_ the ornament of his

country."--_Id._ "Whose prerogative is it? It is the _King_-of-Great-

Britain's;" [518]--"That is the _Duke_-of-Bridgewater's canal;"--"The

_Bishop_-of-Landaff's excellent book;"--"The Lord _Mayor_-of-London's

authority."--_Id._ (See Murray's Note 4th on his Rule 10th.) "Why call ye

me, _Lord, Lord_, and do not the things which I say?"--_Luke_, vi, 46. "And

of them he chose twelve, whom also he named _Apostles_."--ALGER, FRIENDS,

ET AL.: _Luke_, vi, 13. "And forthwith he came to Jesus, and said, Hail,

_Master_; and kissed him."--_Matt._, xxvi, 49. "And he said, Nay, _Father_

Abraham: but if one went unto them from the dead, they _would_

repent."--_Bible cor._

UNDER RULE VI.--OF ONE CAPITAL.

"_Fallriver_, a village in Massachusetts, population (in 1830)

3,431."--_Williams cor._ "Dr. Anderson died at _Westham_, in Essex, in

1808."--_Biog. Dict. cor._ "_Madriver_, the name of two towns in Clark and

Champaign counties, Ohio."--_Williams cor._ "_Whitecreek_, a town of

Washington county, New York."--_Id._ "_Saltcreek_, the name of four towns

in different parts of Ohio."--_Id._ "_Saltlick_, a town of Fayette county,

Pennsylvania."--_Id._ "_Yellowcreek_, a town of Columbiana county,

Ohio."--_Id._ "_Whiteclay_, a hundred of _Newcastle_ county, Delaware."--

_Id._ "Newcastle, _a_ town and _half-shire_ of Newcastle county,

Delaware."--_Id._ "_Singsing_, a village of _Westchester_ county, New York,

situated in the town of _Mountpleasant_."--_Id._ "_Westchester_, a county

of New York: _East Chester and West Chester are towns_ in Westchester

county."--_Id._ "_Westtown_, a village of Orange county, New York."--_Id._

"_Whitewater_, a town of Hamilton county, Ohio."--_Worcester's Gaz._

"_Whitewater_ River, a considerable stream that rises in Indiana, and

flowing southeasterly unites with the Miami in Ohio."--See _ib._

"_Blackwater_, a village of Hampshire, in England, and a town in

Ireland."--See _ib._ "_Blackwater_, the name of seven different rivers, in

England, Ireland, and the United States."--See _ib._ "_Redhook_, a town of

Dutchess county, New York, on the Hudson."--_Williams cor._ "Kinderhook, a

town of Columbia county, New York, on the Hudson."--_Williams right_.

"_Newfane_, a town of Niagara county, New York."--_Williams cor._

"_Lakeport_, a town of Chicot county, Arkansas."--_Id._ "_Moosehead_ Lake,

the chief source of the Kennebeck, in Maine."--_Id._ (See _Worcester's

Gaz._) "Macdonough, a county of Illinois, population (in 1830)

2,959."--_Williams's Univ. Gaz._, p 408. "_Macdonough_, a county of

Illinois, with a _court-house_ at Macomb."--_Williams cor._ "_Halfmoon_,

the name of two towns in New York and Pennsylvania; also of two bays in the

West Indies."--_S. Williams's Univ. Gaz._ "_Leboeuf_, a town of Erie

county, Pennsylvania, near a small lake of the same name."--See _ib._

"_Charlescity, Jamescity, Eiizabethcity_, names of counties in Virginia,

not cities, nor towns."--See _Univ. Gaz._, p. 404.[519] "The superior

qualities of the waters of the Frome, here called _Stroudwater_."--_Balbi

cor._

UNDER RULE VII.--OF TWO CAPITALS.

"The Forth rises on the north side of _Ben Lomond_, and runs

easterly."--_Glasgow Geog._, 8vo, _corrected_. "The red granite of _Ben

Nevis_ is said to be the finest in the world."--_Id._ "_Ben More_, in

Perthshire, is 3,915 feet above the level of the sea."--_Id._ "The height

of _Ben Cleagh_ is 2,420 feet."--_Id._ "In Sutherland and Caithness, are

Ben Ormod, Ben Clibeg, Ben Grin, Ben Hope, and Ben Lugal."--_Glas. Geog.

right_. "_Ben Vracky_ is 2,756 feet high; _Ben Ledi_, 3,009; and _Ben

Voirloich_, 3,300."--_Glas. Geog. cor._ "The river Dochart gives the name

of _Glen Dochart_ to the vale through which it runs."--_Id._ "About ten

miles from its source, it [the Tay] diffuses itself into _Loch

Dochart_."--_Glasgow Geog._, Vol. ii, p. 314. LAKES:--"_Loch Ard_, Loch

Achray, Loch Con, Loch Doine, Loch Katrine, Loch Lomond, Loch

Voil."--_Scott corrected_. GLENS:--"_Glen Finlas_, Glen Fruin, Glen Luss,

_Ross Dhu, Leven Glen_, Strath Endrick, Strath Gartney. Strath Ire."--_Id._

MOUNTAINS:--"_Ben An, Ben Harrow, Ben Ledi_, Ben Lomond, _Ben Voirlich, Ben

Venue_, or, (as some spell it,) _Ben Ivenew_."--_Id._[520] "Fenelon died in

1715, deeply lamented by all the inhabitants of the _Low

Countries_."--_Murray cor._ "And _Pharaoh Necho_[521] made Eliakim, the son

of Josiah, king."--See ALGER: _2 Kings_, xiii, 34. "Those who seem so merry

and well pleased, call her _Good Fortune_; but the others, who weep and

wring their hands, _Bad Fortune_."--_Collier cor._

Here the last two lines, which are not cited by Everett, are pure anapestic