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u ^

EXERCISES IN RHETORIC

— WITH •

EXAMINATION PAPERS

FOR THE USE OF CANDIDATES PREPARING
FOR THE PRIMARY EXAMINATION.

EDITED BY

J. E. WETHERELL, B.A.

TORONTO :

THE COPP, CLARK COMPANY, LIMITED.

1897.

Entered according to Act of the Parliament of Canada, in trie year one thousand
eight hundred and ninety -seven, by TiiK Corp, Clark Company, Limited, Toronto,
Ontario, in the Office of the Minister of Agriculture.

! ^.

EDITOR'S NOTE.

ito,

The exercises and examination papers collected here have
been found serviceable in the editor's own classes, and he now
publishes them in this handy form with the hope that many
other teachers may find them an aid. Indeed, it is believed
that a thorough mastery of all the matter covered by these
exercises will be a sufficient preparation for the departmental
examination in rhetoric. A few extracts have been given
without question or comment to allow each teacher a free field
for individual treatment. In the Appendix will be found
some "Lessons in Rhetoric" which appeared in The Educa-
tio7ial Journal a few years ago. These " Lessons " are
reprinted hero for reference only.

' 3

DEPARTMENTAL EXAMINATION PAPERS.

SENIOR LEAVING, 1895.

(i) Here is wisdom. Here are the principles on which
nations are to be governed. Hose-bushes and poor-rates,
rather than steam-engines and independence. Mortality and
cottages with weather-stains rather than health and long life
with edifices which time cannot mellow. We are told that
our age has invented atrocities beyond the imagination of our
fathers ; that society has been brought into a state compared
with which extermination would be a blessing; and all because
the dwellings of cotton-spinners are naked and rectangular.
Mr. Southey has found out a way, he tells us, in which the
effects of manufactures and agriculture may be compared, and
what is this way? To stand on a hill, to look at a cottage and
a factory, and to see which is the prettier. Does Mr. Southey
think that the body of the English peasantry live, or ever
lived, in substantial or ornamental cottages, with box hedges,
flower-gardens, bee-hives, and orchards? If not, what is his
parallel worth?

(ii) It was not, however, destined that she or her child
should inhabit that little garret. We were to leave our
lodgings on Monday morning ; but on Saturday evening the
child was seized with convulsions, and all Sunday the mother
watched and prayed for it ; but it pleased God to take the
innocent infant from us, and on Sunday, at midnight, it lay a
corpse on its mother's bosom. Amen. We have other children,

6 EXERCISK8 IX RHETORIC.

happy and well, now round about us, and from the father's
heart, the memory of this little thing has almost faded ; but I
do believt; that every day of her life the mother thinks of the
first-born that was with her for so short a while : many and
many a time has she taken her daughters to the grave, in
Saint Bride's, where he lies buried ; and she wears still at her
neck a little, little lock of gold hair, which she took from the
head of the infant as he lay smiling in liis coffin. It has
happened to me to forget the child's birth day, but to her
never ; and often, in the midst of common talk, comes some-
thing that shows she is thinking of the child still, — some
simple allusion that is to me inexpressibly afiecting.

(a) What quality or qualities of style are exhibited in tiiese
extracts ?

(b) Show by what devices the rhetorical effects are produced.

SENIOR LEAVING, 1894.

John Quincy Adams, making a speech at New Bedford,
many years ago, reckoned the number of whaleships (if I
remember rightly) that sailed out of that port, and, comparing
it with some former period, took it as a type of American
success. But, alas ! it is with quite another oil that those far-
shining lamps of a nation's true glory which burn forever, must
be filled. It is not by any amount of material splendour or
prosperity, but only b}'^ moral greatness, by ideas, by works of
imagination, that a race can conquer the future. No voice
comes to us from the once mighty Assyria but the hoot of the
owl that rests amid her ruined palaces. Of Carthage, whose
merchant fleets once furled their sails in every port of the
known world, nothing is left but the deeds of Hannibal. She
lies dead on the shore of her once-subject sea, and the wind of

KXAMINATIOy PAPERS. 7

the desert only flings its handfuls of burial sand upon her
corpse. A fog can blot Holland or Switzerland out of exist-
ence. But how large is the space occupied in the maps of the
soul by little Athens and powerless Italy ! They were great
by the soul, and their vital force is as indestructible as the
soul .

1. (a) What proposition does the author seek to establish in this

paragrapli ?

(h) Show in what way each sentence contributes tf) this end.

2. VVliat devices are employed in the paragraph to promote force

in expression ?

Additional Questions by the Editor.

1. Apply to the section these " Paragraj)h Laws " :
(a) The Law of the Topic Sentence.

(/>) The Law of Method.

2. Improve, if possible, the order of words in the sentences

beginning :

(a) "But, alas!"—

(h) "No voice"—

Tell in each case why you tliink the changed order is an iinj)rove-
ment.

3. Point out in the paragraph two examples oi poetic conceptions,

and give the <i;rounds of your selection.

SENIOR LEAVING, 1893.

" Poetry is the record of the best and happiest moments of
the happiest and best minds. We are aware of the evanescent
visitation of thought and feeling, sometimes associated with
place or person, sometimes regarding our own mind alone, and
always arising unforeseen and departing unforbidden, but ele-
vating and delightful beyond all expression ; so that even in

EXERCISES IK RHETORIC.

the desire and the regret they leave, there cannot but be
pleasure, participating as it does in the nature of its object.
It is as it were the interpenetration of a diviner nature through
our own ; but its footsteps are like those of a wind over the
sea, which the morning calm erases, and whose traces remain
only, as on the wrinkled sand which paves it. These and
corresponding conditions of being are experienced principally
by those of the most delicate sensibility and the most enlarged
imagination ; and the state of mind produced by them is at
war with every base desire. . . . Poets are not only sub-
ject to these experiences as spirits of the most refined organiza-
tion, but they can colour all that they combine with the
evanescent hues of this ethereal world ; a word, a trait in the
representation of a scene or a passion will touch the enchanted
chord, and reanimate, in those who have ever experienced these
emotions, the sleeping, the cold, the buried image of the past.
Poetry thus makes immortal all that is best and most beautiful
in the world." — Shelley.

1. Clearly indicate the steps in the exposition by which Shelley
reaches his conclusion. — "Poetry thus makes immortal all that is
best and most beautiful in the world."

2. Show clearly that his style, as {a) to Diction, (6) Figures, (c)
Quality, is in harmony with the thought he desires to convey.

'i;

SENIOR LEAVING, 1892.

If I say, therefore, that Shakespeare is the greatest of
Intellects, I have said all concerning him. But there is more
in Shakespeare's intellect than we have yet seen. It is what
I call an unconscious intellect : there is more virtue in it than
he himself is aware of. Novalis beautifully remarks of him,
that those dramas of his are Products of Nature too, deep as
Nature herself, I find a great truth in this saying. Shake-

EXAMINATION PAPERS.

speare's Art is not Artifice ; the noblest worth of it is not
there by plan or precontrivance. It grows up from the deeps
of Nature, through this noble, sincere soul, who is a voice of
Nature. The latest generations of men will find new mean-
ings in Shakespeare, new elucidations of their own human
being; "nesv harmonies with the infinite structure of the
Universe : concurrences with later ideas, affinities with tiie
higher powers and sense of man." This well deserves medi-
tating. It is Nature's highest reward to a true, simple, great
soul, that he gets thus to be a part of herself. Such a man's
works, whatsoever he with utmost conscious exertion and
forethought shall accomplish, grow up withal tt?iconsciously,
from the unknown deeps in him ; as the oak-tree grows from
the Earth's bosom, as the mountains and waters shape them-
selves ; with a symmetry grounded on Nature's own laws,
conformable to all Truth whatsoever. How much in Shake-
speare lies hid ; his sorrows, his silent struggles known to
himself; much that was not known at all, not speakable at
all ; like roots, like sap and forces working underground !
Speech is great ! Silence is greater.

— Carlyle : Hero- Worship.

1. (a) Define the term "precision in diction."

(b) Show whether or not the following words are used in cKo

partiffraph with precision; — "virtue,'' 1. 4; "beaui,/
fully," 1. 5; "Art" is not "Artifice," 1. 8; "plan," 1.
9; "voice," 1. 10; "harmonies," 1. 13; "symmetry,"
1. 22; "silence," 1. 27.

2. (a) Define, in each case illustrating your definition by a

reference to the paragraph, any five of the following
rhetoric terms : — Mannerism, Antithesis, Archaism,
Balance, Climax, Epigram, Rh ^hm.

EXERCISES IN KIIETOHIC.

(h) State in each case wliat you consider to be the particular
effect on the style of the paragrapli resulting from the
use of tlie particular mannerism, antithesis, archaism,
etc., that you refer to in illustration of your definition.

Ji. (d) Define the term Strength or Force as a quality of style.

(h) Point out to what extent there is forcible writing in the
paragraph, touching briefly on (i) the quality of the
thought ; (ii) sentence-structure ; (iii) paragraph -struc-
ture ; (iv) amplification ; (v) variety ; (vi) figures of
speech.

JUNIOR LEAVING AND PRIMAllY, 1896.

As the wind, wandering over the sea, takes from each wave
an invisil)le portion, and brings to those on shore the ethereal
essence of ocean, so the air lingering among tlie woods and
hedges — green wav es and billows — became full of fine atoms
of suiiiiiier. Swej)t from notched hnwthorn leaves, broad-
topped oak leaves, narrow ash spiviys and oval willows; from
vast elm cliffs and sharp-talo ned braml^les under; brushed
from the waving grasses and stiflening corn, the dust of the
sunshine was borne along and breathed. Steeped in flower
and pollen to the nusic of bees and birds, the stream of the
atmosphere became a living thing. It was life to breathe it
for the air itself was life. The strength of the earth went up
through the huives into the wind. Fed thus on the food of
the Immortals, the heart opened to the width and depth of
the summer — to the broad horizon afar, do^vn to the_niiiiutest
creature in the grass, ug^ to the highest swallow. Winter
shows us Matter in its dead form, like the primary rocks, like
granite and basalt — clear but cokl and frozen cryst'il. Sum-
mer shows us Matter changing into life, sap rising from the
earth through a million tubes, the alchemic power of light
entering the solid oak ; and see ! it bursts forth in countless
leaves. Livin g things leap in the grass, living things drift

EXAMINATION PAPERS.

upon the air, living things are coming forth to breathe in every
hawthorn bush. No longer does the immense weight of Matter
— the dead, the crystallized — press ponderously on the thinking
mind. The whole office of Matter is t o feed life— to f ^ed the
green rushes, and the roses that are about to be ; t o feed the
swallows above, and us that wander beneath them. So much
great er is this green and common rush than all the Alps.

— Richard Je/f'eries.

1. What is the main theme of the paragraph, and where is it
most clearly stated ?

2. Point out any rhetorical devices by wliich the author makes
the language forcible and impressive.

3. In what respects does the language of the extract differ from
that of plain prose description ? Illustrate by quotation or
reference.

y JUNIOR LEAVING, 1895.

! It is impossible to guess how Mr. Kipling will fare if he
ventui'es on one of the usual novels, of the orthodox length.
Few men haver succeeded both in the c(mte (short story) and
the novel. Mr. Bret Harte is limited to the conte ; M. Guy de
Maupassant is probably at his best in it. Scott wrote but
three or four short tales, and only one of these is a master-
piece. Poe never attempted a, novel. Hawthorne is almost
alone in his command of both kinds. We can live only in the
hope that Mr. Kipling, so skilled in so many species of the
conte, so vigorous in so many kinds of verse, will also be
triumphant in the novel : though it seems unlikely that its
scene can be in England, and though it is certain that a writer
who so cuts to the quick will not be happy with the novel's
almost inevitable "padding." Mr. Kipling's longest effort,
"The Light which Failed," can, perhaps, hardly be considered
a test or touchstone of his powers as a novelist. The central

EXERCISES IN KHETORTC.

interest is not powerful enough ; the characters are not so
sympathetic, as are the interest and characters of his short
pieces. Many of these persons we have met so often that they
are not mere passing acuiuaintances, but ah'eady find in us the
loyalty due to old fi'iends.

1. (a) Name the sentences where there is no special word to

indicate connection, and, in each case, justify the omis-
sion.

(^>) Improve the last sentence of the extract as to clearness of
reference.

2. (a) In the 7th sentence ("We can live inevitable 'pad-

ding.' ") what is the relation in thought of the two parts
separated by the colon ?

(6) Rewrite the sentence as two sentences.

(e) Criticize the structure of the 9th sentence ("The central

interest his short pieces.") and show how it may

be improved.

3. Write notes on the nillowing sentences as to the order of

words, phrases and causes ; wliere necessary, improve the
order, giving reason.^ for any changes made :

(a) Misty, therefore, tlie poet has ou/ kind jjermission some-
times to be ; but muddy, nevrr !

(h) We can live o~^.ly in the hope that he will also be triumph-
ant in the novel.

(o) Me he restored unto mine office, and him he hanged.

(d) Though some of the European rulers may be females,
when spoken of altogether, they may be correctly classi-
fied as kings.

JUNIOR LEAVING, 1894.

Cast" your eyes over the world, and see how the masses of
men, how the majority of nations, labour not only in mental,
but in moral degradation, to support a high and fine type

EXAMINATION PAPERS.

of humanity in the few. Examine any ]>eautiful work of art,
and consider how coarse and dark is tlie life of those who have
dug its materials, or the materials for the tools which wrought
it, out of the quarry or the mine. Things ahsolutely essential
to intellectual progress are furnished by classes which for ages
to come the great results of intellect cannot reach, and the
lamp which lights the studies of a Bacon or a Leibnitz is fed
by the wild, rude fisherman of the Northern Sea.

It is true that Mdierever service is rendered, we may trace
some reciprocal advantage, either immediate or not long
deferred. The most abstract discoveries of science gradually
assume a practical form, and descend in the shape of material
conveniences and comforts to the masses wl lose labour supported
the discoverer in intellectual leisure. ISiW are the less fortu-
nate ages of history and tlie lower states of society without
their consolations. The intervals between great moral and
intellectual efforts have functions of their own. Imperial
Rome, amidst her moral lassitude, makes great roads, pro-
motes material civilizatiom, codifies the law. The last century
had no poetry, but it took up with melody, raid produced the
Handels and INFozarts. Lower pains go with lower pleasures,
and the savage life is not without its immunities and enjoy-
ments. The life of intense hope that is lived in the morning
of great revolutions may partly make up for the danger, the
distress, and the disappointment of their later hour. But
these, if they are touches of kindness and providence in
Nature, welcome as proof that she is not a blind or cruel
power, fall far short of the full measure of justice.

1. {a) Give verj' ocjncisoly the substance of ea-^h paragra^ih.

(6) What is the relation i" thought between the two para-
graphs?

p:x1<;kcisks it: ruiETORir.

2. (a) Rewrite the first sentence of tlie extract, substituting for
the imperative some other construction, and com})are as
to rlietorical ett'ect.

(6) In the third sentence ("Tilings Northern Sea ") state

the relation in thought of the second member of the
sentence to the first.

(<■) Rewrite the last sentence of the extract so as to improve
it in respect to clearness.

.'^. Explain and illustrate from the extract what is meant by
method or eonsecidire in-nnKjemeid in a paragraph.

JUNIOR LEAVING, 1893.

/ " There is no place in the town which I so much love to fre-
quent as the Royal Exchange. :- It gives me a secret satisfaction,
ai:d, in some measure, gratifies my vanity, as I am an English-
man, to see so rich an assembly of countrymen and foreigners
consulting together upon the private business of mankind, and
making this mt oropolis a kind of emporium for the \\ hole earth.

^ I must confess I look upon high-change to be a great council,
in which all considerable nations have their representatives.

f-i Factors in the trading world are what andoassadors are in the
politic world ; they negotiate affairs, conclude treaties, and
maintain a good correspondence between those wealthy soci-
eties of men that are divided by seas and oceans, or live in the
different extremes of a continent. / ^I have often been pleased
to hear disputes adjusted between an inhabitant of Japan and
an aldennan of London, or to see a subject of the Great Mogul
entering into a league with one of the Czars of Muskovy. -f I
am infinitely delighted in mixing witli these several ministers
of counnerce, as they are distinguished by their different walks
and languages ', sometimes I am jostled by a body of
Armenians; sometimes I am lost in a crowd of Jews; and
sometimes make one in a gi'oup of Dutchmen. ''/I am a Dane,

EXAMINATION PAPKKS.

Swede, or Freiicliinan at different times ; or rather fancy my-
self like the old philosophei, who upon ))eing asked wliat
countryman he was, replied that he was a citizen <»f the
world."

1. (a) Trace the development of the foregoing paragi'aph from

the topic sentence.

(6) Point out sentences that aj)pear to y«tu to jK)SRess special
merit in tlie matter of constructioii (i) for clearness, (ii)
for force, or (iii) for melody ; in each case give reiisons
for your judgment.

2. Show fully and deiinitely the extent to which this paragraph

illustrates («) the simplicity and (6) the elegance of the
author's style.

/ JUNIOR LEAVING, 1892.

The life of the Custom-House lies like a dream behind me.
The old Inspector, — who by the way, I regret to say, was
overthrown and killed by a horse, s(jme time ago ; else he
would certainly have lived forever,— he, and all th</se otlier
venerable personages who sat with him at the receipt of custom,
are but shadows in my view ; white-haired and wrinkled
images, which my fancy used to sport with, and has now flung
aside forever. The merchants, — Pingree, Phillips, Shepard,
Upton, Kimball, Bertram, Hunt, — these, and many other
names, which had such a classic familiarity for my ear six
months ago, — these men of traffic, who seemed to occupy so im-
portant a position in tlie world, how liutle time has it recjuired
to disconnect me from them all, not merely in act, but
recollection ! It is with an effort that I recall the figures
and appellations of these few. kSoou, lilcewise, my old native
town will loom upon me through the haze of memory, a mist
brooding over and around it; as if it were no portion of the
real earth, but an over-grown village in cloud-land, with only

EXERCISES IN RHETORIC.

imaginary inhabitants to people its wooden houses, and walk
its homely lanes, and the unpicturesque prolixity of its main
street. Henceforth it ceases to be a reality of my life. I am
a citizen of somewhere else. My good townspeople will not
much regret me ; for — though it has been as dear an object
as any, in my literary efforts, to be of some importance in their
eyes, and to win myself a pleasant memory in this abode and
burial-place oi so many of my forefathers — there has never
been for me, the genial atmosphere which a literary man
requires in order to ripen the best product of his mind. I
shall do better amongst other faces ; and these familiar ones, it
need hardly be said, will do just as well without me.

— Hawthorne : The Scarlet Letter.

11 >

1. (a) State the theme of the foregoing paragraph.

{h) Show briefly the bearing of each successive sentence upon
the theme.

{d) Account for the order in which the thoughts of the para-
graph are presented ; comment on the effectiveness of
the order.

2. Discuss the effect on the style of the paragraph, if we substi-

tute the following words for the words in the text : —

(a) "old persons" (for "venerable personages," line 5) ;

(6) "men" (for "images," line?);

{d) "to occupy" (for "to people," line 19) ;

(e) "of Lenox " (for "of somewhere else," l>ne 22) ;

(/) "ancestors" (for "forefathers," line 26).

3. State the qualities of style you judge the paragraph to possess ;

indicate in detail with each quality you mention the grounds
on which you base your judgment.

EXAMINATION PAPERS.

JUNIOR LEAVING, 1891.

X'xhis delusive itch for slander, too common in all ranks of
people, whether to gratify a little ungenerous resentmen t ;
whether oftener out of a principle of levelling, from a narrow-
ness and poverty of soul, ever impatient of merit and superiority
in others ; whether from a mean ambition, or the insatiate lust>.
of being witty (a talent in which ill-nature and malice are no
ingredients); — or lastly, whether from a natural cruelty of
disposition, abstracted from all views and considerations of
self ; — to which one, or whether to all jointly, we are indebted
for this contagious malady, thus much is certain, from what-
ever seeds it springs, the growth and progress of it are as
destructive to, as they are unbecoming, a civilized people. To
pass a hard and ill-natured reflection upon an undesigning
action ; to invent, or which is equally bad, to propagate, a
vexatious report without colour and grounds ; — to plunder an
innocent nuui of his character and good name, a jewel which
perhaps he has starved himself to purchase and probablv would
hazard_his life to secure ; — to rob him at the same time of his
happiness and peace of mind, perhaps his bread : -the bread,
may be, of a virtuous family; and all this, as Solomon says of
the madinan who casteth firebrands, arrows, and death, and
saith, "Am I not in sport?" all this out of wantonness, and
oftener from worse motives, — the whole appears such a compli-
cation of badness as requires no words or warmth of fancy to
aggravate.— Pride, treachery, envy, hypocrisy, malice, cruelty ;
and self-love may have been said, in one shape or other, to
have occasioned all the frauds and mischiefs that ever happened
in the world ; but the chances against a coincidence of them
all in one person are so many, that one would have supposed
the character of a common slanderer as rare and difficult a
production in nature as that of a great genius, which seldom
happens above once in an age.
2

EXKKCISES IN KlIKTOIlIt'.

1. Diseriininato tlie following pjiirs of words, and use each word

in a phrase in which the other could not he used :

Ranks, classes ; resentment, animosit}' ; merit, worth ; in-
satiate, insatiable ; talent, genius ; ingredient, com-
ponent ; malady, disease ; invent, discover ; vexatious,
annoying ; plunder, rob ; hazard, risk ; complication,
combinatioii,

2. Criticize briefly each sentence in the paragraph as to the order

of words and terms, clearness and strength, showing the
effect of the rhetorical expedients employed.

3. Discuss the propriety of each of the following phrases as used

in the extract : —

• ' Delusive itch for slander, too common, are no ingredients, we
", are indebted, contagious malady, undesigning action,

reports^" without colour and gi'ounds, plunder of his
character, to purchase, out of wantonness or worse
motives, to aggravate, in one shape or other, that ever
happened, the coincidence.

4. Discuss the propriety and the order oi each member of the

following i)airs of terms as used in the extract : —

Meanness and poverty, merit and superiority, ill-nature and
malice, views and considerations, growth and progress,
hard and ill-natured, colour and grounds, character and
good name, happiness and peace of mind, words or
warmth of fancy, frauds and mischiefs, rare and diffi-
cult.

♦,■

>/ PRIMARY, 1895.

The accession of George the First marked a change in the
position of England in the European Commonwealth. From
the age of the Pl}7,ntagenets the country had stood apart from
more* than passing contact with the fortunes of the Continent'.
But the Revolution had forced her to join tlie Great Alliance
of the European peoples ; and shameful as were some of its

EXAMINATION PAPERS.

used

)f the

incidents, the Peace of Utrecht left her the main barrier
against the ambition of the House of Bourbon. And not only
did the Revolution set England irrevocably among the powers
of Europe, but it assigned her a special place among tliein.
The result of the alliance and the war had been to establish
what was then called a "balance of power" between the gi-eat
European states ; a ])alance which rested indeed not so much
on any natural equilibrium of forces as on a compromise wrung
from warring nations by the exhaustion of a great struggle ;
but which, once recogiiized and established, could l)e adapted
and readjusted, it was hoped, to the varying political condi-
tions of the time. Of this balance of power, as recognized
and defined in the Treaty of Utrecht and its successors,
England became the special guardian. ' The stubl)orn policy of
tlie Georgian statesmen has left its mark on our policy ever
since. ,' In struggling for peace and the sanctity of treaties,
even though tlie struggle was one of selfish interest, England
took a ply which she has never wholly lost. ' Warlike and
imperious as is her national temper, she has never been able
to free herself from a sense that her business in the world is
to seek peace alike foi herself and for the nations about lier,
and that the best security for peace lies in her recognition,
amidst whatever difficulties and seductions, of the force of in-
ternational engagements and the sanctity of treaties.

i \^ ^' (") Wliat is the main statement of this paragraph, and where

^ is it found ?

{h) What is the bearing of each of the first four sentences on
^ this statement ?

2. (a) Rewrite sentence ("Of this guardian"), substi-
tuting the natural for the inverted order; and state,
giving reasons for yoiu* choice, which you consider pre-
ferable.

EX^RCISKS IN RHETORIC.

(b) Rewrite the last sentence, replacing the concessive clause
(" Warlike temper ") by a phrase, and the con-
cessive phrase (" anxidst seductions ") by a clause.

3. Give three rules for Paragraph-structure, and show how far
the paragraph here given complies with each.

PRIMARY, 1894.

" On summer days of cloudless glory, the air is sometimes
still, and the heat relaxing upon the mountains. The glacier is
then in the highest degree exhilarating. Down it constantly
rolls a torrent of dry tonic air, which forms part of a great
current of circulation. From the heated valleys the light air
rises, and coming into contact with the higher snows, is by
them chilled and rendered heavier. This enables it to play
the part of a cataract, and to roll down the glacier to the val-
ley from which it was originally lifted by the sun. But the
action of the sun upon the ice itself is still more impressive.
Everywhere around you is heard the hum of streams. Down
the melting ice-slopes water trickles to feed little streamlets
at their bases. These meet and form larger streams, which
again, by their union, form rivulets larger still. Water of
exquisite purity thus flows through channels flanked with azure
crystal. The water, as if rejoicing in its liberty, rushes along
in rapids and tumbles in sounding cascades over cliffs of ice.
The streams pass under frozen arches, and are spanned here
and there by slabs of rock, which, acting as natural bridges,
render the crossing of the torrent easy from side to side. Sooner
or later these torrents plunge with a thunderous sound into
clefts or shafts, the latter bearing the name of moulins or
mills, and thus reach the bottom of the glacier. Here the
river produced by the melting of the surface-ice, rushes on un-
seen, coming to the light of day as the Rhone, or the Massa,
or the Visp, or the Rhine, at the end of the glacier."

EXAMINATION PAPERS.

1. (a) State concisely the subject of this paragraph.

(6) If the extract were to be written in two paragraphs instead

of one, where should the division be made ?
(c) What would be the subject of these two paragraphs ?

2. Show clearly Liie connection in thouglit of each of the first

five sentences of the extract with Avhat precedes it.

3. Discuss the sentence-structure of the extract under the follow-

ing heads : —

(a) Length.

(b) Order of words and dantses.

4. In the last sentence make the following substitutions, and

compare, as to effect, each substituted expression with the
original : —

(a) "Stream "for "river;"

(b) "Flows "for "rushes ;"

(rf) " A river " for " the Rhone, or the Massa, or the Visp, or
the Rhine."

X PRIMARY, 1893.

" A peculiar feeling it is that will rise in the Traveller, when
turning some hill-range in his desert road, he descries lying far
below, embosomed among its groves and green natural bul-
warks, and all diminished to a toy-box, the fair Town, where
so many souls, as it were seen and yet unseen, are driving
their multifeirious traffic. Its white steeple is then truly a
star-ward pointing finger ; the canopy of blue smoke seems
like a sort of Lite-breath : for always of its own unity, the soul
gives unity to whatso it looks on ^vitli love ; thus does the
Dwelling-place of men, in itself a congeries of houses and huts,
become for us an individual, almost a person. But what
thousand other thoughts unite thereto, if the place has to our-
selves been the arena of joyous or mournful experiences ; if
perhaps the cradle we were rocked in still stands there, if our
loving ones still dwell there, if our buried ones there slumber."

EXKHCISKS IN HIIKTOUIC.

1. (a) State briefly the subject-matter of the forep^oing paragraph.
(/>) (i) FiX.'imine the connection of the thouglit of each sentence

with the theme of the paragruph. (ii) On this examina-
tion found a judgment as to the unity of tlie jKuagraph,

2. Explain any six of the following expressions and justify their

use: — ((() "green natural bulwarks" ; (/>) "diminished to a
toy-box"; (o) " seen yet unseen " ; {(J) "a star-ward point-
ing finger" ; (e) " Life-l)reath" ; (/) "of its own unity the
soul gives unity to whatso it looks on with love "' ; (</) " be-
come an individual . . . almost a person ' .

3. (a) Point out any variations in the paragraph from the

normal, grammatical order of words, and account
rhetorically for each of these variations.
(6) Point out any instances of Picturesqueness of style in the
passage.

PRIMxVKY, 1892.

I was always fond of visiting new scenes, and observing
strange characters and manncMs. Even when a mere child I
began my travels, and made niH^ny tours of discovery into
foreign parts and unknown regions of my native city, to the
frequent alarm of my parents and the emolument of the towai-
crier. As I grew into boyhood, I extended the range of my
observations. My holiday afternoons were spent in rambles
about the surrounding country. I made myself familiar with
all its places famous in history or fable. I knew every spot
where a nmrder or robber}^ had been committed, or a ghost
seen. I visited the neighlmuring villages, and added greatly
to my stock of knowledge by noting their habits and customs
and conversing with their sages and great men. I even

\(i

EXAMINATION TAPKRS.

journeyed one long summers day to the summit of the most
distant hill, whence I stretched my eye over many a mile of
"terra incoiriiit;i.'' and was astonished to find how vast a
globe I inliahited.

This rambling propensity increased with my years. Books
of voyages and travels became my passicm, and in devouring
their contents I neglected the regular exercises of the school.
How wistfully would I wan<ler about the pier-heads in tine
weather, and watch the parting shi}>s bound to distant climes
— with what longing eyes would I ga/e after their lessening
sails, and waft myself in Imagination to the ends of the earth.

— Washi}Kjton Irv'my : The Sketch Book.

1. (a) (Jive in a word or plirase (i) tlie subject of the wliole

extract ; (ii) the sul)ject <'f eacli of the various parts into
which the selection may be divided.

(6) Show that Irving follows a regular order of deve]o])nient in
presenting the thoughts of the selection.

(c) (i) What is the object of paragrapli divisions ? (ii) On what
principle are paragra])h divisions made? (iii) Justify
the j)aragraph division as made above.

2. (m) Point out what is peculiar in the meaning of the following

phrases as used in the selection.

(6) Why is the autlu)r justified in using these phrases as he
does ?

(i) " tours of discovery," • ■ ■■

(ii) " foreign parts, "
(iii) " a ghost seen,"
(iv) " their sages and great men, "

(v) '"terra incognita.' "

(i) "emolument" and "profit,"

(ii) "observations" and " observance -,"

24: EXERCISES IN KHETORIC.

(iii) "rambles" and "wanderings,"
^ (iv) "habits" and "customs,"
/ (v) "conversing" and "talking,"

(vi) "wistfully" and "eagerly,"
/^(vii) "lessening" and "departing."

y 3. (a) Select from the following rhetorical terms those which in
your opinion best describe the nature of the style of the
selection : — simple in thought, sin\ple in diction, abstruse,
clear, obscure, concise, verbose, picturesque,^^ varied,
monotonous, lively, lofty, humorous, witty, elegant, mel-
odious, pathetic.
(6) With each one you select, give briefly the grounds for
your judgment.

PRIMARY, 1891.

It cannot be denied, however, that his piety was mingled
with superstition, and darkened by the bigotry of the age.
He evidently concurred in the opinion, that all nations which
did not acknowledge the Christian faith were destitute of natu-
ral rights ; that the sternest measures might be used for their
conversion, and the severest punishments inflictf d upon their
obstinacy in unbelief. In this spirit of bigotry ho considered
himself justified in making captives of the Indians, and trans-
porting them to Spain to have them taught the doctrines of
Christianity, and in selling them for slaves if they pretended
to resist his invasions. In so doing he sinned against the
natural goodness of his character, and against the feelings
which he had originally entertained and expressed towards
this gentle and hospitable people ; but he was goaded on by
the mercenary impatience of the crown and by the sneers of
his enemies at the unprofitable result of his enterprises. It is
but justice to his character to observe, that the enslavement

V-:

EXAMINATION PAPERS.

of the Indians thus taken in battle was at first openly counten-
anced by the crown and that when the question of right came
to be discussed at the entreaty of the queen, several of the
most distinguished jurists and theologians advocated the prac-
tice ; so that the question was finally settled in fav our of the
Indians solely by the humanity of Isabella. As the venerable
Bishop Las Casas observes, where the most learned men have
doubted, it is not surprising that an unlearned mariner should
err.

These remarks in palliation of the conduct of Columbus, are
required by candor. It is proper to show him in connection
with the age in which he lived, lest the errors of the times
should be considered as his individual faults. It is not the
intention of the author, however, to justify Columbus on a
point where it is inexcusable to err. Let it remain a blot on
his illustrious name and let others derive a lesson from it.

• 1. What is the main tlieme and the topic sentence of each of
these paragraphs ? How is the relation of each paragraph to Avhat
has gone before shown ? What is gained by making two paragraphs
here ?

2. Examine the first paragraph showing the main theme, the
nature and intention of each sentence and its relation tt) the main
theme. Point out also the various means employed to maintain
explicit reference.

3. Briefly examine each sentence in the first paragraph as to the
merits of the direct and indirect order employed, and as to the use
or omission of connectives. .

THIRD CLASS, 1890.

(!•)

" Another morning came, and there they sat, ankle-deep in ^
cards. No attempt at breakfast now, no affectation of making L
a toilet or airing the room. The atmosphere was hot, to be i

KXEHCISKS IN UHETORIC.

sure, but it well l)ecame such a Hell. There they sat, in total,
in positive forgetfulness of e-.tny thing but the hot game they
were hunting down. There ^vas not a man in the room, except
Tom Cogit, who could have old you the name of the town in
which they were living. There they sat, almost breathless,
watching every turn with the fell look in their cannibal eyes
which showed their total inability to S3'm}>atlrize with their
fellow-beings. All forms of society had been long forgotten.
There was no snufl-box handed about now, for courtesy,
admiration, or a pinch ; no affectation of occasionally making
a remark upon any other topic but the all-engrossing one.
Lord Castlet'ort rested witli his arms on the table: a false
tooth had got unhiui/ed. His Ltjrdship, who, at any other
time, would havo been most ar.noyed, coolly put it in his
pocket. His cheeks had fallen, and he looked twenty years
older. Lord Dice had torn off' his cravat, and his hair hung
down over his callous, })loodless cheeks, straight as silk.
Temple Grace looked as if he were blighted l)y lightning; and
his deep blue eyes gleamed like a hyena's. Tlie Baron was
least changed. Tom Cogit, who smelt that the crisis \vas at
hand, was as quiet as a bribed rat."

1. («) What are the main subject and the subordinate subjects of

this para<,'r!i]>li /

(h) Show in full detail how the subordinate subjects are ampli-
lied and related to one another. ■ •

2. Stating, with reasons in each case, which cxprt'.'jsion you pre-
fer in the above- Disraeli's or that with which it is coupled —
(Uscriminat(j l)etween the meanhigs of : "affectation," 1. 2, and
"pretence " ; "such a Hell,'' 1.-4, and " sucii an abode of wicked-
ness" ; "with the fell look in their cannibal eyes,'' 1. 9, and "with
the cruellook in their inlnunaii eyes"; "Lord Dice had torn off'
his cravat," 1. fU, and " Loid Dice had taken off his cravat";

"Temple (Jrace Iiyena's," 11. 21 22, and "Temple Cracc

looked blighted; and his deep blue eyes gleamod"; and "Tom

*<•■";

EXAMINATIOX PAPERS.

Cogit, who smelt that," etc., 11. 23-24, ami "Tom Cogit, who felt
that," etc.

3. State, with reasons, which of the following expressions you
prefer in the above — Disraeli's or that with which it is coupled :
"No attempt at breakfast now, no affectation of making a toilet or
airing the room," 11. 2-3, aiul "There was no attemi)t at In-eakfast
now, and no affectation of making a toilet or airing the room" ;
"The atmosnhere was hot, to be sure, but it well became such a
Hell," 11. 3 4, and " The atmosphere was hot, but it became such :.
ITell well"; " Tliere tney s.it," 11. 4. and 8, and "They .sat there" ;
and "Lord Castlefort rested with his arms on the table: a false
tooth." etc., 11. 15-1(>, and "Lord Castlefort rested ...:h his arms on
the table. A false tootli had got unhinged, and his Lordship who,"
etc.

THIRD CLASS, 1890.

(ir.)

Method is of advantage to a work, botli in respect to the
writer and the reader. In regard to the first, it is a great
help to invention. When a man lias planned his discourse,
he finds a great many thought s arising out of every head, that
do not offer l^^emselves upon the general survey of a subject.
His thoughts are at the same time more intelligible, and
better discover their drift and meaning, when they are placed
in their proper light and folk)W one anotlier in a regular
series, than when they are thrown together without order and
connexion. Tliere is always an obscuiity in confusion, and
the same sentence that would have enliglitened tlie reader in
one part of a discourse perplexes him in another. For the
same reason likewise any thought in a methodical discourse
shows itself in its greatest beauty, as the stn-eral figui-es in a
piece of painting receive n(>w gi-ace from their disjtosition in
the picture. The iidvantages of a reader from a methodical
discourse are correspondent with those of the writer. He

EXEUCISES IN RHETORIC.

I 1^1

comprehends everything easily, takes it with pleasure, and
retains it long.

Method is not less requisite in ordinary conversation than
in writing, provided a man would talk to make himself un-
derstood. I, who hear a thousand coffee-house debates every
day, am very sensible of this want of method in the thoughts
of my honest countrymen. T here is not one dispute in ten
which is managed in those s chools of politics, where, after the
three first sentences, the question is not entirely lost. Our
disputants put me in mind of the cuttle-fish, that when he is
una'ljle to extricate himself, blackens all the water about him
till he becomes invisible. The man who does not know how to
methodize his thoughts has always, to Iwrrow a phrase from
the dispensar}'^, " a barren superfluity " of words ; the fruit is
lost amidst the superfluity of leaves.

V 1. What is the subject of both of these paragraphs? What two
main subdivisions of this subject are suggested by the opening
sentences of the paragraplis ?

2. What subdivisions of the first paragraph are suggested by the
opening sentence ? tState what part of the first paragraph is
included in each subdivision. Set down, as briefly as possible, the
particulars of the first subdivision. Show why th« second subdi-
vision is shorter than the first, and compare its particulars with
those of the first. Discuss the suitability of the expression "this
want of method, " 1. 23, and explain how the main thought in the
second paragraph is developed.

'^^ 3. Assigning reasons, make such changes in the paragraph as
seem to you necessary to secure good literary form.

THIRD CLASS, 1889.

" The plague of locusts, one of the most awful visit ation s to
which the countries included in the Roman empire were
exposed, extended from, the Atlantic to Ethiopia, from Arabia

V-

EXAM IN ATI 0\ PAPERS.

to India, and from the Nile and Red Sea to Greece and the
north of Asia Minor. Instances are recorded in history of
clouds of tlie devastating insect crossing the Black Sea to
Poland, and the Mediterranean to Lombardy. It is as
numerous in its species as it is wide in its range of territory.
Brood follows brood, with a sort of family likeness, yet with
distinct attributes. It wakens into existence and activity as
early as the month of Ma"ch ; but instances are not wanting,
as in our present history, of its appearance as late as June.
Even one flight comprises myriads upc uiyriads passing im-
agination, to which the drops of rain or the sands of the sea
are the only fit comparison ; and hence it is almost a pro-
verbial mode of expression in the East, by way of describing
a vast invading army, to liken it to the locusts. So dense
are they, when upon the wing, that io is no exaggeration to
say that they hide the sun, from which circumstance indeed
their name in Arabic is derived. And so ubiquitous are they
when they have alighted on the earth, that they simply cover
or clothe its surface.

This last characteristic is stated in the sacred u,ccount of
the plagues of Egypt, where their faculty of devastation is
also mentioned. The corrupting fly and the bruising and
prostrating hail preceded them in that series of visitations,
but theij came to do the work of ruin more thoroughly. For
not only the crops and fruits, but the f oliage of the forest
itself, nay, the small twigs and the bark of the trees are the
victims of their curious and energetic rapacity. They have
been known even to gnaw the door-posts of the houses. Nor
do they execute their task in so slovenly a way, that, as they
have succeeded other plagues, so they may have successors
themselves. They take pains to spoil what they leave. Like
the Harpies, they smear every thing that they touch with a
miserable slime, which has the effect of a virus in corroding,
or as some sav, in scorching and burning. And then, per-

EXEROrSES TX RHETORIC.

haps, as if all this were littl* , when they '^an do nothing else,
they (lie ; as if out of sheer malevolence to man, for the
poisonous elements of their nature are then let loose and
dispersed abroad, and create a pestilence ; and they manage
to destroy many more h}' their death than in their life."

1. What is the main suhject of each of these })aragraphs ? What
are the sul)()r(linate subjects, and what sentences are included
under each ?

2. Give the terms that descri})e the style and exemplify their
iapjilication from the extract.

3. Showing in each case which is preferable, discriminate be-
tween tiie meanings of "awful visitations," and "dreadful visits ;"
"devastating," and "ravaging;" "range," and "extent;" "vast,"
and "large;" "characteristic,"' and " ([uality ;" "foliage," and
"leaves;" "succeeded," and "followed;" and "pestilence," and
"visitation."

4. State, with reasons, which of the following is preferable :
"The plague — Asia IMincu-," or " Tlie plague of locusts extended
over many of the countries included in the Romaii Empire ;" " It
is — territory," or "It is also numerous in its species;" "And so
ubiipiitous are they," or "They are also so tdjiquitous ;" "they
simply cover or clothe," or " they clothe ;" " even togn;t.w," or "to
gnaw even-" and "Like the Harpies, they smear," or "They
smear."

5. By means of four well marked instances, show how the (juality
of Strength (or Force) has been secured ; and, by means of two
well marked instances, show how the quality of Melody has been
secured. >

THIRD CLAkSS, 1888.

' ■ • ('•) •■ - V

It was one of their ha})py mornings. They trotted along
and sat dov.n together, with no thought that life woidd ever
chaiige much for them : they woidd only get bigger and not go

EXAMINATIOX PAPERS.

to school, and it would always be like the holidays ; they would
always live together and be fond of each other. And the ^
mill with its booming — the great chestnut-tree under which j
they played at houses — their own little river, the Ripple, where j
the banks seemed like home, ami Tt)m was always seeing the
water-rats while Maggie gatliered the pui-i)ie ijlumy lops of the j
reeds, which she foi'got and dro])ped afterward — above all, the i
great Floss, along which they wandered with a sense of travel, j
to see tiie rushing spring-tide, the awful Eagre, come up like a j
hungry monster, or to see the Great Ash which had once j
wailed and gi'oaned like a man — these things would always be j
just the same to them. Tom thought people were at a disad- j
vantage who lived oil any other spot of the ghjbe ; and Maggie,
when she read about Christiana passing "the river over which
there is no bridge,'' always saw the Floss between the green
pastures by the Great Ash.

Life did change for Tom and Maggie ; and yet they were not
wrong in believing that the though ts and loves of these first
years would always make pai't of their lives. AVe could never
have loved the earth so well if we had had no childhood in it
—if it were not the earth where the same flowers come up again
every spring that we used to i^atlier with our tiny fingers, as
we sat lisping to ourselves on the grass — the same hii)s and
haws on the autumn hedgerows — the same red-breasts that we
used to call " God's birds," because they did no harm to the
precious crops. What noveUy^ is worth that sweet monotony
where everything is known, and lotted because it is known ?

1. What are the subjects of the foregoing paragraphs, and which
are the topic sentences i Wliat part does "Life — Maggie," play in
the parjigraph-structure of the extract .' .,

2. Name and explain the value of the different kinds of sentences
in' the extract, pointing out the most marked example of each kind.
Exemj)lify, from the paragrapli, the principle of Parallel Construc-
tion.

EXERCISES IN RHETORIC.

3. Distinguish "booming," and "roaring ;" " at a disadvantage,"
and "at a loss;" "gather," and "collect;" "tiny" and "little;"
and " lisping," and "talking."

4. State, with reasons, which of tlie following is preferable in the
foregoing extract: "bigger," or "larger;" "great," or "big;"
"come up like a hungry monst'jr," or "come up;" "green pas-
tures," or "verdant meadows;" "not wrong," or "right;" and
"What novelty — known ?" or " No novelty is worth — known."

5. Point out and account for the difference between the diction
of "And — them," and "Wo — crops," and that of ordinary prose.
Comment on the ellipses in " We— crops."

/ 6. What qualiti3S of style are exemplified in the extract ? Point
out one marked example of each quality.

THIRD CLASS, 1888.

(11.)

/ " It was six o'clock : the battle liad continued with un-
changed fortune for three hours. : The French, masters of La
Haye Sainte, could ne*. er advance further into our position.
They had gained the orchard of Hougouniont, but the chateau
was still held by the British Guards, although its blazing roof
and crumbling walls made its occupation rather the d esperate
stand of unflin ching valor than the maintenance of an import-
ant position. , The smoke which hung upon the field rolled in
slow and heavy masses back upon the French lines, and gradu-
ally discovered to our view the entire of the army. We
quickly perceived that a change was taking place in their
position. The troops which on their left stretched far beyond
I Hougoumont, were now moved nearer to the centre. The
attack upon the chateau seemed less vigorously supported,
while the oblique direction of their right wing, which, pivot-
ing upon Planchenoit, opposed a face to the Prussians,— all
denoted a change in their order of battle. It was now tV.o

EXAMINATION PAPERS.

Point

hour wlien Napoleon was at last convinc ed that nothing but A
the carnage he could no longer £upjK)rt could destroy the |
unyielding ranks of British infantry ; that although Hougou- /
raont had been partially, La Haye Sainte, completely, won ;
that although upon the right the farm-houses Papelotte and
La Haye were nearly suirounded by his troops, which with
any other army must prove the forerunner of defeat : yet still
the victory was beyond liis grasp. The bold stratagems,
whose success the experience of a life had proved, were here to
be found powerless. The decisive manci'uvre of carrying one
important point of the enemy's lines, of tuining him upon the
flank, or piercing him through the centre, were here found
impracticable. He might launch his avalanche of grape-shot,
he might pour down his crashing columns of cavalry, he might
send forth the iron storm of his brave infantry ; but, though
death in every shape heralded their approach, still were otiiers
found to fill the fallen ranks, and feed with their heart's blood
the unslaked thirst for slaughter. AVell might the gallant
leader of this gallant host, as he watched the reckless o nslaught
of the untiring enemy, and looked upon the unflinching few,
who, bearing the proud badge of Britain, alone sustained the
fight, well might he exclaim, ' Night, or Bliicher ! ' "

■ •**■-••. —.-

1. What are the subjects — leading and subordinate — of the fore-
going paragraph, and wliich sentences contain them ? Account for
the order in which the subjects are introduced.

2. Name and explain the value of the different kinds of sentences
in the paragrai)h, pointing out the most marked example of each
kind. Exemplify from the paragraph the principle of Parallel
Construction.

3. Distinguish "desperate, and "hopeless;" "unflinching,"
and "unyielding;" "convinced," and "certain;" " carnage," and
"slaughter ;" and "reckless onslauglit," and "thoughtless attack."

4. State, with reasons, wliich of the following is preferable in the
foregoing extract : " fortune," or "luck;" "tlie entire of the army,"

EXERCISES IN KIIETORIC.

or " nil the army ; " " support," or " nidintain ; " " forerunner," or
"forerunners;" "whose Muceess,'' or "the success of which;"
"were," or " was ;" and " well might he exclaim," or " exclaim."

5. Point out and account for the difference between the dicticm of
the last two sentences and that of ordinary prose, ^^'rite a plain
unadorned paraphrase of these sentences, using as few words as
possible.

6. What qualities of style are exemplified in the par.igraph ?
Point out one marked example of each (piality.

I . m

■I

Uli

THTPv]) CLAS8, 1887.

0-)

" I observed one particular weight lettered on both sides,
and upon applying myself to the reading of it, I found on one
side written, ' Ja the (luilect of men,' and underneath it, 'CALA-
MiTiKs;' on the other side was written, ^ la the Jdngnage of
i/ie (/o(/«,' and underlie tth, ' BLESsiNds.' I found the intrinsic
value of this weight to be much greater than I imagined, for
it overpowered healtli, wealth, good-fortune, and many other
weights, which were much more ponderous in my hand than
the other.

There is a saying among the Scotch, that ' an ounce of
mother is wortli a pound of clergy ; ' I was sensible of the
truth of this saying, when I saw the difference between the
weight of natural parts and that of learning. The observation
which I made upon these two weights opened to me a new
field of discoveries, for notwithstanding the weight of natural
parts was much heavier than that of learning, I observed that
it weighed an hundred times heavier than it did before, when
I put learning into the same scale with it. I made the same
observation upon faith and morality ; for notwithstanding the
latter outweighed the former separately, it received a thousand

EXAMINATION PAPERS.

times more additiomil weight from its conjunction witli the
former, than what it had ])y itself. This odd phenomenon
sliowcd itself in ot'iier particulars, as in wit and judgment,
philosophy and religion, justice and humanity, zeal and charity,
depth of sense and perspicuity of style, with innumerable other
particulars, too long to be mentioned in this paper."

1. Show to what extent the paragraph laws are observed in the
second of the above })aragraphs.

•insio

I same
the
I sand

(II.)

The wood I walk in on this mild May day, with the young
yellow-brown folio ge of the oaks between me and the blue
sky, the white star-flowers, and the blue-eyed speedwell, and
the ground-ivy at my feet — what grove of tropic palms, what
strange ferns or splendid broad-petaled blossoms, could ever
thrill such deep and delicate Jibi'es ivithin me as this home-scene'?
These familiar flowers, these well-remembered bird-iiotes, this
sky with its fitful brightness, these furrowed and grassy fields,
each with a sort of personalitij given to it hy the capricious
hedgerows — such things as these are the mother tongue of our
imagination, the language that is laden with all the subtle
inextricable associations the fleeting hours of our childhood
left behind them. Our delight in the sunshine on the deep-
bladed grass to-day might be no more than the faint perception
of loearied soids, if it were not for the sunshine and the grass
in the far-off years, which still live in us, and transform our
perception into love.

1. What is the subject of the above extract ?

2. State in simple language the meaning of the italicized ex-
pressions.

3. Point out the effects produced upon the structure of the first
and second sentences by the author's desire f(>r eni[)hasi8.

an L

L.. 'h"

(Hyt^v-U" .

tXERnSES IN HIIETOHIC.

4. Sliow tlie appropri.'ifcenc'ss of tho itulici/fd words in the follow-
iii},' : "Jiff "I Id-ightiuiss," " tli;it i.s laden ; " '\flniiity liours.''

5. Kx{)ljiiii, us wi'll as possihlu, wherein consists tlie Iteauty of
the above extract.

jl j

1 !

rAPETlS ON ^LVCAULAY.

(Tlie followhuj deparlnienftd papers on extracts from Macanlay tvill
Ite found of great value, as Macanlaif in a wader of the art of rJietoric.)

0-)

Tlie place was worthy of such a trial. It was the g reat ha ll
of William Kufus, t he h all which had resounded with accla-
mations at tlie inauguration of thirty kings, the hall which
had witnessed the just sentence of J->acon and the just absolu-

(- tion of Soniers, the hall where the elociuence of Strajfford had
for a moment awed and melted a victorious party inflamed
with just resentment, the hall where Charles liad confronted
the High Court of Justice with the placid courage which has
half redeemed his fame. Neither military nor civil pomp was

/• wanting. The avenues were lined with grenadiers The
streets were kept clear by cavalry. The peers, robed in gold
and ermine, were marshalled by the heralds/iinder Garter King-
at-arms. The judges in their vestments of state attended to
give advice on points of law. Near a hundred and seventy

/ lords — three fourths of the Upper House, as t he Upper Hous e
then was — walked in solemn order from their usual place of
assembling to the tribunal. The junior Baron present led the
way, George Eliott^ Lord Heathfield, recently ennobled for his
memorable defence of Gibraltar against the fleets and armies
of France and Spain. The long procession was closed by the
Duke of Norfolk, Eai-l Marshal of the Realm, by the great
dignitaries, and by the brothers and sons of the King. Last
of all came the Prince of Wales, conspicuous by his fine person
and noble bearing. The grey old walls were hung with scar-

^i'^let. The long galleries were crowded by an audience such as

4
II

KXAMINATION PAPERS.

ffold

scar-
:h as

has rarely excited the fears or the emulation of an orator.
There were gathered together from all parts of a great, free,
enlightened and prosperous empire, gr ace and female lovelines s,
wit and learning, the representatives of every science and of
every art. Tiiere w ere se ated round the Queen the fair-haired
young daughters of the house of Brunswick. There the am-
bassadors of great kings and commonwealths gazed with
admiration on a spectacle which no other country in the world
could present. There Siddons, in the prime of her majestic
beauty, looked witli emotion on a scene surpassing all the
imitations of the stage. There the historian of the lloman
Empire thought of the days when Cicero pleaded the cause of
Sicily against Verres, and when, before a senate which still
retained some show of freedom, Tacitus thundered against the
oppressor of Africa. There were seen, side by side, the great-
est painter and the greatest scholar of the cage. The spectacle
had allured Reynolds from that easel which has preserved to
us the thoughtful foreheads of so many writers and statesmen,
and the sweet smiles of so many noble matrons. It had in-
duced Parr to suspend his labours in that dark and profound
mine from which he had extracted a vast treasure of erudition,
a treasure too often buried in the earth, too often paraded with
injudicious and inelegant ostentation, but still precious, mas-
sive, and splendid. There appeared the voluptuous charms of
her to whom the heir of the throne had in seci'et plighted his
faith. There too was she, the beautiful mother of a beautiful
race, the Saint Cecilia, whose delicate features, lighted up by
love and music, art has rescued from the common decay.
There were the members of that brilliant society which quoted,
criticized, and exchanged repartees, under the rich peacock
hangings of Mrs. Montague. And there the ladies whose lips,
more persuasive than those of Fox himself, had carried the
Westminster election against palace and treasury, shone round
Georgiana, Duchess of Devonshire.

EXERCISES IN liUETORIC.

I;, -

1. What is the main subject of this paragraph ? What sentences
contain the chief subordinate subjects ?

2. Show how the author observes tlie principles that govern the
construction of a paragraph, referring especially to (a) unity, (6)
continuity, and (c) variety.

3. Show how the author ap[/"js the principle of Contrast in 11.
24-59. What is the effect of the device ?

4. Counnent generally on the length and the other characteristics
of the sentences, and explain the effect thereof upon the style.

5. Point out three marked examples of the repetition of words
for different purposes, explaining the purpose in each case.

6. Point out tiiree marked examples of Avords placed in unusual
positions for different purposes, explaining the purpose in each case.

7. Illustrate from the above extract Macaulay's fondness for a
climax of sound.

8. Justify the order of particulars in 11. 2-0, and compare the
order of the particulars in 11. 11-24 with that in 11. 27-59.

9. Show with regard to "resounded," "acclamations," "al)solu-
tion," "resentment,"' and "confronted," how light )nay be thrown
on the exact force of a word by distinguishing it from its synonyms.

10.' Give the terms that describe the style of the above extract,
and explain their api)lication.

(ifc)

But neither the culprit nor his advocates attracted so much
notice as the accusers. In the midst of the blaze of red
drapery, a space had been fitted up with gi-een benches and
tables for the Commons. The managers, with Burke at their
^. *head, appeared in full dress. The collectors of gossip did not
fail to remark that even Fox, generally so regardless of his
appearance, had paid to the illustiious tribunal the compliment
of weai-ing a bag and sword. Pitt had refused to be one of
the conductors of the impeachment ; aud his commanding,

'■%

EXAMINATION PAPERS.

lO copious, and sonorous eloquence was v/anting to that great
muster of various talents. Age and blindness had unfitted
Lord North for the duties of a ])ublic prosecutor; and his
friends were left without the help of his excellent sense, his
tact, and his urbanity. But, in si)ite of the absence of these

/ J two distinguished members of the Lower House, the box in
which the managers stood contained an array of speakers such
as perhaps had not appeared together since the great age of
Athenian eloquence. / There were Fox and Sheridan, the Eng-
lish Demosthenes and the English Hyperides. There was

7 Burke, ignorant, indeed, or negligent, of tlie art of adapting
his reasonings and his style to the capacity and taste of his
hearers, but in amplitude of comprehension and richness of
imagination superi(jr to every orator, ancient or modern.
There, with eyes reverentially fixed on Burke, a})])eared the

^ J finest gentleman of the age, his form developed by every manly
exercise, his face beaming with intelligence and spirit, the
ingenious, the chivalrous, tlie high-soul(>d Windham. /Nor,
though surrounded by such men, did the youngest manager
pass unnoticed. At an age wlien most of those who distin-
- ^ guish themselves in life are still contending for prizes and
•fellowships at college, he had won for liimself a conspicuous
place in Parliament. No advantage of fortune or connection
was wanting that could set off to the height his splendid
talents and his unblemished honour. At twenty-tlirec he had

^ij'ljeen thought worthy to be ranked with tlie veteran statesmen
who appeared as the delegates of the British Commons, at the
bar of the British nobility. All who stood at that bar, save
him alone, are gone, culprit, advocates, accusers. To the
generation which is now in the vigour of life he is the sole

A /) representative of a great age which has passed away. But
those wlio, within the hist ten years, have listened with
delight, till the moi'ning sun shone on the tapestries of the
House of Lords, to the lofty and animated elo(|uence of

EXERCISES IN RHETORIC.

It a

Charles, Earl Grey, are able to form some estimate of the
'powers of a race of men among whom he was not the foremost.

1. What is the main subject of this i)aragraph ? What are the
chief subordinate subjects 'i

2. Show how, in tlie above extract, the author observes the
principles that govern felio construction of a paragraph, with
especial reference to its (d) imity, (6) continuity, and (c) variety.

3. Account for the reference to the culprit and his accusers ir
the first sentence.

4. Account for the order of the personal descriptions.

5. Wliy are the names of Windham and Earl Grey introduced
each after the description of the man himself ? What name is
given to tliis device ?

6. Show, in each case, the effect of the repetition of "his," 11. 13
and 14; "English," 1. 10; "There," 11. 18, 19, and 24; and
"British," 11. 30 and 37; and of the use of "the ingenious, the
cliivalrous, tlie high-souled,'' 11. 2(5 and 27 ; " unblemisl d,' 1. 34 ;
and "culprit, advocates, ;iccusers," 1. 38.

7. Ci)ntrast the effect of tlie last sentence in the above extract
with that of the following one, accounting foi- INlacaulay's use of the
additional particulars :

B)(t those irho, within the hist ten, iicars, luwe lidened till tnoricing
in ttie House of Lords, to the eloquence of Karl (rrcy, can form an
estimate of the poivcrs of men some of icliom irere better than he.

8. By reference to "illustrious," 1 7; "url)anity," 1. 14;
"reverentially," 1. 24 ; "delegates," 1. 30 ; and "animated," 1. 43 ;
show how light may be thrown upon the exact meaning of a word
by distinguishing it from its synonyms.

9. Give tlie terms that describe the style of the above extract,
and explain their application.

10. Illustrate from the above extract the characteristics of
Macaulay's style, (a) wliicli writers should imitate, and (/>) which
they should av()id. (iive in eacli case the reasons for your o])inion.

EXAMINATION PAPERS.

^>'

I ■'3

(III.)

^ The last moments of Addison were perfectly serene. "His
interview with his son-in-law is universally known. "See,"
he said, "how a Christian can die!" The piety of Addison
was, in truth, of a singularly cheerful character. The feeling
which predominates in all his devotional writings, is grati-
tude. ■ God was to him the all-wise and all-powerful friend,
who had watched over his cradle with more than maternal
tenderness ; who had listened to his cries before they could
form themselves in prayer ; who had preserved his youth from
snares of vice ; who had made his cup run over with worldly
blessings ; who had doubled the value of those blessings, by
bestowing a thankful heart to enjoy them, and dear friends to
partake them ; who had rebuked the waves of the Ligurian
gulf, had purified the autumnal air of the Campagna, and had
restrained the avalanches of INFont Cenis. /Of the Psalms, his
favourite w;is that which represents the ]?uler of all things
under the endearing image of a shepherd, whose crook guides
the flock safe, through gloomy and desolate glens, to meadows
well watercnl and rich with heroage. On that goodness to
which he ascribed all the happiness of his life, he relied in the
hour of death with the love which casteth out fear. He died
on the 17th of June, 1719. He had just entered on his forty-
eighth year.

His body lay in state in the Jerusalem Chamber, and was
borne thence to the Abbey at dead of night. The choir sang
a funeral hymn. JJisliop Atterbury, one of those tories who
had loved and honored the most accomplished of the whigs, met
the corpse, and led the proc(\ssion by toi'ch-light, round the
shrine of Saint Edward and the graves of the Plantagenets, to
the chapel of Henry the Seventh. On tlie north side of that
chapel, in the vault of the house of Albemarle, the coflin of
Addison lies next to the cotiin of Montague. Yet a few

EXERCISES IN RHETORIC.

I' I

/
J

I ■"

months — and the same mourners passed again along the same
aisle. The same sad anthem was again chanted. The same
vault was again opened ; and the coffin of Craggs was placed
close to the coffin of Addison.

1. (o) What is the real subject of the first paragraph ? What is

the bearing of the latter part of tlie paragraph ("Of the
Psfilms, etc.") on the preceding ?

(6) Point out any violations of the laws that govern tlie con-
struction of the paragraph.

(o) Show liow these paragraphs illustrate Macaulay's style
with regard to vocabulary, balanced sentences, periodic
structure, iteration of ideas, figurative language.

2. Illustrate, by referring to the extract, sf)uie of the factors that

conduce to («) clearness, (/>) strength, and (c) rhythm
of style.

«S5-

(IV.)

/• In truth we are under a decepticm similar to that which

misleads the traveller in the Arabian desert. Beneath the

caravan all is dry and bare: l)ut far in advance, and far in the

real', is the semblance of refreshing waters. The pilgriins

' hasten forward and find nothing but sand where an hour before

they had seen a lake. They turn their eyes and see a lake

where, an hour before, they were toiling through sand. A

^ similar illusion seems to haunt nations thi\*agh every stage of

I the long progress from poverty and barbarism to the highest

(degrees of opulence and civilization. But if we resolutely

cluise the mirage backward, we shall find it recede before us

into the regions of fabulous antiquity. It is now the fashion

to place the golden age of England in times when noblemen

were destitute of comforts tlie want of which would be intoler-

"^ able to a modern footman, when farmers and shopkeepers

breakfasted on loaves the veiy sight of which would raise a

EXAMINATION PAPERS.

the same
fhe same
as placed

What, is
("Of the

itl

le con-

ly's style
periodic

:tors that
) rhythm

' which

tth the

in the

ilgrims

before

a lake

(J. A

;age of

ighest

lutely

)ve us

IS h ion

emeii

toler-

epers

ise a

riot in a modern workhouse, when to have a clean shirt once a
week was a privilege reserved for the higher class of gentry,
when men died faster in the purest country air than they now
die in the most pestilential lanes of our towns, and when men
I died faster in the lanes of our towns than they now die on the
\ coast of Guiana. We too shall, in our turn, be outstripped,
and in our turn be envied. It may well be, in the twentieth
century, that the peasant of Dorsetshire may think himself
miserably paid with twenty shillings a week ; that the carpen-
ter at Greenwich may receive ten shillings a day ; that labor-
ing men may be as little used to dine without meat as they
now are to eat rye bread ; that sanitary police and medical
discoveries may have added several more years to the average
length of human life ; that numerous comforts and luxuries
which are now unknown, or confined to a few, may be within
the reach of every diligent and thrifty working man. And
yet it may then be the mode to assert that the increase of
wealth and the progress of science have benefitted the few at
the expense of the many, and to talk of the reign of Queen
Victoria as the time when England was truly mei-ry England,
when all classes were bound together by brotherly sympathy,
when the rich did not gi-ind the faces of the poor, and when
the poor did not envy the splendour of the rich.

A fine exercise may l)e jtrepared (>u this extract by following the
mode of treatnie^it suggested by the three foregoing papers.

»''<]

at I

EXERCISES IN RHETORIC.

EXERCISES.

I One comes away from a company in which it may easily
happen he has said nothing, and no important remark has
been addressed to liim, and yet, if in sympathy with the
society, he shall not have a sense of this fact, such a stream of
life has been Howinuc into him and out from him throucfh the
eyes, v There are eyes, to be sure, that give no more admission
into the man than l)lueberries. ^ Others are liquid and deep,
wells that a man might fall into; others are aggressive and de-
vouring, seem to call out the police, take all too much notice,
and require crowded Broadways and the security of millions to
protect individuals against them. The military eye I meet,
now darkly sparkling under clerical, now under rustic brows,
i'' Tis the city of Laceda^mon, 'tis a stack of bayonets. There
are asking eyes, asserting eyes, prowling eyes, and ej'es of fate
— some of good and some of sinister omen. The alleged power
to charm down insanity, or ferocity in beasts, is a power
behind the eye. I It must be a victory achieved in the will
before it can be signified in the e3^e. q 'Tis very certain that
each man carries in his eye the exact indication of his rank in
the immense scale of men, and we are always learning to read
it. I sThe reason why men do not obey us is, because they see
the mud at the l)ottom of our eye. — H. W. Emerson.

\ 1. State the subject of the extract.

2. Where is the main topic found ?

3. Does the passage possess unity ?

4. Show that there is some method in the order in which the
thoughts are introduced.

5. How is the connection of tlie thoughts made explicit ?
(). Point out the principal tigures and state their value.

^ 7. What qualities of style are displayed here i

EXAMINATION PAPERS.

X^oo

ay easily
nark has
with the
stream of
ough the
Amission
nd deep,
i and de-
1 notice,
ilJions to
I meet,
brows.
There
s of fate
d power
I- power
the will
tin that
rank in
to read
hey see
raon.

cli the

Tt must
as a _£air

be confessed tlu
of twins. T won

I wood fire needs as much tending
Id as soon liave an Englishman
without sidewhiskers as a fire without a big l)ac'k]<>g ; and I
would rather have no fire than one that required no tending; —
one of dead wood that could not sing again the imprisoned
songs of the forest, or give out, in brilliant scintillations, the
sunshine it a,l)sorbed in its growth, A wood fire on the hearth
is a kindler of the domestic virtues. It brings in cheerfulness
and a family centre, and, besides, it is artistic. I should like
to know if an artist could ever represent on canvas a happy
family gathered round a hole in the floor, called a register.
Given a fireplace, and a tolerable artist could almost create a
pleasant family round it. But what could he conjure out of a
register ! If there was any virtue among our ancestors — and
they laboured under a great many disadvantages, and had few
of the aids which we have to excellence of life — I am con-
vinced they drew it mostly from the fireside. If it was difii-
cult to read the eleven comiraandments by the light of a pine
knot, it was not diflicult to get the sweet spirit of them from
the countenance of the serene mother knitting in the chimney-
corner. — C. D. Warner.

" 1. Wliat is the topic ? Where is it found ?

2. Does the paragraph keep to tlie one topic throughout ?

.3. Are all the thoughts introduced in due order 1

4. How are tlie sentences linked together? Answer in detail.

5. Is the ditiereiice in length betueen the opening and the
closing sentence accidental or artistic ?

^ 6. P]xanune the ])assage for ahnUitHiles and contnists.

7. Characterize the style of the passage.

KXKHCKSES IN RHETORIC.

(III.)

All honour and reverence to the divine l^eauty of form ! Let
us cultivate it^^to the utmost in men, women, and children — in
our gardens and in our houses ; but let us love that other
beauty, k>o, v/hich lies in no secret of proportion, but in the
secret of deep human sympathy. Paint us an angel, if you can,
with a floating violet robe, and a face pa^ed by the celestial
light ; paint us yet oftener a Madonna, turning her mild face
upward, and opening her arms to welcome the divine glory ;
but do not impose on us any aesthetic rules which shall banish
from the region of Art those old women scraping carrots with
their work-worn hands, those heavy clowns taking holiday in
a dingy pot-house — tliose rounded backs and stupid, weather-
beaten faces that have bent over the spade and done the rough
work of the world — those homes with their tin pans, their
brown pitchers, thfh' rough curs, and their clusters of onions.
In this world there are so many of these common, coarse
people, who have no pictures(i[ue sentimental wretchedness !
It is so needful we should remember their existence, else we
may happen to leave them (juite out of our religion and phil-
osophy, and frame lofty theories which onli/ fit a world of ex-
tremes. — George Eliot : Adam Bede.

1 4

\ 1. Apply to this Section :

- ((() Tlie Law of the Toi)ic Sentence,
■ih) The Law of Unity,
((•) The Law of Method,

{d) The Law of the opening and the closing sentence,
y{e) The Law of Explicit Reference.

y 2. Examine the long sentence for parallel construction.

3. Examine the passage to determine the need of the italicized
worda.

EXAMINATION PAPERS.

4, Whrat resthetic qualities in the passage ?

5. Try the eftect of the substitution of "exclude" for "banish,"

"realms" for "region," "rough" for "work-worn," "laborers"
for "clowns," "tavern" for "pot-house," "brown" for
"weather-beaten," "necessary" for "needful," "make"
for "frame."

rlor

(IV.)

The dream commenced with a music which now I often heard
in dreams — a music of preparation and of awakening suspense ;
a music like the opening of the Coronat.on Anthem, and which, /
like that, gave the feeling of a vast^maich — of infinite caval-
cades filing off — and the tread of innumeraljle armies. The
morning was come of a mighty day~^$i day of crisis and of final
hope for human nature, then suffering some inystj^rious eclipse,
and labouring in some dread extremity. ;/ Somewhere, I knew
not where — somehow, I knew not how — by some beings, I knew
not whom — a battle, a strife, an agony, was conducting — was
evolving like a great drama, or piece of music ; with which my
sympathy was the more insupportable from my confusion as to
its place, its cause, its nature, and its possible issue. I, as is
usual in dreams (where, of necessity, we make ourselves central
to every movement), had the power, and yet had not the power,
to decide it. Jj I had the power, if I could raise myself, to will
it ; and yet again had not the power, for the weight of twenty
Atlantics was upon me, or the oppression of inexpiable guilt.
" Deeper than ever plummet sounded," I /lay inactive. Then, I
like a chorus, the passion deepened. Some greater interest
was at stake ; some mightier cause than ever yet tlK^sword
had pleaded, or ti-umpet had proclaimed. Then came sudden
alarms ; hurryings to and fro : trepidations of innumerable |
fugitives, I knew not whether from the good cause or the bad :
darkness and lights : tempest and human faces ; and at last, j

V c ^

EXERCISKS IX ItllETORIC.

I: ;-' i!

witli the sense that all was lost, female forms, and the features
that were worth all the world to me, and but a moment allow-
ed, — and clasped hands, and heart-breaking partings, and
then — everlasting farewells ! and with a sigh, such as the caves
) of Iiell sighed when the incestuous mother uttered the abhorred
name of d<?ath, the sound was reverberated — everlasting fare-
wells ! and again, and yet again reverberated — everlasting
farewells ! — DeQiiincey.

1. Examine the passage for purify, proprietij, and precision of
Diction.

2. Wliat effect is jjroduced by the abundant use of Latin and
Greek derivatives ?

3. Coninient on the peculiarities of paragraph and sentence
structure.

4. Analyse the passage to determine the rhetorical value of the
figurative language.

^ 5. What emotional and aesthetic qualities in the extract ?

V 6. Show how the style is affected by allusion and quotation.

(V.)

Jane Eyre, who had been an ardent, expectant woman —
almost a bride — was a cold, solitary girl again : her life was
pale : her prospects were desolate. A Christmas frost had
come at midsummer; a white December storm had whirled
over June ; ice glazed the ripe apples, drifts crushed the
blowing roses; on hay-field and corn-field lay a frozen shroud!
lanes which last night blushed full of flowers, to-day were
pathless with untrodden snow ; and the woods, which twelve
hours since waved leafy and fragrant as groves between the
tropics, now spread, waste, wild, and white as pine forests in
wintry Norway. My hopes were all dead — struck with a

EXAMINATIOX I'XPERS.

subtle doom, such as, in one nigli^ f«*ll on all the first-born in
the land of Egypt. I looked on niy cherished wishes, yester-
day so blooming and glowing ; they lay stark, chill, livid
corpses that could never revive. I looked at my love : that
feeling which M'as my master's— which he had created; it
shivered in my heart like a suffering child in a cold cradle;
sickness and anguish had seized it; it could not seek Mr.
Rochester's arms — it could not derive warmth from his breast.
Oh, never more could it turn to him ; for faith was blighted
— confidence destroyed ! Mr. Rochester was not to me what
he liad been ; for he was not what I had thought him. I
would not ascribe vice to him ; I would not say he had
betrayed me;. but the attribute of stainless truth was gone
from his idea ; and from his presence I must go ; that I per-
ceived well. When— how — whither, I could not yet discern;
but he himself, I doubted not, would hurry me from Thorn-
field. Real affection, it seemed, he could not have for me ; ifc
had been, only fitful passion: that was balked; he would
want me no more. I sluiuld fear even to cross his path now :
iny view must be hateful to him. Oh, how blind had been
my yes ! How weak my conduct!

— Charlotte Bronte.

1 What is the topic ?

^- 2. Show in detail how the sentences successively develop the
theme.

3. Cite three instances, in this passage, of jxordlel condrndion.

4. Show in detail how the sentences are linked together.

5. What emotional qualities of style do you find here? What
various figures and devices are used t . express the feeling with
dignity and inipressiveness ?

}(( ^^Lt ot~- •>

^/-•.i.

( ' r / { ^ r-i r . ■ c

JCXKItClSKS IN NIIKTOIUC.

(VI.)

Tlie first sparrow of spring ! The year beginning with
younger h()])e than ev(M' I The faint, silvery warhHngs heard
over the pai'tially baie and moist fichls from the blue-bird,
the song-sparrow, and the red wing, as if the last flakes of
winter tinkled as they fell ! What at such a time are his-
tories, chronologies, traditions, and all written revelations?
The brooks sing carols and glees in the spring. The marsh-
hawk sailing low ovei* the meadow is already .seeking the first
slimy life that awakes. The sinking sound of melting snow is
heard in all dells, and the ice dissolves apace in the ponds.
The grass flanu's up on the hidsides like a spring fire, — "et
primitus oritur herl)a imbi'il)i. ; primoribus evocata,"' — as if the
earth sent forth an inward heat to greet the returning sun ;
not yellow but green is the colour of its flame ; — the symbol of
peri)etual youth, the gras.s-])lade, like a long green ribbon,
streams from the Sdd into the sunnner, checked indeed by the
frost, but anon pushing on again, lifting its spear of last year's
hay with the fresh life below. It grows as steadily as the rill
oozes out of the ground. It is almost identical with that, for
in the growing days of June, when the rills are dry, the grass
blades are their channels, and from year to year the herds
drink at this perennial green stream, and the mower draws
from it betimes their winter supply. So our human life but
dies down to its root, and still puts forth its green blade to

eternity.

— Thoreau : Spring.

1. Exiiuiine the jjassagej/as to
((«) Topic,

{h) Unity,

((•) Method. •

2. What deniunts of Force in the extract ?

EXAMINATION PAPKRS.

.'{. What elements of Ili'aiity do you notice 'i

4. Analyse the passage for
(ff) Similitudes,

(/>) Contrasts.

5. When does the author pass into the spirit or the manner of

poetry i

(v.i.)

" As I crossed the bridge over the Avon, on my return, 1
pcaused to contemplate the distant church in which the poet
lies buried, and could not but exult in the malediction which
has kept his ashes undisturl^ed in its quiet and hallowcHl
vaults. What lionour could his name have derived from being
mingled in dusty companionship with the epitaphs and
escutcheons and venal eulogiums of a titled multitude ? What
would a crowded corner in Westminster Abbey have been,
compared with this reverend pile, which seenis to stand in
beautiful loneliness as his sole mausoleum ! The solicitude
about the grave may be but the offspring of an overwrought
sensibility ; but human nature is made up of foibles and pre-
judices ; and its best and tendere>:t affections are ii.'ngled
with these factitious feelings. He who has sought renown
about the world, and has reaped a full harvest of vorldly
favour, will find, after all, that there is no love, no admiiation,
no applause, so sweet to the soul as that which springs up in
his native place. It is there that he seeks to be gathered in
peace and honour, among his kindred and his early friends.
And when the weary heart and failing head begin to warn
him that the evening of life is drawing on, he turns as fondly
as does the infant to the mother's arms, to sink to sleep in the
bosom of the scene of his childhood."

—The Sketch Book.

KtU'^^'

I I

afl

I fl

-U

FA'EHCimKS IS KIIKTORIC.

I;!

U !

i. Writo a topic for tliis ii;ir;i!j;raph.

2. Sliow, in order, tlio bearing of eacli sentence on the topic you

give.

3. What is meant by " precision in diction "? Show whether or

not the foUowhig words are used with precision: — "con-
template," "ashes," "venal," "reverend," "factitious."

4. Discuss the advantage of making the following changes in

order :
(rt) "on my return " place bt.ore " .is I crossed."
(h) " dusty " i)hice before "epitaphs."

5. How do the following ex}n'essions give merit to the style of

the passage ?

(ti) " the epitaphs anci escutcheons and venal eulogiums of a
titled multitude.'"

(h) "has reaped a full harvest of worldl}' favour.

((■) "no love, no admiration, no applause,"

('!) " gathered among his kindred."

6. Make a rhetorical conuuent on the last sentence, pointing out

whatever contributes to force and beauty.

(VIII.)

"Men say," thus ran liia thoughts, in these anxious and
repentant moments, "that I might marry Elizabeth, and be-
come King of England. All things suggest this. The match
is carolled in ballads, while the rabble tlirow their caps up —
Tt has been touched upon in the schools — whispered in the
presence-chamber — reconnnentled fi'oni the pulpit — prayed for
in the Calvinistic churches a})road — touched on by statists in
the very council at home — These bold insinuations have been

111 il||iiiipig||ii,Liuiii .ijni! ^1

EXAMINATION PAPERS.

rebutted by no rebuke, no resentment, no chiding, scarce even
by the usual female protestation that she would live and die a
virgin princess. — Her words have been more courteous than
ever, though she knows such rumours are abroad — ^her actions
more gracious — her looks more kind— nought seems wanting
to make me King of England, and place me beyond the storms
of court-favour, excepting the putting forth of mine own hand
to take that crown imperial, which is the glory of the uni-
verse ! And when I might stretch my hand out most boldly,
it is fettered down by a secret and inextricable bond ! — And
here I have letters from Amy," he would say, catching them up
with a movement of peevishness, "persecuting me to acknow-
ledge her openly — to do justice to her and myself — and I wot
not what. Methinks I have done less than justice to myself
already. And she speaks as if Elizabeth were to receive the
knowledge of this matter with the glee of a mother hearing of
the happy marriage of a hopeful son ! — ^She, the daughter of
Henry, who spared neither man in his anger, nor woman in
his desire — she to find herself tricked, drawn on with toys of
passion to the verge of acknowledging her love to a subject,
and he discovered to be a married man ! — Elizabeth to learn
that she had been dallied with in such fashion, as a gay cour-
tier might trifle with a country wench ! — We should then see
to our ruin fnrens quidfmniina /"

1. {a) State the theme of the paragraph submitted.

(/)) Show briefly the hearing of each successive sentence on
the theme.

((•) Account for tlio order in which the thoughts of the para-
grapli arc presented.

2. Comment on the variety and fitness of the diction in the

fourth sentence — ■ " touclied upf)n " — " whispered " —
"recommended" — " prayed for " — "touched on." Is
there any hlemish here ?

EXEliCISKS IN' miETOUIC.

3. Show -what merit there is in the style of these ex[)ressions :-
(a) "no rebuke, no resentment, no chiding."
(/)) "heytmd the stoi'ms of court-favour."
(f) " which is the gh)ry of tlie universe ! ''

(d) "it is fettered. . . .bond."'

(e) " with the glee. . . .son."
(/) " who spared. . . desire."

(f/) The Latin (quotation at the end.

ft ><

EXTRACTS FOR ANALYSIS.

1 i

/ It is now sixteen or seventeen years since I saw the Queen
of France, then tlie l)auj»hiness, at Versailles; and surely
never liglited on this orl), wliicli she hardly seemed to touch,
a more delightful vision. ^I saw her just above the horizon,
decorating and cheei-iiig the ek^vated sphere; she just l)egan to
move in; glittering like the morning star, full of life, and
splendour, and joy. ^. Oh. ^vhat a revolution ! and what a heart
must I have, to contemplate without emotion that elevation
and that fall ! /Jjittle did I di-eam, when she added titles of
veneration to thos(» of enthusiastic, distant, respectful love,
th/it she should evei* 1)0 o])liged to cany the sharp antidote
against disgiace concealed in that bosom ; little did I dream
that I should have lived to see such disasters fallen upon her in
a nation of gallant men, in a nation of men of honour, and of
cavaliiMS. ^,'1 thought t(Mi thousand ,s\voi"ds nuist havo leaped
from their scabbards to aveng(5 even a look that thi'(;atene<l
her with insult. bJUit the age of chivalry is gone. 7 Tli.'it of
sophisters, economists, and calculators, has succeeded ; and the

<i \v

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U I. M

K ( f\- 1 u {» ftC

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i^aT

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EXAMINATION' PAPERS.

glory of Europe is extinguished for ever. ^ Never, never more,
shall we behold that genei-ou.s loyalty to rank and sex, that
proud submission, that dignified ol^edience, that su))ordination
of the heart, which kept alive, even in servitude itself, the
spirit of an exalted freedom, ^j The unbought grace of life, the
cheap defence of nations, the nurse of numly sentiment and
heroic enterprise, is gone!/rIt is gone, that sensibility of
principle, that chastity of honour, which felt a stain like a
wound, which inspired courage whilst it mitigated ferocity,
which ennobled whatever it touched, and under which vice
itself lost half its evil, by losing all its grossness.

— Edmund Burke.

\ t iwf » ft c

(II.)

To sit as a passive bucket and be pumped int(», whether you
consent or not, can in the long-run be exhilarating to no
creature ; how elot^uent soever the flood of utterance that is
descending. But if it be withal a confused unintelligible
flood of utterance, threatening to submerge all known land-
marks of thought, and drown the world and you I — I have
heard Coleridge talk, with eager musical energy, two stricken
hours, his face radiant and moist, and communicate no meaning
whatsoever to any individual of his hearers,- — certain of whom,
I for one, still k(^pt eagerly listening in hope ; the most had
long before given u}), and formed (if the room were large enough)
secondary hunnning groups of their own. He began any-
where : you put some question to him, made some suggestive
ol)servation : instead of answering this, or decidedly setting
out towards answer of it, lie would accunudate formidable
apparatus, logical swim-bladders, transcendental life-})reserver8
and other pr'ecautionary and vchicuiatcny gear", for setting out;
pcM'haps did at last get under way, -but was swiftly solicitinl,
turned aside by the glance of some radiant new game on thisj

EXEKCLSES IN RHETORIC.

hand or that, into new courses ; and ever into new ; and before

long into all the universe, where it was uncertain what game

you would catch, or whether any.

— Thomas Carlyle.

V '^

Or, within our own century, look at the great modern
statesmen who have shaped tlie politics of the world. They
are educated men ; weie they therefore visionary, pedantic,
impracticable? Cavour, whose monument is United Italy —
one from the Alps to Tarentum, from the lagunes of Venice
to the gulf of Salerno : Bismarck, who has raised the German
empire f lom a name to a fact : Ghulstone, to-day the incarnate
heart and conscience of England : they are the perpetual
refutation of the sneer that high education weakens men for
practical affairs. Trained themselves, such men know the
value of training. All countries, all figes, all men, are their
teachers. The broader their education, the wider the horizon
of their thought and observation, the more affluent their
resources, the more humane their policy. Would Samuel
Adams have been a truer popular leader had he been less an
educated man ? Would Walpole the less truly have served
his country had he been, with all his capacities, a man whom
England could have revered and loved 1 Could Gladstone so
sway England with his serene eloquence, as the moon the
tides, were he a gambling, swearing, boozing squire like
Walpole? Tbere is no soi)histry more poisonous to the state,
no folly more stupendous and demoralizing, than the notion
that the purest charncter and the highest education are
incompatible with the most commanding mastery of men and
the most efficient administration of affiiirs. ^

— George William Curtis,

EXAMINATION PAPERS.

(IV.)

" There stands an ancient architectural pile, with tokens of
its venerable age coverirg it from its corner-stone to its top-
most turret ; and some imagine tJiese to be tokens of decay,
while to others they indicate, by the years they chronicle, a
massiveness that can yet defy more centuries than it has
weathered years. Its foundation is buried in tiie accumulated
mould and clustered masses of many generations. Its walls
are mantled and hidden by parasitic vines. Its apartments
are, some of them, dark and cold, as if their very cement were
dissolving in chilly vapours. Others, built against the walks,
were never framed into them ; and now their ceilings are
broken, their floors are uneven as the surface of a billow, their
timbers seem less to sustain one another than to break one
another's fall. You dig away the mould, and lo ! the founda-
tion was laid by no mortal hand ; it is primitive rock that
strikes its roots down an unfathomable depth into the solid
earth, so that no frosts can heave it, no convulsions shake it.
Such an edifice is Christianity."

— Peabody.

V- (V.)

" Deep sleep had fallen on the destined victim, and on all
beneath his roof. A healthful old man, to whom sleep was
sweet, the first sound slum})ers of the night held him in their
soft but strong embrace. The assassin enters, through the
window a'»'eady prepared, into an unoccupied apartment
With noiseless loot he paces the lonely hall, half lighted by
the moon ; he winds up the ascent of the stairs, and reaches
the door of the chamber. Of this he moves the lock, by soft
and continued pressure, till it turns on its hinges; and he
enters, and beholds his victim before him. The room was

EXEHCISES i.V RHETORIC.

uiiconiinonly open to the admission of light. The face of the

innocent sleeper was turned from the nmrderer ; and the

beams «,r the moon, resting on the gray locks of his aged

temple, showed him where to strike. The fatal blow is given !

and tlie victim passes without a struggle or motion, from the

repose of sleep to the repose of death ! "

— Webster.

' (VI.)

/ There was reason to suppose, from the appearances upon
opening the body, that in the course of nature he might have
attained, like his father, to a good old age. ' Yet he cannot be
said to have fallen prematurely whose work was done, nor
ought he to be lamented who died so full of honours and at
the height of human fame. " The most triumphant deatli is
that of the mai-tyr ; the most awfui is that of the martyred
patriot ; the most splendid that of the hero in the hour of
victory ; and if the chariot and the horses of fire had been
vouchsafed for Nelson's translation, he could scarcely have
departed in a brighter blaze of glory, ^f- He has h^ft us, not
indeed liis mantle of inspiration, l)ut a name and an example
which are at this hour inspiring thousands of the youth of
England — a name which is our pride, and an example whicli
will continue to be our shield and our sti'ength. 4" Thus it is
that the spirits of the great and the wise continue to live and
to act after them, verifying in this sense the language of the
old mythologist :

Spirits are tlioy, through iniahty Jove's decrees
Noble, of earth, guardians ul mortal men.

Son they.

■

m tm m

mm.

EXAMINATION PAI'KRS.

r)9

(VII.)

The league between virtue and nature engages all things to
assume a hostile fr-ont to vice. The beautiful laws and sub-
stances of the world i)ersecute and whip the traitor. He finds
that things are arranged for truth and benefit, but there is no
den in the wide world to hide a rogue. Commit a crime, and
the earth is ma<le of glass. Commit a crime, and it seems as
if a coat of snow fell on the groiuid, such as reveals in the
woods the track of every partridge and fox and squirrel and
mole. You cannot recall the spoken word, you cannot wipe
out the foot-track, you cannot draw up the ladder, so as to
leave no inlet or clue. Some damning circumstance always
transpires. The laws and substances of nature — water, snow,
wind, gravitation — become penalties to the thief.

On the other hand, the law holds with equal sureness for all
right action. Love, and you shall be loved. All love is
mathematically just, as nmch as the two sides of an algebraic
equation. The good man has absolute good, which like fire
turns everything to its own nature, so that you cannot do him
any harm ; but as the royal armies sent against Na{)oleon,
when he approached, cast down their colours and from enemies
became friends, so disasters of all kinds, as sickness, offence,
poverty, prove benefactors : —

" Winds blow and waters roll
Strength to the brave, and poM'er and deity,
Yet in themselves are notliing."

— Emerson.

(VIII.)

Of the religion of hero-worship I am no devotee. Great
men are most prcM-ious gifts of Heaven, and unhappy is the
nation which cannot prothui^ thcin at its need, J^ut their
importance in history becomes less as civilization goes on. A

exercisp:s ln rhetoric.

Timour or an Attila towers unapproaclial^ly above his horde ;
but in the last great struggle which the world has seen the
Croinwell w\as not a hero, but an intelligent and united nation.
And to whatever age they may belong, the greatest, the most
god-like of men, are men, not gods. They are the offspring,
though the highest offspring, of their age. They would be
nothing without their fellow-men. Did Cromwell escape the
intoxication of power which has turned the brain of other
favotirites of fortune, and bear himself always as one who held
the government as a trust from God ? It was because he was
one of a religious people. Did he, amidst the temptations of
arbitrary rule, preserve his reverence for law, and his desire to
reign under it 1 It was because he was one of a law-loving
people. Did he, in spite of fearful provocation, show on the
w hMe remarkable humanity 1 It was because he was one of a
brave and humane people. A somewhat large share of the
common qualities — this, and this alone, it was which, circum-
stances calling him to a high trust, had raised him above his
fellows. The impulse which lent vigour and splendour to his
government came from a great movement, not from a single
man. The Protectorate, with all its glories, was not the con-
ception of a lowly intellect, but the revolutionary energy of a
mighty nation concentrated in a single chief.

— Goldicin Smith.

i i

(IX.)

"Then its odours ! I am thrilled by its fresh and indescrib-
able odours -the perfume of the bursting sod, of tluupiickened
roots and rootlets, of the mould under the leaves, of the fresh
furrows. No other months have odours like it. The west
wind the other day came fraught with a perfume that was to
the sense of smell what a wihl and delicate strain of music is
to the ear. It was almost transcendental. I walked across

:.-::iiu,

lis horde;
seen the
ed nation,
the most
offspring,
would be
scape the
of other
^vIlo lield
e he was
ations of
desire to
iw-lovinof
^y on tlie
! one of a
•e of the
, circum-
i.hove his
ir to his
. a single
the con-
rgy of a

Smith.

EXAMINATION PAPERS.

idescrib-
ickened
le fresh
le west

was to
lusic is

across

the hill witli my nose in the air taking it in. It lasted for two
days. I imagined it came fi-om the willows of a distant swamp,
whose catkins were affording the bees their first pollen, — or
did it come from much farther — from beyond the horizon, the
accumulated breath of innumerable farms and budding forests?
The main characteristic of these April odours is their uncloy-
ing freshness. They are not sweet^.^ they are oftener bitter,
they are penetrating and lyrical. 1 know well the odours of
]\Iay and June, of the world of meadows and orchards bursting
into bloom, but they are not so ineffaVjle and immaterial and
so stimulating to the sense as the incense of April."

— B ur roughs.

(X.) .

" I am afraid you do not study logic at your school, my
dear. It does not follow that I wish to be pickled in brine
because I like a salt-water plunge at Nahant. I say that
conceit is just as natural a thing to human minds as a centre
is to a circle. But little-minded people's tlujughts move in
such small circles tlui^t five minutes' conversation gives you an
arc long enough to determine their whole curve. An arc in
the movement of a large intellect does not sensil)ly differ from
a straight line. Even if it have the tliird vowel as its centre,
it does not soon betray it. The highest thought, that is, is
the most seemingly impersonal, it does not obviously imply
any individual centre.

Audacious self-esteem, with good ground for it, is always
imposing. What resplendent beauty that must have been
which could have authorized Phryne to "peel" in the way she
did ! What fine speeches are those two : " Non omnis
moriar," and "I have taken all knowledge to be my pro-
vince!" Even in common people, conceit has the virtue of

1^ '

ii J

•

EXKRCISES IN HHKTOKIC

making them chcorful ; the man who thinks his wife, his
baby, his house, liis liorse, his dog, and himself severally nn-
equalled, is almost sure to be a good-humored person, though
liable to be tedious at times."

— Ilohnes.

(XI.)

" Cant as we may, and as we shall to the end of all things,
it is very much hnrder for the poor to be virtuous than it is
for the rich; and the good that is in them shines the brighter
for It. In many a nol)le mansion lives a man, the best of hus-
l)ands and of fathers, whose private worth in both capacities is
justly lauded to the skies. But bring him here upon this
crowded deck. Strip from his fair young wife her silken di-ess
and jewels, unbind her braided hair, stamp early wrinkles on
her brow, ])inch her pale cheek with care and much privation,
array her faded form in coarsely patched attire ; let there be
nothing ])ut his love to set her forth or deck her out, and you
shall put it to the proof indeed. So change his station in the
world, that he shall see in those young things who climb about
his knees not records of his wealth and name, but little
wrestlers with him for his daily bread ; so many poachers on
his scanty meal; so many units to divide his every sum of com-
fort, and further to reduce its small amount. In lieu of the
endearments of childhood in its sweetest aspect, heap upon him
all its pains and wants, its sicknesses and ills, its fretfulness,
caprice, and querulous endurance ; let its prattle be, not of
engaging infant fancies, but of cold, and thirst, and hunger,
and if his fatherly affection outlive all this, and he be patient,
watchful, tender, careful of his children's lives, and mindful
always of their joys and sorrows ; then send him back to
Parliament, and Pulpit, and to QuarterSessions, and when he
hears fine talk of the depravity of those who live from hand to

EXAMINATION PAPERS.

tllOUffli

mouth, and labour liard to do it, let him speak up, as one who

knows, and tell those holders foith that they, by })arallel with

such a class, should be Hi,<,di Angels in their daily lives, and

lay but 1. iUible siege to ] leaven at last."

— Dickens.

(XII.)

" To push on. in the crowd, every male or female struggler /
must use his shoulders. If a better place than yours presents
itself just bej'ond your neighbour, elbow him and take it.
Look how a stead ily-pur})osed man or woman at court, at a
ball, or exhibition, wherever there is a competition or a v ""
scjueeze, gets the best place ; the nearest the sovereign, if
bent on kissing tha royal hand ; the closest to the giand
stand, if minded to go to Ascot ; the best view and hearing
of the llev. Mr. Tlmmpington, when all the town is rushing
to hear that exciting divine; the largest quantity of ice, / •*
champagne, and seltzer, cold pate, or other his or her favourite
tlesh-pot, if gluttonously minded, at a supper whence hundreds
of people come empty away. A woman of the world will
marry her daughter and have done with her ; get her carriage
and be at home and asleep in bed ; while a timid mamma '^ ""
has still her girl in the nursery, or is beseeching the servants
in the cloak-room to look for her shawls, with which some one
else has whisked away an hour ago. What a man has to do
in society is to assert himself. Is there a good place at table 1
Take it. At the Treasury or at the Home Office ? Ask for f ^
it. Do you want to go to a party to which you are not
invited? Ask to be asked. Ask A., ask B,, ask Mrs. C, ask
everybody you know : you will be thought a bore ; but you
will have your way. What matters if you are considered
obtrusive, provided you obtrude 1 By pushing steadily, nine ~ '
hundred and ninety-nine people in a thousand will yield to

EXERCISES I\ HFIETOUIC.

you. Only coininatul persons, and you may bo pretty suro
that a good iiunil)er will obey. How well 3M)ur shilling will
have been laid out, O gentle reader, ^vho purchase this; and,
taking the maxim to heart, follow it thr<tugh life! You may
be sure of success. ]f your neighl)our"s foot obstructs, you,
stamp on it j and d(j you suppose he wont take it away 1

— Tharkei'ay.

ADDITIONAL SELECTIONS.

Additional selections for rhetoricul analysis may be found in
" Composition From Models " :

1. "TheMulleinin Winter," p. 129.

2. " Doscrii)tion of (irasmere," \\ 130.

3. " Evening on the Hudson," p. 130.

4. "Birmhigham," j). 1(58.

5. " Adam Bede in the Workshop," p. 175.

G. "The School-master of Sleepy Hollow," p. 177.

7. " Dinah Morris," p. 177.

8. " Portrait of Ilab," J). 201.

9. " Draught Horses," p. 203.

10. "Tlie Death of Nelson," p. 234.

w=*v

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ts you,

ray.

unci

APPENDIX.

The? following eight lessons on Rhetoric were wrivten by the
present editor for The Educational Journal a few years ago.
They are reprinted with the hope that they will be found use-
ful for reference in the rhetorical analysis of ' the foregoing
extracts.

LESSONS IN RHETORIC.

This series of lessons will cover the field of Elementary
Rhet<jric. The lessons will be given only in outline ; but they
will, it is hoped, Ije clearly suggestive of the fuller treatment
demanded in the school-room.

" What is to be thought of her ! "What is to be thought of
the poor shepherd-girl from the hills and forests of Lorraine,
that — like the Hebrew shepherd-boy from the iiills and forests
of Judea — rose suddenly out of the quiet, out of the safety,
out of the religious inspiration, rooted in deep pastoral soli-
tudes, to a station in the van of armies, and to the more
perilous station at the right hand of kings 1 The Hebrew boy
inaugurated his patriotic mission by an act, by a victorious act,
such as no man could deny. But so did the girl of Lorraine,
if we read her stoiy as it was lead by those ^vho smw her
nearest. Adverse armies bore witness to the boy as no pre-
tender : but so did they to the gentle girl. Judged by the
voices of all who saw them from a station of good ivill, both
were found true and loyal to any promises involved in their
5 [65]

EXKRCISKS IN RHF.TOHIC.

first acta. Enemies it was that made the difference between
their subsequent fortunes. The boy rose — to a splendour and
a noonday prosperity, both personal and public, that rang
through the records of his people, and became a by-word
amongst his posterity for a thousand years, until the sceptre
was departing from Judah. The poor, forsaken girl, on the
contrary, drank not herself from that cup of rest which she
had secured for France. She never sang together with them
the songs that rose in her native Donu'eniy, sis echoes to the
departi ig steps of invadei-s. She mingled not in the festal
dances at V^aucouleurs which celebrated in rapture the redemp-
tion of France. No ! for her voice was then silent. No ! for
her feet were dust. Pure, innocent, n()l)le-hearted girl! whom,
from earliest ytmth, ever I beli(?ved in as full of ti'uth and
self-sacrifice, this was amongst the strongest pledges for thy
side, that never once — no, not for a moment of weakness —
didst thou revel in the vision of coronets and honours from
man. Coronets for thee ! O, no ! Honours, if they come
when all is over, are for those that share thy l)lood. Daughter
of Domremy, when the gi'atitnde of thy king shall awaken,
thou wilt be sleei)ing the sleep of the dead. Call her, king of
France, but she will not hear tliee! Cite her by thy appai'itors
to come and receive a robe of honour, but she will be found en
contumnce. When the thunders of universal France, as even
yet may hap})en, shall proclaim the grandeur of the poor
shepht;rd-girl that gave up all for lier country— thy ear, young
shepher<l-gii'l, will have been deaf for five centuries. To suffer
and to do, that was th}' portion in this life; to do — never for
thyself, always for others ; to stijjer — never in the persons of
generous champions, always in thy own; that w/is thy destiny;
and not for a moment was it hidden from thvself. 'Life,' thou
saidst, 'is short, and the sleep whic'i is in the gi'ave is long.'
Let me use that life, so ti'ansitory, for the glory of those
heavenly dreams, destined to comfort the sleep which is so

^JiSsm

APPENDIX.

long ! This poor creature — pure from every suspicion of even
a visionary self-interest, even as she was pure in senses more
obvious — never once did this holy child, as regarded herself,
relax from her belief in the darkness tliat was travelling to
meet her. She might not prefigure the very manner of her
death : she saw not in vision, perhaps, the aerial altitude of
the fiery scaffuld, the spectators, without end, on every road
pouring into Rouen as to a coronation, the surging smoke, the
volleying fiames, the hostile faces all around, the pitying eye
that lurked but here and theie until nature and imperishable
truth broke loose from artificial restraints; these might not be
apparent through the mists of the hurrying futui'e. But the
voice that called her to death, that she heard for ever."

— DeQuincey : Joan of Arc.

Tliis passage may be studied for the cardinal (qualities of style —
dea metis, force and beautii. ^

I. — CLEARNESS.

Is the style marked throughout (a) by Intelligilulity, (h) by Pre-
cision (

Examine under this head, "adverse armies,'' " j)ledges for thy
side," "those that share thy blood," "apparitors," "en contu-
tnare," "the glory of those heavenly dreams," "aerial altitude,"
"the hurrying future."

Notice .some of tlie means l)y which clearness may be secured — by
explicit reference, by contrast, by the collocation of words, by the
special device of em})loying italics.

II.

lOROE.

This passage will furnish a most excellent .study in Force. The
intense sincerity of the writer, and the inspiring sul)ject wliich he
is handling, lend him Avith unerring instinct to employ the whole
mechanism of literary force.

EXERCISr- IN RHETORIC*.

Notice tlio {ibundant employment of words that have the sugges-
tive, the stimulating, the dtjHamic quality. In this connection the
most striking sentences are — "The boy rose," "When the thun-
ders," etc., "She might not prefigure," etc. The use of strong
figures will claim attention here.

The various devices for Force are numerous, some of them quite
dramatic. Notice the use of interrogation, of exclamation, of apos-
trophe. There is something of drai.iatic force in the use of a
vigorous *' No ! "— " No ! for her voice vas then silent." — " No, not
for a moment of weakness."

Force is also gained by these means : — (3) by the employment of
contrast ; (2) by the repetition of M'ords ; (3) by amplification of the
thought— "Call her," "Cite her," "She might not prefigure,"
"She saw not in vision;" (4) by the order of words; (5) by the
mechanical device of using italics ; (6) by using the particular
instead of the general — "Her voice was silent," — "Her feet were
dust."

, in. — BEAITY.

This passage will also afiford an excellent study in Beauty.

(a) Beauty in Thought. — The character d'-.'icribed is an admirable
one, and her j»itia])lo situation and sad end contribute to our
le^sthetic enjoyment.

(/>) Beauty in Style. — The most striking feature is the remarkable
rhythm that characterizes the passage. The smootlniess and
melody of some of the sentences will not escape notice. The in-
stinctive use of alliteration and the eiiqdoyment of the balanced
structure contribute to the general efl'eot. Examine here, "To a
station," etc., " The boy rose," etc., "She mingled," etc., " No 1
for her voice," etc., "She might net prefigure," etc.

Besides the melody and rhythm of poetry the writer has borrowed
some minor ])oetic resourc(>s. Notice the employment of poetic
phraseology in "drank not," "She mingled not," "She saw not
in vision," " didst thou revel i "

The use of poetic figures nuiy also be noticed heio as lending a
charm to the style.

APPEXUIX.

DirTIOX.

This passage from DeQuincey may now be examined with a view
to noticing the choice of words.

Variety in the diction may be exemplified by noticing the different
terms used to refer to the "shejiherd-boy," and the "shepheM-
girl.'' Observe liow the writer has rung tlie changes on the euphe-
misms for death — "When all is over/' "Sleeping the sleep of the
dead," "Thy ear will have been deaf," "The darkness that was
travelling to meet her." We notice variety also in "short,"
" transitory ; " " prefigure ; " " saw in vision."

Precision in diction may be examined in the last few sentences.
Compare "obvious" with " api^irent ; " " prefigure " with "fore-
see;" "glory" with "grandeur."

Defend the use of such classical words as "inaugurated" for
"began," "apparitors" for " ofticers," "altitude" for "height."

Can you defend the author for using the foreign phrase en con-
fwmice? (Never use a foreign word or jjhrase unless you are sure
it expi'esses an idea for which there is no fitting term in English.)

QUESTIONS.

1. " Style is the skilful adaptation of expression to thought."
Show from the extract given that the thought and the expression
are in harmony.

2. What relation does the term "diction" bear to the term
"style"?

3. "Seek to use both Saxon and classical derivatives for what
they are worth, and l)o not anxious to discard either." Have we
in this passage the normal proportion between words derived from
the two main sources of our language ? If not, state the reason.

4. In the extract before us is there any tendency to use " fine
writing," to use high-sounding language to describe conunon-place
things, or would the employment of a simpler style bo less
effective i

EXERCISES IN RHETORIC.

II.

The present lesson will illustrate the various kinds of similitudes,
literal and figurative. As this is the first lesson in Jigiires of speech,
it will be necessary at the outset to arrive at a clear understanding
as to the nature of a " figure." An examination of a few simple
sentences will ho suflicienb.

Conii)are

(o) Caesar was as great a General as Alexander ;

{h) Caesar was as irresistible as a sunnner tempest.

(«) Man is a wonderful creature ;

(/>) What a wonderful creature is man !

(a) You cannot find a perfect man ;

(/>) Can a perfect man be foiuid ?

It is seen, then, that " a figure of rhetoric is a deviation from the
literal or from the more ordinary api)lication of words ; or, it is
some turn of expression prompted by the mind in intense action."

LITKRAL ("OMPARISONH.

1. When he came into my employ he was as illiterate as a
hodman.

2. Alumiimm is a nuetal with a lustre like that of silver.

What is the use of these similitudes? For clearness? For
Emphasis? Have they a rhetorical value like the figurative ex-
auiples given 'oelow ?

SIJIILES.

1. *' A war of Bengalees against Englishmen was like a war of
sheep against wolves. "

2. "The chamjnons closed in the centre of the lists with the
shock of a tiuuiderbolt."

To constitute a simile, it will be noticed, there must be a com-
parison l)etween things of iliflerent classes, tliere must be actual
likeneits amid esuential unUkoieas.

APPKNDIX.

In a simile the comparison must be distinctly and formally
stated, although not necessarily by such a word as "like"' or "as."

The rhetorical value of tlie similes in the exercise should ])e
examitutl. Are they to aid the understanding^ Are they to
rouse emotion ? Do they contribute to clearness ? To force ? To
beauty ?

Many of the similes of poetry are almost purely iXisthetie. A
few examples from "Evangeline " will serve for illustration :

{(() "When she had passed, it seemed like the ceasing <.f
ex(piisite music."

(h) "The sun from the western horizon like a magician ex-
tended his golden wand o'er the landscajje/'

((•) " Down sank the great red sun, and in golden, glinnnering
vapcmrs veiled the light of his face, like the Prophet
descending from Sinai."

METAPHORS.

1. " He is a falcon well accust(»n:ed to pounce on a partridge, and
to hold his prey fast."

2. *' It Avas only the relics and embers of the fight which con-
tinued to burn."

3. " Yet is the injured nation not extinct. At long intervals
Ldeams of its ancient si)irit have Hashed forth."

4. " Ingratitude ! thou marble-hearted tiend."

The foi-egoing examples exhibit the metaphor as a comparison
implied, but not formally stated. It will be seen that there are
two varieties of metaphors- (f/) those in wnich the associated
object is directly name.l, (/>) those in which the associated object is
taken for granted. The former kind of metaphor is little nu.re
than an iuiplied simile, but it i.s bolder than the formal simile.
The following sentences will illustrate the ordinary simile and the
two forms of metaphor :

(a) The (jlory of his fame was suddi'nly ahscKrvd <».s the sua inuUr
eclipse.

EXERCISES IN RHETORIC.

(h) These evil days were but a temporary eclipse that darkened his
glorious career.

{c) His brilliant career suffered (i hrief eclipse.

The metaphor is the most spontaneotis of all the figures of speech,
and is thus by far the comnionost. Indeed, nuich of our every-day
language is stocked -with nietaidiors. When a metaphor becomes
collocpual or conuuonj)lace its rhetorical flavour diminishes and often
vanishes entirely. Do the following metaphors retain any of their
early figurative A-alue ?

(a) Tliat is a striking thought.

(b) I haven't a shadow of doubt about it.

As the metaj)hor is the commonest of figures, so it is the figure
that is most freiiuently abused. The principal caution needed in
the emi»loyment of this figure is, to be carefvil not to mix two or
more metaphors together. A few examples will furnish a sufficient
warning against "mixed metaphors.''

((/) The soldiers that night ]:i)idled tlie seeds of rebellion.

(h) This world with all its trials is the fiir)ince through which
the soul must pass and he developed before it is rijye for the next
world.

(c) The apple of discord is now fairly in our midst, and if not
nipped in the bud it will burst forth into a conflagration which will
deluge the sea of jxditics with an eartluiuuke of heresies.

It will be seen from (<•) above that the mixed metaphor may
produce humorous eft'ects. Tlie Icgitimatt metaphor, also, is often
humorous or witty ; as : "The hermit put into his very large mouth
some three or four dried peas, a miserable grist for so large and able
a mill."

PERSONIFICATION.

This figure gives tlie attributes of life and mind to inanimate
things and abstract ideas. There are two species of this figure, ae
the following examples indicate :

(a) We feared the raging sea.

(6) See how my sword weeps for the poor king's death.

APPENDIX.

((■) At every word a reputation dies.

(d) With how sad steps, O moon thou climb'st the skies !

(e) " Close by the regal chair

Fell Thirst and Famine scowl

A baleful smile upon their baffled guest:

The earlier examples here are simply personal metaj^hors. There
are touches of personality, but there is not contplete personification,
as in the later examples.

ALLEGORY.

Allegory is usually defined as "a continued metaphor." The
principal subject is not mentioned by name in the allegory itself,
but is described })y another subjeo*- resembling it.

QUESTIONS.

1. What are the relative values of simile and metaphor (a) in
the expression of passion, (6) in illustrations, (c) in the region of
fancy ?

2. How is the English language specially adapted to effective
personification.

3. Form sentences containing similes, using the following terms :
star, storm, mountain, serpent, army, music.

4. Form metaphors from the following terms : eye, dagger, gold,
eagle, tree, darkness.

5. Form personal metaphors containing these epithets : angry,
stem, laughing, frowning.

TIL

Figures of Contrast.

It is a common device of language to place oppositcs in juxtaposi-
tion, in order to make a clear impression or to heighten ellect. As
all forms of similitudes are not tig\ires, so there are some forms of
contrast so simple and natural that they should not, perhaps, be

EXERCISES IX RHETORIC.

designated as figurative. It is difficult, however, to draw the line
between literal and figurative antithesis. It will be seen by a study
of the following examples that there are many modes of antithesis ;
some more highly figurative and eflective than others ; some, illus-
trations of extreme contra.st, and others only secondary contrasts,
the contrasted terms not being opposites of each other ; some,
u iiniples of the simple figure, and others gaining point and pini-
gency by a unit)n with other figures and devices :

1 . This boy is clever, but his brother is dull.

2. The Roman had an aquiline nose, the Greek a straight nose.

3. I am your servant but not your slave.

4. The cup that cheei's but not inelmates.

5. A small leak will sink a great ship.

(). Blessings are upon the liead of the just, but violence covereth
the mouth of the wicked.

7. Open rebuke is betce..' than secret love.

8. Caesar died a violent death, but his empire remained ; Crom-
well died a natural death, but his empire vanished.

9. It is every day in the power of a mischievous pers(m to inflict
innumerable annoyances. It is every day in the power of an
amiable person to confer little services.

10. The puritans hated bear-baiting, not because it gave pain to
the bear, but because it gave pleasure to the spectators.

A i)rilliant mode of contrast is the epigrammatic antithesis. In
the following exami)les, it will be noticed, we have, in addition to
tlje figure of contrast, a device that constitutes the essential feature
of an epigram — an unexpected turn in the language :

1. He is sf) good that he is good for nothing.

2. For this young girl he conceived an undying passion that lasted
several weeks.

.'?. Silence is the most ettective elocjuence.

4. Cranmei' coidd vindicate himself from the charge of being a
heretic only y arguments which made him out to be a murderer.

APPENDIX.

5. We see more of the world by travel, more of human nature
by staying at home.

6. To keep the French out, the Dutch inundated their lands :
they found no way of saving their country but by losing it.

7. I do not live that I may eat, but I eat that I may live.

8. If a poem is a sj)eaking picture, a picture should be a silent
poem.

9. Lapland is too '^old 'jountry for sonnets.

In the figure cal' id xyiiioron we have an antithesis in contradic-
tory terms :

1. HoiTibly bf Mitiful !

2, O heavy ligi ^n )ss, serious vanity !

That form of epigram commonly called a paradox contains a shock
of contradictit)n :

" Stone walls do not a prison make,
Nor iron bars a cage."

There are four figures more that may be considered here, as in
each of them there is a sharp contrast between the literal statement
and the form of language employed.

1. '* Tlie elms toss high till they brush the sky."
This figure of exaggeration is styled hyperbole.

2. The ladies in the gallery, not unwilling to display their sensi-
bility, were in a state of uncontrollable emotion.

The figure in "not unwilling" is the opposite of hyperbole, the
expression conveying less than the meaning intended. The techni-
cal name of the device is litotes.

3. Her voice is silent forever.

This softened mode of speaking of a disagreeable thing is called
etiphemism.

4. An excellent type of womanhood was Jezebel !

In irony the meaning is the very opposite to what is said.

All the examples in the foregoing exercises should be examined
with a view to disc<jver the special " lue of the figurative devices
employed in each case.

EXERCISES IX RHSTORIC.

IV.

Figures of Contiguity.

"When we say " the terrors of the svonV instead of *' the terrors
of ivar," or " the bottle causes the ruin of many," instead of " alcohol
causes the ruin of many," we use a more forcible mode of expres-
sion. The more concrete the presentation of the idea the more sug-
gestive and impressive it is.

This figure of accompaniment or association, which designates a
thing hy a chauye of name is styled metomimij. The figure, in its
simplest form, is found only in <i 'noun. The following examples
will exhibit some of the different varieties of metonymy :

1. He feared the frowns of his friends.

2. The two armies stood watching them with straining eyes.

3. When the magistrate was compelled to pronounce sentence
on his son, the father was subordinated to the judge, and the culprit
found no mercy.

4. All was now over on this side the tomb.

5. O for a beaker full of the warm South !

6. Can grey hairs make folly venerable ?

7. His banner led the spears no more amid the hills of Spain.

8. Great is the power of the pnrse.

9. The country is jealous of the city.

10. Tower and town and cottage have heard the trumpet's blast.

11. They are the best of all sepctys at the cold steel.

12. It was a barren desert, valuable only in the eyes of supersti-
tion.

13. The leap was impossible to all but madness and desjja ir.

14. Numberless herds of kine were breathing the vapory freshness
that uprose from the river.

15. There was a sound of revelry by night,
And Belgium's capital had gather'd then
Her beatity and her chivalry.

« HjiejJ l J i BJm.t-tm«»u» ' -ii ii H«''' * ^''* ? '^fl

APPENDIX.

IC). The harp, his sole renKiining joy,
Was caiiied l)y an orphan boy.

Tlie nature and the rhetorical value of the interchange of names
in each case may he examined. Some sign, or symbol, or signi-
ficant adjunct, or striking attitude or appearance, may aupply the
needed designation. Cause niay be used for effect, or effect for
cause. The ccmtainer may be used for the thing contained. The
instrument may be used for the agent ; tlie material for the thing
made of it. The concrete may be used for the abstract, and, in
poetic wantonness of style, the abstract may do duty for the con-
crete, and may thus contribute to variety and elevation of expres-
sion. In the last example, above, the name of a passion is given to
the object that excites it.

Another figure of contiguity worthy of separate consideration is
that by which we name a thing by some important or conspicuous
part of it. When we say "a fleet of ten sail," the picture of a
number of vessels at sea is called up more readily than when we
say "a fleet of ten ships." Out of this use of language, as might
be expected, grows the very opposite, the use of the whole (with
some striking modifier), for a part. Some examples of this figure of
synecdoche are the following :

1. I shall retreat to my father's roof.

2. Stal worth and stately in forni was the man of seventy luinters —
Fair was she to behold, that maiden of seventeen sitmmprs.

3. He works for <jold, while the rest of us nmst work for bread.

4. Thine the f »dl harvest of the (foldeih year (autumn).

Other modes of synecdoche are the use of the species for the genus,
and the use of the genus for the s})ccies :

1. The highwaymen of those days were not comu)on cut-tJiroats.

2. " Now tread we a measure," said young Lochinvar.

3. I am now ready to be offered, and the time of my departure is
at hand.

The following examples will show that metonymy and synecdoche,
like other figures, may becouie faded and colourless from frequent
use :

♦

78 EXKRnSES IN RHETORIC.

1. We were not ahvjiys thus ; we have known a better day.

2. All the lurnds on the farm were present.

3. Sixty I'f.Hnels entered the harbour.

Another figure of contiguity very common in poetry is the trans-
ferred ejtttlief :

1. The ploughman homeward plods his weary wsiy.

2. She seized the urchin with impatient hand.

3. Their cuiuird swords did from their scabbards fly.

4. Througii the long night he tossed upon a restless pillow.

This figure is mostly a license of poetry, due in many cases to
metrical reasons. From long use in the realm of poetry this device
has come to have the special value that attaches to modes of expres-
sion distinctively poetic.

Before leaving the figures of contiguity, attention must be called
to a mode of expression resembling met(mymy — the use of some
itnpressive associated circumstance for greater vividness or force :

1. In the sweat of thy face slialt thou eat bread till thou return
unto the ground.

2. ' ' His heart more truly knew that peal too well

Which stretched his father on a bloody bier."

(a) Figures of Emphasis.

Under the influence of strong feeling, or with the design of
expressing a thought in a striking manner, we employ many flgura-
tive modes C)f speech. Already have been mentioned some of these
figures of emphasis and intensity, such as antithesis, hyperbole,
irony and epigram. Other figures of this kind will now be noticed.

1. When, instead of expressing a thought in the ordinary affirm-
ative way, w*3 use some abrupt, inverted or elliptical construction,
the figure employed is called Exclamation. These examples will
show how the literal passes into the figurative :

APPENDIX.

Tft

(a) Our brave countrymen have suffered a severe defeat.

(6) Alas ! our brave countrymen have suffered a severe ilefeat.

2. When, instead of expressing a thought in the usual way, we
ask a question, not to get information, but to arouse attention and
to put the thought strongly, we employ the figure of Ittterrutjatuni.
The d ifference between a literal question and a figurative one will
be easily seen :

(a) Who will assist me in this charitable work ]
(6) Who can turn the stream of destiny ?

3. The figure of Apostrophe consists in a furninij away from the
regular course of the thought to address directly a person or thing
spoken of. This term is also applied to any address U) an absent
person or thing, even if there is no inrnvig au-ay from the regular
current of expression. When the object addi'essed is inanimate or
an absti-action, this figure involves personification also. Thus we
have four varieties of the figure :

{<() " Haply they thhik me old; but they shall find, ahme and
childless as I am, the bkxjd of Hereward is in the veins of Cedric.
Ah, Wilfred, Wilfred ! " he exclaimed in a lower tone, " couldst
thou have ruled thine unreasonable i)assion, thy father had nc c been
left in his age like the solitary oak," etc.

(b) " Must tve Init weep ')'er days more blest {

Must ice I at blush ? — our fathers bled.
Earth ! render back from out th}' breast
A remnant of our Spartan dead ! "

((•) " Milton ! thou shouldst ^^v living at this hour 1 "

— WordswortlCs So^met on MllUyn.

{(i) "Eternal spirit of the chainles, viind !

Brightest in dm.geons, Liberty, thou art."

— Byron's Sonnet on ChUlmi.

4. A figure allied to Apostrophe is Vision. In this figure the
absent is vividly represented as if present :

" I see before me the gladiator lie :
He leans upon his hand — " etc.

EXERCISES IN RHETORIC.

m
Hi

il '^

5. A very effective figure of emphasis is that by which a number
of particulars are so arranged as to rise, step by step, in intensity.
Various aspects of the figure of Climax chiiui attention :

(a) "It is an outrage to bind a Roman citizen ; to scourge him is
an atrocious crime ; t<i put him to deatli is ahu<jst a j)arricide ; but
to crucify liim — what sliall I call it ? "

(6) " Good Jew — good beast — good eai'tli-worm I "' said the yeo-
man, losing patience.

((•) " What the Italian is to the Englishman, what the Hindoo is
to the Italian, what the Bengalee is to other Hindoos, that was
Nuncomar to other Bengalees."

{d) ' ' Was it possible to induce the governor of Bengal to let out
to hire the irresistible energies of the imperial people, the skill
against which the ablest chiefs of Hindostan were helpless "s infants,
the discipline which had so often triumplied over li.tj frantic
struggles of fanaticism and despair, the miconciuerable British
courage whinh is never so sedate and stubborn as towards the
close of a doubtful and murderous day 1 ''

The employment of climactic strength is, perhaps, the rhetorician's
most valuable weapon. 'J'he efl'ect of the figure is often enhanced,
as in {d) above, by making the mechanism of expressitm suit the
climax in thought, the rhythm becoming more sonorous and thus
producing a climax in sound to harmonize with the character of
the thought.

(). The figure of Aparithmcsis, an enumeration of particulars, is
often employed for the sake of secviring force :

((f) "Rocks, caves, lakes, fens, bogs, dens and shades of death."

(/>) " Large promises, smooth excuses, elal)orate tissues of circum-
stantial falsehood, chicanery, jjcrjury, forgery, are the weapons of
the people of the lower Ganges."

(b) Fkjuues of Amplification, Condensation and

RePETITI'iN.

We now come to a class oi figures based on the number of words
emp oyed to express the thouglit.

The following examples will illustrate the Jigwes of amplljicntion

APPENDIX.

1 . T am very much perplexed and puzzled to know which is the
safer and more secure way of dealing with the question.

2. ' ' Give ample room, and verge enough

The characters of hell to trace.''

3. "The Acadian peasants descended down from the church to
the shore."

4. " Circling time moves round in an eternal sphere."

5. " Nine times the space that measures day and night

To mortal men, he with his horrid crew
Lay vanquished."

G. "The only thing we ever heard breathed against his personal
character is the suggestion that his love of joyous intercourse with
friends sometimes led him to drink too much."

Here wo have three modes of am])lificati()n : (a) Tautology is the
repetition of the same sense in the same grannuatical situation ; (h)
Pleotmsm consists of the employment of redundant words not in
the same grannuatical place ; (c) PeripJnufsIs or cIrcumlocKtion is a
ditt'use or round-ahout mode of expression.

Wlien (lilFuseness has no clear justification it is a source of weak-
ness. It is permissible, however, (o) for clearness, (/») for force,
(t) for poetic embellishment.

Next come the Jiijures of condensation.

1. " They beat with their oars the hoary sea," if expressed in full,
would be, "They beat tlie sea with their oars and made it hoary."
Thus the word "hoary" is used by anticipating the result. The
figure is styled prohpsis.

2. Where tlio same word has two references quite different the
figure is called xcmjina. The same device has also the designation
of the coiidoisi'd sentence. Very difierent eftects are produced by
this form of structure, but it is largely iised for comic purposes :

(a) Some killed partridges, others time only.

(h) "Not far withdrawn from these Michael the fiddler was
placed, with the gayest of hearts and of waistcoats."

{d) Behind him rose a shadow and a, shriek.

EXERCISES IN RHETORIC.

There are many figures of repetition. Only a few of the most
important can be illustrated here :

1. Anaphora repeats words at the beginning of successive clauses :

"And still the gale went shrieking on,
And still the wrecking fury grow ;
And still the woman worn and wan
Those gates of Death went through."'

2. Epizeuxis immediately repeats the same word or words ;

" Cold, co'd it was — oh, it was cold !

The bitter cold made watching vain."

3. Polysyndeton repeats conjunctions :

"Even at this day, valour, and self-respect, and a chivalrous
feeling rare among Asiatics, and a bitter rumembi'ance of the great
crime of England, distinguish that noble Afghan race."

Mention of the opi)osito ni this last figure may conveniently 1)e
made here. As\iiideton omits connectives, as "That thou gi vest
them they gather : thou openest thine hand, tliey are hllcd with
good : thou hidest thy face, they are troubled ; thou takest away
their breath, they die."

An examination into the eftects produced by the figures of repe-
tition will show that they nearly always contribute to energy or
vividness of expression."

Tlie treatment of figures of speech must now be concluded with
a few examples of i\\^fi(jnre of eoHociifhu. When the normal order
of words is dej)arted from for the sake of emphasis, or indeed for
whatever reason, we have the figure, hyperlxdon :

(<i) " Blew, l)lew the gale ; they did not hear."

(/*) "Cold is Cadwallo's tongue

That hushed the stormy main."

((•) " Home they Ijrought her warrior dead.

APPENDIX.

VI.

Study of the Sentence.

What is a sentence ? If })y a sentence we mean " a combination
of words expressing a single, complete thought," then tliere are two
necessary (qualities in a perfect sentence — ( 1 ) there should be but
one thought, and (2) that thought should be clearly and forcibly
expressed by a suitable arrangement of the words. So we have two
Sentence Laws :

(i) T/ie Law of Unity. — "Every part of the sentence should be
.subservient to one principal affirmation."

(ii) TJie Law of Collocation. — Place the words in such an order
that they shall emphasize themselves without the need of suitable
vocal expression to ensure a correct interpretation.

The following sentences may be examined for faulty structure : —

/ 1. This great and good man died in September of that year,
leaving behind him the memory of many noble actions, and a
immerous family, of whom three were sons.

> 2. One man pursues power in order to wealth, and another
wealth in order to power, which last is a safer way, and generally
followed.

3. They left the capital in a state of fearful distraction.

4. Let there bo light, and there w.'us light.

^ 5. It is a strange thing how little people, in general, observe
their environment.

6. T seek justice, and you cannot deny mo justice.

The last four sentences will show the need of proper coll(»cation
or improved structure to secure clearness and force.

Having considered the lecessary (pialities of the sentence, we
may now examine the various kinds of sentences — as, long and
short sentences, periodic and loose sentences, and the balanced
sentence.

EXERCISKS ly HIIKTOIUC.

I- 1

(i) LoiKj and Short Sentetu^es. — The difference between the effects
})r(Kluced by long and sliort sentences will be easily seen. Examine
this characteristic })assage from Macaulay ;

*' We have liad laws. We have had Ijlood. New treasons
have l)eeii created. The press has been shackled. Thellabeas-
Corpus Act has been suspended. Public meetings have been
prohibited. The event has proved that these expedients were
mere palliative.^. You are at the end of your palliatives.
The evil remains. It is more formidal)le than ever. What is
to be done?"

A succession of short sentences renders the style monotonous
and abrupt, but the very abru))ttiess may sometitnes contribute to
animation and emphasis.

The long sentence gives o|-portunities for am[)lifying the tliought,
and affords scope for the music of rhythm and cadence, and facilities
for climactic vigour.

A good .^ y(.; seeks variety by a duo alternation of long and short
sentence;', Ini!, vvliat constitutes due alternation must l)e determined
by the writer's taste, and by the nature of the subject.

(ii) The Bal^rnced Sentence. — Wlien the different elements of a
compound sentence answer each other by similarity of form the
sentence is said to be balanced. Many examples of this kind of
sentence have been n.lready given in the lesson on figures of con-
trast, the balanced form l)eiiig most frequently found in connection
with antithesis.

The balanced structure has obvious advantages. It contributes
to clearness, and sometimes to emphasis. It aids the memory, and
is thus a favourite form in proverbs. It delights the ear with its
syunuetry of form.

(iii) Periodic and Loose SentenceH. — " A periodic sentence is one
in which the i<loa and the grammatical structure are alike incom-
plete until the end is reached." Other sentences are termed loose.
Many .sentences combine the loose and the periodic structure.

The following short sentence.H illustrate some of the modes of
periodic structure :

APPENDIX.

1. If melody is the great essential of poetry, then Swinburne is
a great poet.

2. When the soldier marches to the field of battle, then is his
bravery tested.

3. He speaks so clearly as to ])e always understood.

4. They are either silent or else speak wit)\ uncertain utterance.

The uses of the periodic structure in keepinj^ up and concen-
trating the reader's attention — in iniparliiig stateliness to the
style— in lending itself to rhythm and cadence, may now be con-
sidered.

5. Accustomed tf) the mountain scenery of our native land we
could not endure the tame landscapes of bids country.

In the foregoing sentences tlu adv.uitn'.^es of the period will be
made apjwirent if tlie corresp(»ndin^ ^)os ; structure is compared
with the given form.

VII,

Study of the Pakaoraph.

What is a ])aragi'ai)h ? If by a paraoraph we mean "a connected
series of senionces constituting the develop'noiit of a single topic,"
tlien there ;ire certain essential ([ualities in a gooil paragraph — (1)
there shoul I V)e only one principal topic ; (2) the lopic should be
progressively developed, step by step, in the consecutive sentences ;
(8) tliis continuity of tliouglit should he clearly indicated when
necessary by devices of structure ; (4) this continuity of tlumglit
should not be obscured and the progressive development of the
topic interfered with by any sidiordiiMite idea receiving undue
attention ; (i ■ the main to{)ic of the paraj^raph should receive due
prominence by being put forward early. Thus we havt. these
Paragra})!! Laws :

(i) The Law of ITnity.— " Kvery statement in the paragraph
should be subservient to one principal afhrmation."

S !

EXERCISES IN RHETORIC.

(ii) The Law of Continuity (or Law of Method). — "The sen-
tences making up the paragraph sliould bo so related to one another
that they may be naturally recognized, as consectitive steps in a
progressing thought."

(iii) The Law of Explicit Reference. — "The bearing of each
sentence upon what precedes muat be explicit and unmistakable."

(iv) The Law of Due Proportion --"A due proportion nuist be
maintained l>otween princi[)al and subordinate ideas in the psira-
graph, each statement having bulk and prominence according to
its iiuportance."

(v) The Law of the Topic Sentence. — "The opening sentence,
unless obviously j)reparatory, should indicate the theme of the
paragraph."

These five luws grow out of our definition of a ]>aragra})h, and
they nuist all l)e observed if we are to have a clear and progressive
develo{)ment of the paragraph ^ jpic. To these laws may ]>e added
two genera] rules, the first of which, indeed, is almost as important
as any of the laws just given :

(i) The Rule of Parallel Construction. — "When several con-
secutive sentences iterate or illustrate the same idea, they should,
as far as p<»asible, be formed alike. " It is natural to express par-
allelism of thought by parallelism of structure ; so the ju-incipal
subject and the prijicipal predicate sliould retain their jiositions
throughout, and corresponding clauses and phrases should be
formed, as nearly as possible, on the same plan.

(ii) The Length of the Opening and the Closing Sentence. — "The
opening sentence of a paragra[)h, being either tlie subject-sentenca
or a transiii(»n from tlie preceding line of thought, is ordinarily a
comi^aratively short sentence." — "The closing sentence of the
pamgrapli, following the principle of climax, is (piite generally long,
often periodic, and with a somewhat carefully rounded cadence."

APPENDIX.

en-
her
I a

be
fa-

YIIL

Some Qualities of Style.

The i)resent series of Lessons will conclude witli ;i brief treatment
of some of tlie Qualities of Style— Strength, Pathos, Wit, Humour,
Melody and Harmony.

STRENGTH.

Under the general name of sfre)tfith many varieties find a place :
animation, vivacity, livelir.esf,, rapidity, brilliancy; nerve, vigour,
force, energy, fervour ; dignity, stateliness, sjjlendour, grandeur,
magnificence, loftiness, sul)limity. Between animation and sul)lim-
ity there is a vast ditierence, but they all agree in describing a
quality of style that produces artire pleasurable emotions. The
vocabulary of strength is made up of words that name powerful,
vast, and exciting objects, efl'ects and qualities.

It will 1)6 noticed that the various terms given above for the
different modes of strength are arranged in three groups. The
three following passages will serve to illustrate three varieties of
the quality under consideration.

(A.)

" Neither inilitary nor ci\il pomp was wanting. The
avenues were lined with Grenadiers. The streets were kept
clear by cavalry. The peers, robed in gold and ermine, were
marshalled bv the li(M'alds under Garter Kuiij atarnis. The
judges in their vestments of state atteiuUni to give a«lvice on
points of law. Near a hundred and seventy lords, tiiree-
fourths of the UpjuM" House as the Upper House then was,
walked in solemn order from their usual place of assembling
to the tribunal. The junior baron })res<Mit led the way,
George Eliott, Lord Heathfield, recently enno])]ed for his
memorable defence of (libraltar against the fleets and armies
of !France and Spain. The long procession was closed by the

EXERCISES IN RHETOKIC.

^g-

Duke of Norfolk, Earl ]Marslial of the realm, by
dignitaries, and by tlie brothers and sons of the ki
of all came the Prince of Wales, conspicuous by his fine
person and noble bearing."

(B.)

So saying, she left the apartment ; and Front-de-Btruf could
hear the crash of the ponderous key as she locked and double-
locked the doo" behind her, thus cutting otf the most slender
chance of escape. In the extremity of agony he shouted upon
his .servants and allies — "Stephen and Saint Maur ! — Clement
and Giles ! — I burn here unaided I — To the rescue — to the
rescue, brave Bois-Guilbert, valiant I)e Bracy ! — It is Front-
de-Bceuf who calls ! — It is your mastei*, ye traitor squires ! —
Your ally — your brother in arms, ye perjured and faithless
knights! — all the curses due to traitors upon your recreant
heads, do you abandon me to pei'ish thus miserably I — They
hear me not — they cannot hear me — my voice is lost in the din
of battle. — The smoke I'olls thicker and thicker — the tire lias
caught upon the floor below — ^Oh, for one draught of the air of
heaven, were it to be purchased by instant annihilation I "

(c.)

"By the soid of IlerewardI" replied the knight impatiently,
"thou speakest, maiden, of thou knowest not what. Thou
wouldst quench tlie pure light of chivalry, which alone dis-
tinguishes the noble from the base, the gentle knight from the
churl and the savage ; which rates our life far, far beneath the
pitch of our honour ; raises us victorious over pain, toil and
suffering, and teaches us to fear no evil but disgrace. Thou
art no Christian, Rebecca ; and to thee are unknown those
high feelings wiiich swell the bosom of a noble maiden when
her lover hath done some deed of em[)rize which sanctions his
tlame. Chivalry !- -why, uuiiden, she is the nurse of pure and

APPENDIX.

high affection — the stay of the oppressed, the redresser of
grievances, the curb of the power of the tyrant — nobihty were
but an empty name without her, and Hberty finds the best
protection in her lance and her sword."

PATHOS.

The difFeruiice between strength and pathos is hke the difference
between motion and rest, j)athos being the quahty of style that pro-
duces pasNirc pleasurable emotions — emotions that compose rather
than excite the mind. The vocabulary of pathos includes all words
that arouse the tender feelings of love, pity, benevolence, hinnan-
ity, etc.

In the most touching instances of pathos it must be observed that
we have a pitiable case put forward without any reference to help
or relief of a kind strictly adajjted to the case, the assuaging influ-
ences coming mainly irom the verbal representation which throws
the reader into a sort of pleasing melancholy.

Of the following selections the first two will illustrate the quality
of pathos, and the third, strength passing into pathos.

(A.)

" The knights are dust. — Their escutcheons have long
mouldered from the walls of their castles. Their castles them-
selves are but green mounds and shattered ruins — the place
that once knew them, knows them no more -nay, many a race
since tlieirs lias died out and been forgotten in the very land
which they occupied, with all the authority of feudal- proprie-
tors and feudal lords. What, then, v/ould it avail the reader
to know their names, or the evanescent symbols of their
martial rank !"

(B.)

" Wiiat, then, is to insure this pile wfach now towers above
me from sharing the fate of mightier mausoleums ? The time
must come when its gilded vaults, which now spring so loftily,

i :

EXEIU'ISES IN RHETOKir.

.?M

shall lie in rubbish beneath the feet ; when, instead of the
sound of melody and praise, the wind shall n\ histle through the
broken arches, and the owl hoot from the shattered tower —
wlien the garish sunbeam shall break into these gloomy man-
sions of death, and the ivy twine round the fallen column, and
the foxglove hang its blossoms about the nameless urn, as if in
mt)ckery of the dead. Thus man passes away ; his name
perishes from record and recollection, his history is as a tale
that is told, and his very monument l)ecomes a ruin !"

— Washington Irving' s Westminster Abbey.

(c.)

" To the memory of the brave who fought there ! — Pledge
me, my guests." — He drank deep, and went on with increasing
wai'mtli. " Ay, that was a day of cleaving of shields, when a
b iiidied banners were be ^t forward over the heads of the
valiant, and blood flowed round like water, and death was
held better than flight. A Saxon bard had called it a feast of
the swords — a gathering of the eagles to the prey — the clash-
ing of bills upon shield and helmet — tlie shouting of battle
more joyful than the clamour of a bridal. But our bards are
no more," he said ; " our deeds art lost in those of another
race — our language — our very name — is hastening to decay,
and none mourns for it save one solitary old man."

WIT AND HUftlOUR.

Much has been written on the distinction between Wit and
Humour. Some one by a happy metaphor has tersely put the dis-
tinction thus: "Humour is the electric atmosphere, wit is the
flash." Wit is most conunonly produced by an ingenious or unex-
pected play upon words, or by some clever and fantastic mode of
expression. Humour, as compared with wit, is mild and quiet,
always genial, kindly and good-natured.

APPENDIX.

Some of the devices that wit employs are illustrated in the follow-
ing sentences :

(a) The lady was carried home in a flood of tears and a sedan
chair.

(b) Put not your trust in money, hut put your money in trust.
((•) When you have nothing to say, say it.

(d) A man who has nothing to 'ijoast of but his noble ancestors is
like the potato — all that is good of him is imder ground.

(e) A man should not pray cream and live skim-milk.

(/) His cell had a ceiling so low that you couldn't stand up in it
without lying down.

(;/) Whether life is worth living or not depends on the liver.

(A) Man leads woman to the altar and there his leadership ends.

(?) The religion of the Mormons is singular, but their wives are
plural.

(j) Two things I prize very highly, my husband and my lap-dog.

It will be seen, then, that wit employs tl»e pun, the bull, the
condensed sentence, the epigram, and, in short, various figures of
speech.

The following extracts will serve as studies in Humour :

(A.)

"AVomen are armed with fans, as men with swords, and
sometimes do more execution w-ith them. To the end there-
fore that ladies may be entire mistresses of the weapon which
they bear, T have created an academy for the training up of
young women in the exercise of the fan, according to the most
fashionable airs and motions that are now practised at court.
The ladies who carrt/ fans under me are drawn up twice a-day
in my great hall, where they are instructed in the use of their
arms, and exercised by the following words of command :

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92 EXERCISES IN RHETORIC.

" Handle your fans,
Unfurl your fans,
Discharge your fans,
Ground your fans,
Recover your fans.
Flutter your fans.

By the right observation of these few plain words of com-
mand, a woman of a tolerable genius who will apply herself
diligently to her exercise for the space of but one half-year,
shall be able to give her fan all the graces that can possibly
enter into that little modish machine."

— Addison.

" The work of Dr. Nares has filled us with astonishment
similar to that which Captain Lemuel Gulliver felt when first
he landed in Brobdingnag, and saw corn as high as the oaks
in the New Forest, thimbles as large as buckets, and wrens of
the bulk of turkeys. The whole book, and every component
part of it, is on a gigantic scale. The title is as long as an
ordinary preface ; the prefatory matter would furnish out an
ordinary book ; and the book contains as much reading as an
ordinary library. We cannot sum up the merits of the stu-
pendous mass of paper which lies before us better than by
saying that it consists of about two thousand closely printed
quarto pages, that it occupies fifteen hundred inches cubic
measure, and that it weighs sixty pounds avoirdupois. Such
a book might, before the deluge, have been considered as light
reading by Hilpa and Shalum. But, unhappily, the life of man
is now threescore years and ten ; and we cannot but think it
somewhat unfair in Dr. Nares to demand from us so large a

portion of so short an existence."

— Macaulai/.

APPGNiJIX.

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MELODY AND HAKMONY.

Melody and Harmony are the two aesthetic qualities that have
to do with sound, the former with sweetness of sound, the latter
with sound as an echo to the sense. We may have melody, then,
without harmony, and even harmony without melody. The fol-
lowing passage from Irving's " Westminster Abbey," is one of the
tinest examples in the whole range of literature of pleasing melody
and impressive harmony :

" Suddenly the notes of the deep-labouring organ burst upon
the ear, falling with doubled and redoubled intensity, and
rolling, as it were, huge billows of sound. How well do their
volume and grandeur accord witli this mighty building !
With what pomp do they swell througli its vast vaults, and
})reathe their awful harmony through these caves of death,
and make the silent sepulchre vocal ! And now they rise in
triumphant acclamation, heaving higher and higher their ac-
cordant notes, and piling sound on sound. And now they
pause, and the soft voices of the choir break out into sweet
gushes of melody ; they soar aloft, and warble along the roof,
and seem to play about these lofty vaults like the pure air of
heaven. Again the pealing organ heaves its thrilling thun-
ders, compressing air into music, and rolling it forth upon the
soul. What long-drawn cadences ! What solemn sweeping
concords ! It grows more and more dense and powerful — it
fills the vast pile, and seems to jai* the very walls; the ear is
stunned, the senses are overwhelmed. And now it is winding
up in full jubilee — it is rising from the earth to heaven -the
very soul seems rapt away and floated upwards on this
swelling tide of harmony !"

a?/.