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 University of Western Ontario 
 
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 Literature for 1886, 
 
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 -ALSO- 
 
 A SERIE3 OF EXAMINATION PAPEES. 
 
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 BY AN EXPERIENCED TEACHER. 
 
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 1886. 
 
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 -A. 
 
 SYNOPTICAL VIEW 
 
 OF 
 
 The Literature for Ur.iversity and Teachers' 
 Examinations for 1880. 
 
 WITH 
 
 THE CHARACTERISTICS OF EACH SELECTION ILLUSTRATED 
 
 BY NUMEROUS REFERENCED, 
 
 -ALSO- 
 
 A SERIES OF EXAMINATION PAPERS. 
 
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 1 
 
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 'iiS 
 
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 l£86. 
 
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 I6k 
 
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 OF 
 
 Macaulay^s essay on Warren Hastings. 
 
 Lineage. 
 
 Introduction. -The tone in which Hastings would wish to 
 
 have his acts recorded. 
 
 1. Danish Sea-Kings, coronet in 14th century, 
 Chamberlain, Earldom of Huntingdon. 
 
 2. Hence the Lords of Daylesford, civic list, 
 estate goes to a London merchant. 
 
 3. The son of the last H. of Daylesford is rector 
 of the parith. His son Pynaston dies young, 
 
 4. Warren son of Pynaston born 6th Dec, 1732. 
 Childhood. Village school, talent, youthful ambitions. 
 Education. 1. School at Newington, at Westminster,- 
 
 school-fellows. 
 
 2, Uncle Howard dies. 
 
 3. Cheswick gets Warren in East India Co., 
 
 he sails Jan., 1750. 
 Apprentice- 1. Calcutta 2 years, Cossimbazar several 
 SHIP , year^ trading, 
 
 2. Surajah Dowlah takes him prisoner. 
 
A SYNOPTICAL VIP^W. 
 
 Rise. 
 
 Comes 
 Home. 
 
 Returns to 
 India. 
 
 Bengal 
 Affairs. 
 
 Relieves 
 Company's 
 
 Finances. 
 
 Means 
 
 Employed. 
 
 1. Acts as agent to get news of Dowlah for 
 English fugitives. 
 
 2. Carries a musket under Cliye. 
 
 3. Agent of the Company with the new Prince. 
 
 4. la 1761 he becomes a member of the Council 
 and moves to Calcutta. 
 
 t5. Vansittart Governor, — India under his rule, 
 
 1. In 1764 he returns to England, stays 4 years 
 and proposes a plan for the study of Persian 
 Literature. - . 
 
 1. In 1769 he returns to India as member of 
 the Council at Madras. 
 
 2. Imhoff incident. 
 
 3. Reforms Company's business at Madras, 
 
 4. Is made head of the Council in Bengal. 
 
 1. The kind of Covernment, double, English 
 really absolute, internal government dele- 
 gated to a native minister at £300,000 per an. 
 
 2. Khan appointed to this post by Clive. 
 
 3. His rival Nuncomar described. 
 
 4. Nuncomar induced the Company to onler 
 Hastings to remove Khan. 
 
 5. Hastings takes Khan pi isoner and abolishes 
 his office giving the power to the Company. 
 
 6. Tries Rhan, 
 
 1. The Company's finances embarrassed. 
 
 2. Their instructions be moderate and rapacious. 
 
 3. Hastings resolved to be rapacious. 
 
 1. He reduced the Nabob's allowance £160,- 
 000 per annum. 
 
 Pai 
 
 o: 
 
 Re 
 
 Re 
 
 ■if 
 
 Sii 
 
 h 
 

 Results. 
 
 2. Refused the annual tribute of £;^()(),()0() U 
 
 the (I rent Mogul. 
 
 3. Sold Allahabad and C'orah to Sujah Dowlah 
 
 for £500,003. 
 
 4. Loaned \abob Vizier English troops to con- 
 quer Rohillas at £400,000. 
 
 Particulars 1 . Why unjust, 
 OF RoHTL- 2. The Battle. 
 LA War. 3. Subsequent Honors . 
 4, Net gain. 
 
 1. Annual income of £4^0,000. 
 
 2. Relieved of £250,000 expense. 
 
 3. £1,000,000, cash. 
 
 Regulating I. Bengal supreme, Governor General and four 
 Act. Coun jillcrs; Supreme Court. 
 
 2, Hastings first Governor General, 1773 for 
 
 five years. 
 
 3. Councillors, Barwell, Chivering, Monson, 
 
 Francis. 
 Sir Philip 1. Is he the author of Junius? Yes. 
 Francis, 2. Proof: (a) External :—{\) HandwritiuK. (2) 
 
 Acquaintance with the Secretaiy of State's 
 office. (3) With the War Office. (4) With 
 the debates in the House of Lords, 1770. (5) 
 Opposed to the appointment of Chamier as 
 Secretary of State- (6) BouncJ to Lord Hoi- 
 land, {b) Inkrmi :-{l) ^tyle. (2) iMoral 
 resemblance. (2) Date. 
 New Coun- L Their reception in India. 
 CILLORS. 2. The course taken by them. 
 
 (1) Reveised the past acts of Hastings. 
 
 V 
 
A HYNOPTICAT. VTKW. 
 
 Hastin<js 
 
 1. 
 
 i)lMnJA<KJ). 
 
 2. 
 
 
 X 
 
 
 4. 
 
 Sur KKMK 
 
 1. 
 
 ( '<h.:kt 
 
 2. 
 
 Intkuvkkks. 
 
 3. 
 
 
 4. 
 
 
 5. 
 
 
 6. 
 
 
 7. 
 
 lloHlLLA 
 
 1. 
 
 Wak at 
 
 o 
 
 HojMK. 
 
 3. 
 
 
 4. 
 
 
 T). 
 
 S( K.NK 
 
 1. 
 
 CHAN(iED 
 
 2. 
 
 TO lM>iA, 
 
 3. 
 
 
 4. 
 
 
 f). 
 
 
 6. 
 
 
 n 
 
 Markia(;k. 
 
 1. 
 
 Term Knds 
 
 . 1. 
 
 Formidable 1. 
 
 ('R1SI8. 
 
 
 
 2. 
 
 (2) Overuleci him in future. 
 Nvmcomar lay« charges. 
 
 Ccuncil c(.iifcidei- the charges; N. lays more 
 
 charges. 
 
 Council declare .charges proved ; N.'s mistake 
 
 English in Bengal favor H. 
 
 N. arrested on charge of lorging a bond. 
 Tried, found guilty, and sentenced to death. 
 Why the sentence was unjust. 
 
 How it was received by (a) English, (6) Hin- 
 doos, (c) Mussulmans. 
 M.'s j)iei)aration for death ; his execution. 
 
 Irnpey's part in the affair characterized. 
 H.'s course examined and partly excused. 
 
 H.'s ct)urse condemned by the Directors. 
 Court of Directors gives majority against H. 
 Court of Proprietors gives majority for H. 
 Col. Macleane hands in H.'s resignation. 
 The Directors accept jt, and apppoint Wheler. 
 Monson dies, and H. becomes absolute. 
 Policy ot Council changed, and widened. 
 While H. is planning schemea of conquest 
 Wh<;lcr ariivcs. 
 H. refuses bo resign. 
 
 H.'s excuse; Clavt ling attempts to force him. 
 Quest i<»n rt fcrreil to Supreme Court. 
 It decides in H.'s favor. 
 
 The divorce ai riv< s; the marriage celebrated. 
 H.'s five ytar term expires ; re-appointed. 
 In Kniilyiid, (a) America, (b) Ireland, (c) 
 
 other powers. 
 
 In India, {a) from the Maharattas ; M — s 
 described, (b) M--8 ioined by French. 
 
 Th 
 
 01 
 HOI 
 
 Thi 
 Pi 
 
w\T?uMN H\STrvas. 
 
 5 
 
 1 
 
 3. H 's plan of defence. 
 
 4. Kxecution of his plan ; indifterent snrccs.H. 
 
 5. The general Sir K. Cote described. 
 
 A Reconcil- 1. Francis and Wheler agree to snpport H. 
 fATiON. 2. Necessity for h.irmony. 
 
 1. Tlie arr-^iranco of the .Judges. 
 
 2. How Kii'^lish law appiarrd to the Hindoos. 
 
 3. The ni-n of (< rror n'lder Tinpey. 
 
 4. 'I'he action taken by the Conncil. 
 />. How K. bonght r)ll'Impey. 
 
 6. Justitication of H.'s action; illustration. 
 
 7. H.'s action opposed by Francis. 
 
 8. Their truce breaks ; H. makes charges 
 against Francis; duel. 
 
 The Attack 1. Character and career of Hyder Ali, 
 
 OF thkMa-2. He attacks Madras, defeats Baillie, Mnnio. 
 HOMMEDANS. 3. H.'s plan of defence. Its success, Porto Novo. 
 The COUNCIL. 1 Changes; Francis; Wheler. 
 2. Financial embarassment. 
 1. Benares, 
 
 1 . Description of the city. 
 
 2. Relation of the Rajah to the Co. 
 
 3. Doubtful nature of the gov't gives H. a 
 chance to interfere, and as he is strong, to 
 do what he chooses. 
 
 4. How H. chose to take Sing's money and t > 
 fasten a quarrel on him. 
 
 5. H . visits Benares to enforce his demands. 
 Sing arrested, insurrecticm, H.'s resid-nee 
 blockaded, plan of escape, the revolt sup- 
 pressed. 
 
 6. Addition made to Company 's levenuc. 
 
 Plans of 
 Relief. 
 
 \ 
 
A SYNOPTICAL VIEW. 
 
 HoiJSK OF 
 
 { OMMO>:8. 
 
 If, 
 
 v' 
 
 I. Oiide, 
 
 1. How II. becomes concerned in the affain 
 i>i Oude. 
 
 2. How his demands are settled — The asjree- 
 ment to phinder the Begums. 
 
 3. The pretext for the villainous plot. 
 
 4. Execution of the plot. 
 
 1. Dowlah re.ioils, yields. 
 
 2. Lam^s are rcsunu d. 
 
 3, A body of Co.'s troops force the palace. 
 
 4, Torture of the ''twoancit-nt men." 
 6. Tlie amounts wrung from them, 
 fi. Impey's (lii?t;raceful part in the crime. 
 
 1. Two coiiiniittfics report on Eastern a fairs. 
 
 2. Resolutions based on their reports condemn 
 H. and Impey. 
 
 ,3. Impey is recalled, Co. refuses to dismiss H. 
 Closk of Ad- 1. vState of Indian affairs at close of H/s admin- 
 MiNiHTRATioN. istration in 1785, 
 
 I. Situation of English foreign affairs daring 
 his rule, 
 
 1. What he did, 
 
 1. Dissolved double government. 
 
 2. Gave direction of affairs to English. 
 
 3. Out of anarchy made order. 
 
 4. Organized, superintended internal gov*t. 
 
 5. Created all the offices he left in l^engal. 
 
 2. His Dutadva?itages. 
 
 1. Not bred a statesman. 
 
 2. No good assistance. 
 
 3. Trammelled by Co., thwarted by Council 
 
 4. Threatened by foreign enemies. 
 
 Review of 
 
 H,'S Al>MIN- 
 TRATTON, 
 
he affain 
 he asjree- 
 
 b. 
 
 WAKBEN HASTINGS. 
 
 le palace. 
 
 leri." 
 
 mi. 
 
 he crime, 
 a!! airs, 
 condemn ! 
 
 smiss H. 
 ,'s admin- 
 
 rs during ic 
 
 lish. 
 
 nal gov*t. 
 ]^engal. 
 
 r Council 
 
 Return 
 
 HoM£. 
 
 1. Qualities. 
 
 1. Equanimity. 
 
 2. Talent for devising expedients. 
 
 3. For public controversy. 
 
 4. For framing minutes and aespatches. 
 
 5. For inspiring confidence. 
 
 6. Love of liberal studies, 
 
 2. Popularity, 
 
 1. Loved by English, Hindoos, and army. 
 
 2. He made the country secure. 
 
 3. Worst offences were against neighboring 
 states, 
 
 4. RememJ5ered by natives 50 years after. 
 
 5. Public spirit prompted his worst acts. 
 
 6. Not selfishly rapacious ; his wife. 
 
 7. His departure universally regretted, 
 
 1. On his voyage writes a poem, 
 
 2. Arrives in four months, June 1785. 
 
 3. Received with distinction by King and Co. 
 
 4. Notice of charges given by Burke witihin a 
 week, 
 
 5. Unfitted by long absence for Englisb politics, 
 
 6. Unfortunate in his champion — Scott, 
 
 7. Yet the King, the Company, the Ministers, 
 and many public men were favorable to H, 
 
 8. The Opposition against H., but, except 
 Francis and Burke, content to deal in satire* 
 
 9. Francis was H.'s implacable enemy. 
 
 10. Burke more fierce, not from party apirit^ but 
 from hatred of wrong. 
 
 1 r. B. 's pt rfect knowledge of India and its affairs. 
 
8 
 
 A SYNOPTICAL VIEW. 
 
 ri,< 
 
 
 12. State of 6. 's passion, imagination, eloquence. 
 
 13. Matters precipitated by Scott's injudicious 
 action. 
 
 Charges in 1. In April 1786, B, lays charges on the table. 
 THB House 2, H. reads a tedious written reply. 
 
 1, First charge. 
 
 1. In June B. brings the tirst charge, — The 
 Rohilla war. H. absolved in the House by 
 119 to 67. 
 
 2. Probabilities of the matter being dropped. 
 
 2, Second cltarge. 
 
 1. 2nd charge,— Benares — by Fox and Francis. 
 Opposed in part by Pitt. 
 
 2. Strange course ' taken | by Pitt and his 
 Cabinet. 
 
 3. Fox's motion carried by 119 to 79. 
 
 4. Reasons for Pitt's course. 
 
 3, Third charge. 
 
 1. Third charge, Oude — brought by Sheri- 
 dan in a brilliant speech. 
 Impeach- 1. Burke sent to charge H. before the Lords. 
 MENT 2, Session closes. H. is admitted to bail. 
 
 3; Next session House elects a committee to 
 manage the impeachment. Francis not of it. 
 
 4. Sittings of the court commence February 
 13th, 1788. 
 
 5. Description — 
 
 1 . Of the court. 
 
 2. Of the place — its memories. 
 
 3. Of the entering procession. 
 
 4. Of the audience. 
 
 5. Of the culprit. 
 
 I 
 
WARREN HASTINGS. 
 
 9 
 
 oquence. 
 judicious 
 
 be table. 
 
 ;e, —The 
 [oijse by 
 
 Iropped, 
 
 Francis. 
 
 and his 
 
 Sheri- 
 
 ords. 
 lil. 
 
 ittee to 
 t of it. 
 >brnary 
 
 6 Of counsel. 
 
 7, Of the accusers, Fox, Sheridan, Windham. 
 
 8, Of the opening ceremonies; Burke's speech, 
 
 9, Of the method to be observed. 
 
 10. Of subsequent sittings,— Sheridan. 
 
 6. Languid continuance. 
 
 7. Impeachment not to be relied on for justice. 
 
 8. Case practically decided by resolution as to 
 rules of evidence. 
 
 9. Attempts made to stop the trial. 
 
 1. By movinfi; a vote of censure on Burke. 
 
 2. By pleading dissolution as a bar. 
 
 3. By direct motion. 
 
 10. Decision pronounced, spring of 1795. 
 
 11. Description of the House that pronounced it. 
 
 12. Why the decision was generally approved, 
 
 13. What the trial cost H. — Daylesford. 
 
 14. Financial aid given by the Co. 
 
 Politics. 1. The only part taken by him in politics. Cause. 
 Later Life. 1. The occupations and amusements ot his last 
 
 24 years,— vegetables, animals, books. 
 
 2. Appears at the bar of the House in 1813, 
 
 3. Marks of royal favor. 
 Death. 1. August 2nd, 1885. 
 
 2. Buried at the parish church, Daylesford. 
 Character, 1. His great accomplishments. 
 2. His character. 
 
, "VT'^ItlS.ElT H-A-STHsTO-S, 
 
 Charactbriktics of style Illustratkd from thk Essay. 
 
 I 
 
 w 
 
 i 
 
 Ik 
 
 |»(n 
 
 -■ •< I* 
 
 r 
 
 l.PCTRITY. 
 
 1. Not a word of doubtful propriety in the essay. 
 
 2. No foreign words used where English words will do 
 
 equally well. 
 , 3. A very few words in an exceptionable sense, as avocu' 
 
 tions in 1. 2960, remittances in 1. 1056. 
 i. Cleabness. Not an obscurely constructed sentence in the 
 
 essay, . , 
 
 3. Clearness and Force, promoted by : — 
 
 1. Selection, order, and number of words, as in 11. 1594-6, 
 ' 2871-4,2677-8,2993,3510-11. 
 
 2. A frequent use of short sentences : — 
 
 1. At the beginning of a paragraph, as in 11. 761, 1165, 
 1166,1420,2811. 
 
 2, Within a paragraph, as in 11. 115, 1603, 1S41-4, 
 2350, 2479-80, 
 
 3. Frequent and skillful use of Antithesis and Balanceid 
 «entence, as in 11. 286-90, 310-12, 336-^3, 671-SO, 894-6, 
 1012-14. 4454-67, 4837-40. 
 
 4. Arrangement of words, phrases, sentences, and parag- 
 raphs in climactic order, as in 11. 301-6, 1603-6, 3468 
 3527, 4809-4863, in the paragraphs describing the fate of 
 Nuncomar, 
 
 
WARREN HASTINGS. 
 
 U 
 
 ^..SSAY. 
 
 vill do 
 
 avorfi' 
 in the 
 
 594 6, 
 
 1165, 
 
 S41-4, 
 
 Etuceid 
 J94 6, 
 
 n 
 
 i 
 
 1 
 
 ■{ 
 
 5. Wealth of illustration : — 
 
 1. In the use of apt and original figures, as in "fiefs of 
 the spear," "bridge of gold," "that temple of silence 
 and reconciliation," " the. hurricane of Mahratta 
 cavalry," 11. 541-4. 
 % In literavy and historical allusion, as in 11. 679-80, 
 1289-1320, 2680-96, 4499-50O. 
 
 3. In striking comparisons, as in 11, 1423 31, 2386-2394. 
 
 4. In general affluence of language and splendor of im- 
 agery, as in relating the efl'ect.s of Impey's enforce- 
 ment of English law in India ; as in the description 
 
 of the trial of H. 
 
 4. The Power of describing in a graphic and pictures(iue 
 manner, a£ in the account of India under Vansittart'; of 
 the tate of Nuncomar ; in the description of Benares. 
 
 5. Command of the vocabulary of invective, scorn, and ridi- 
 
 cule as in "idiots and biographers excepted," in 11. i066- 
 
 1108, 1148-1184, 3180-3214,4669-4699. 
 ft. Animation and Vividness, as in 11. 1159-64,2158-66, 2258- 
 
 72, 2371-4, 2556-7«, 3954-97, 4479-4530. 
 7. Pathos. A few touches, a^ in describing the fate of the 
 
 Rohillas, as in 11. 2158 69. ^^ 
 
 >arag* 
 3468 
 rtte of 
 
!; ' 
 
 II: 
 
 
 OF THE 
 
 HIME OF THE ANCIENT MARINER 
 
 PART I. 
 
 From the b<)i<iiming of the voyage up to the shooting of 
 
 the albatross. 
 
 1, The Ancient Mariner ineets three wedding guests. 
 
 2. He detains one of them to listen to his storv. 
 
 lin He tells how his ship left the harbor, and sailed southward 
 to the equator. 
 
 4. Here the guest grows more restless, yet continues to listen. 
 
 5. The A . M. goes on to relate how the storm drove his ship 
 towards the South pole, through mist and snow and ice, 
 where is no living thing. 
 
 (). At last an albatross appeared, it followed the ship. 
 
 7. The ship turned northward, accompanied for nine days by 
 the bird. 
 
 8. Tlie A. M. shoots the albatross. 
 
 PART II 
 
 From the shootinsj of the albatross to the hanging of it about 
 
 the Ancient Mariner's neck. 
 
 1. The ship continues to sail northward. 
 
 2. The shipmates (1) Condemn the killing of the bird ; (2) 
 Then they applaud the act. 
 
 3. The ship sails northward till it reaches the equator. 
 
 4. There it suddenly stopped and remained becalmed, 
 
 o. Water and drought, slimy things and death-fires, distress 
 the sailors. 
 
 
 ■ I 
 
ANCINET MAllINEK. 
 
 13 
 
 i 
 
 \ 
 
 
 'y 
 
 At 
 
 2) 
 
 ss 
 
 6. Thus a spirit avenges the deatli of the birrl. 
 
 7. The sailors blame the A. M., and hang the albatross about 
 his neck. 
 
 PART III. 
 
 From the hanging of the albatross abont the Ancient Mar- 
 iner's neck to the death of all the crew. 
 
 1. In this prolonged suffering the A.M. sees " Suinething in 
 the sky." 
 
 2. First it seems a speck, then a ship. 
 
 3. The sailors with parched lips can but grin their joy. 
 
 i. There is no breeze or tide, yet this seeming ship flies on. 
 5. The west is all aflame with the setting sun, 
 
 7. It comes up ; its crew are two. Death, and Life-in-Death. 
 
 8. The two are casting dice for the A, M. and his crew. 
 
 9. Life-in-death wins the A. M, 
 
 10. The spectre ship shoots off. 
 
 11. Darkness comes suddenly on ; the moon and stars appear. 
 
 12. One by one in the moonlight, the sailors fall down and die. 
 
 PART IV. 
 
 From the death of the crew till the albatross falls off the neck 
 
 of the A ncient Mariner. 
 
 1. The wedding guest begins to think the A. M. a spirit, anl 
 seeks to escape from him, 
 
 2. The A. M. goes on describing his life among the dead men 
 and the slimy things, 
 
 3. He tries in vain to pray. 
 
 4. The look which the dying men gave him tortures his soul 
 for 7 days and 7 nights. 
 
 5. He watches the moon, the charmed waters, and the rich 
 attiie of the water- snakes. 
 
 6. At last he loaes his hatred of thee^ Hyiug creatures and 
 blesses them. 
 
 7. Then the albatross falls off his nock. 
 
14 
 
 A SYNOPTICAL VIEW 
 
 ( t 
 
 I 
 
 I 
 
 
 PART V. 
 
 From the falling off of the albatross to the apparetio;a of the 
 
 **two voices.'* 
 
 1. The Holy Motlier sends the A. M. sleep. 
 
 2. While he sleeps he is refreshed with rain, 
 
 3. On waking he hears a roaring wind and a commotion in 
 
 the air. 
 
 4. The wind roars, the rain pours, and the lightning: flasheH. 
 
 5. The ship moves on apparently of its own accord, then the 
 men rise up an<l manage it. 
 
 6. The dead men had not come to life, but a troop of ** spirits 
 blest'* had entered their bodies. » 
 
 7. From the dead men's mouths come forth sweet and varied 
 sounds. 
 
 8. The spirit from the South that had been driving the ship, 
 stops at the line. 
 
 9. The sounds cease ;the ship sticks on the line. 
 
 10. She gets loose, and dashes off with a bound, 
 
 11. The rapid motion throws the A. M. into a swoon. 
 
 12. In his trance he hears two spirits conversing about his 
 crime and punishment, 
 
 PART VI, 
 
 From the conversation of the voices to the meeting with the 
 
 Hermit. 
 
 1. One of the voice* explains why the ship goes so fast. 
 
 2. The A. M. awakes ; the night is calm ; the dead men stand- 
 ing on the deck look at him with the look with which they 
 died. 
 
 3. The spell is brok3n ; the curse is expiated. 
 
 4. 1 he ship sails swiftly on ; the A. M. comes in sight of his 
 native shore. 
 
 5. The angelic spirits leave the dead bodies, appear in their 
 own form, and pass away. 
 
 i 
 
 
 I 
 1 
 
 5. 
 
 Id, 
 
ANCIENT MABINER, 
 
 15 
 
 
 I 
 
 I 
 
 ».. 
 
 6. The A. M. sees a boat approaching ; in it are a pilot, hi» 
 boy, and a hermit. 
 
 PART VII. 
 From the appearance of the Hermit to the end of the tale, 
 1. The Hermit's abode. 
 
 *2, The skifif with its three occupants comes up to A.M.'s ship. 
 8. A rumbling is heard, the A. M.*s ship sinks ; he is saved in 
 the skid*. 
 
 4. The skiff spins round ; the pilot faints ; the Hermit prays ; 
 the boy g(»es crazy ; the A M. rows to shorts. 
 
 5. The A. M, earnestly beseeches the Herihit to shrieve him. 
 
 6. The agony of penance falls upon the A, M.— an agony that 
 ever and anon returns throuefh life, ' ' 
 
 7. He still passes from land to land ** teaching his tale." 
 
 8. The A. M. hears the sounds of the wedding- feast, also of 
 the vesper bell. : vn ^? J^ 
 
 9. His experience has given him an ear to obey the latter 
 
 He now prefers devotion to mirth. 
 
 10. He tells the quests the moral of the tale and then leaves 
 him. ' ' 
 
 U. On the morrow the guest finds himself a wiser, if a sadder 
 man, than he would have been had he gon^ to the feast; 
 
m 
 
 ii' 
 
 A.:N"oiE:cTa? i^j^TtTi<r:E:Eij. 
 
 Characteristics Illhstrated. 
 
 III III 
 
 I 
 
 1. The story is wild, weird, phantasmagorical, aud improbable. 
 
 2. The poet creates a supernatural world and describes it so 
 tersely as to make it appear natural and real. In the ac- 
 complishment of this, we tind : — 
 
 1. Simple, terse, direct, and felicitous language, — through- 
 out. 
 
 2. Apposite figures of speech, as in 11. 117, U8, 129-30. 
 364-5, 388, 497-8. 
 
 3. Vivid and picturesque description, as in 11. 41-50, 171- 
 80, 199-202, 
 
 4. Richness of melody, as in 11. 292-6, 366-71, 455-62. 
 
 5. Vividness of conception, as in 11. 313 28 331-40, 596-99. 
 
 6. Close observation of nature, as in 11. 366-71, 471-4, 
 532-6. 
 
 7. A creative imagination, as in the invention of '*the 
 land of mist and snow," **the good South wind, " 
 
 "the charmed water,'* **the skeleton ship," *'the polar 
 spirit," the inspiriting of the crew. 
 
 8. Splendor of imagery, as in **his great bright eye." the 
 elfish light fell off in hoary flakes," **moonlight steeped 
 in silentness." in 11. 173-4, 320-1, 365-6, 
 
 9. Intensity of feeling, as in 11. 143-6, 232-3, 257-62. 
 
 I 
 
 tmmmtf 
 
4 
 
 juij 
 
 I / 
 
 ■J, 
 
 o 
 
 ^. 
 
 >bable. 
 I it so 
 bhe ac- 
 
 rough- 
 
 29-30. 
 
 , 171- 
 
 96-99. 
 4714, 
 
 "the 
 ind, " 
 polar 
 
 r the 
 eeped 
 
 
 li 
 
 
 OF THE 
 
 ODE TO THE DEPARTING YEAR. 
 
 . . ■ I. 
 
 First However dark and calamitous the eyents of time 
 
 Strophe, may appear, Divine Proyidence harmonizes them all 
 
 into one fi;rand result. Believing this I have not 
 
 . been alarmed by the terrible events of the passing 
 
 year, and now at its close feel moved to rejoice 
 
 over them. 
 
 11. 
 
 Second Therefore I call on all men in all conditions of life 
 8TROPHE. to forget their own private joys and sorrows for a 
 time and to rejoice over the coming results of the 
 general struggle for liberty . 
 
 Ill, 
 
 Epode. 
 
 Like the Emperor Francis and Catherine of 
 Russia, the oppressors of mankind, have met and 
 are meeting a terrible doom. 
 
 IV, • 
 
 In the heavens I saw the vision of the Bepartinst 
 Yiear. In it there appeared one who broke the 
 Strophe, silence and in behalf of those who suffer, 
 
 ■'..■'■ V. 
 Spoke thus before the assembled hosts : — ''O arm 
 of night, Avenger, God of Nature, rise and over- 
 throw those who are fillmg the earth with anguish. 
 
 First 
 Anti- 
 
\'\ 1 1: 
 
 
 it 
 
 I '. 
 
 kill 
 
 M 
 
 ; I 
 
 18 
 
 A SYNOPTICAL VIEW. 
 
 VI. 
 SkcOnd The vision threw me into the intensest agony. 
 
 AUTl- VII. 
 
 Strophk. On rc<!overing I rejoice that my own land is not 
 * 'wholly vile*' ; its beautiful fields have long been 
 the home of "social quiet." 
 
 VIII. 
 
 Buteince the love of gain has led her to turn her 
 hack on the nations that are 8tru;?gling for liberty, 
 I see with the deepest anguish that she is doomed 
 to speedy destruction. 
 
 I hasten from the coming ruin for which I am not 
 to blame. I have warned her. 
 
 •SKC'ONto 
 
 Epodk. 
 
 :0: 
 
 TO 
 
 iDi^ipJLitTiisra- yeJlk. 
 
 Characteristics Illustrated. 
 
 ^ ij 
 
 In strong vigorous, and dignified language^ but in a hollow 
 and bombastic tone, the poet denounces the enemies of France. 
 
 I . Jn form this ode resembles Gray's Bard. 
 
 3. Some vigorous declamation, especially in stanza V. 
 
 3. A lack of passion and p</wer, as in II. 52-61. 
 
 4. Exaggeration of feeling, especially in stanza VI. 
 
 ^, Turgidity and bombast in stanzas V., VI., and Till. 
 6. Que passage of beautiful picturesque description in 11. 
 121-134. 
 
I ll'r'uttu^' r^'^- /I 
 
 ^f 
 
 I is not 
 ig been 
 
 iirti her 
 liberty, 
 doomed 
 
 am not 
 
 hollow 
 •'ranee. 
 
 In. 
 
 in IJ. 
 
 SYHrTOTiPIO^Xj -VXIBXVT 
 
 -OF- 
 
 THE ODE TO FRANCE. 
 
 Invo- The poet calls upon the clouds, the waves, and 
 CATION. woods to witness that he has always been a friend 
 
 of true Liberty. 
 
 II, 
 Sympathy When the French nation were struggling for 
 WITH THE Liberty, he prayed for the defeat of all who opposed 
 French, them, even though his own country was one of the 
 
 number. 
 
 III. 
 
 Hopes AND When the French put the Worship of Reason in 
 
 Fears, place of Christanity, when they gained great 
 
 victories abroad and crushed treason at home, he 
 
 thought they were going to compell all nations to 
 
 be free. 
 
 IV, 
 
 Cause OP But the course they pursued towards the 
 Change. Swiss has shown him how sadly he was deceived. 
 
 V. 
 
 Such Na- It is vain for the vicious to throw off one kind of 
 
 TiONS Can- slavery as they only fall into a worse. True 
 
 NOT BE Liberty is not found in any form of human govern- 
 
 FrIbe. itient. The Freiich did not find it either under 
 
 priestly rule or Under the worship of Heason. In 
 
 nature alone is genuine Liberty to be found. 
 

 
 ; i HI 
 
 ODE a?0 FE^^IsTOE. 
 
 Characteristics Illustrated. 
 
 r ' 
 
 il^ri! 
 
 
 
 III this magnificent ode the beauties of Coleridge's poetry are 
 found in their highest form. 
 
 1. It is noble in conception, in illustration, and in thoughts. 
 
 2. It is grand in sentiment and emotion. 
 
 3. In melody of language it is unsurpassed, 
 
 4. It is full of lofty passion and imagination-~it approachen 
 the sublime. . 
 
 5. Observe the beautiful imagery in 11, 5, 35, 48, 102-5. 
 
 ii 
 
 Fit 
 
 hill 
 
 ii, 
 
 if 
 
 .0: 
 
 
 •OF- 
 
 THE ODE TO DEJECTION. 
 
 I. 
 The Moon. According to the old ballad-writer the appearance 
 of the moon indicates a coming storm. I wish 
 it were here as it might rouse my mind. 
 
 II. 
 Mt Grief. I have been gazing all the evening on the clouds, 
 the moon, the stars ; but I am borne down with 
 such a grief that I can only see their beauty, I 
 cannot feel it. 
 
 M ! ,. 
 
 
DEJECTION. 
 
 31 
 
 :4 
 
 III, 
 
 Mv Loss, My poetic powers are failing. Nature's beauties 
 can no longer awake tbem to action. 
 
 IV. 
 
 What The power to enjoy the beauties of nature is in 
 Beauty is. ourselves. These beauties exist only for tho8e 
 who feel them. 
 
 V. 
 
 What THE This power is joy ; this joy jjives nature all her 
 Power Is. charms. 
 
 Lost Hope. Once a fulness of this joy cheered me and inspir- 
 Kedress. ed me with hope ; now I sink in sorrow under my 
 loss and poorly solace myeelf with the study of 
 metaphysics. 
 
 VII. 
 
 Once again the winds seem to speak to my mind 
 and as they awaken my imagination I fancy they 
 relate to me two tales, ^one of horror and one of 
 tenderness. 
 
 VIII. 
 
 My Wish. Though these winds disturb my sleep, may my 
 friend rest. May she possess in its plenitndr the 
 power I have lost. 
 
 :0: 
 
 OTDE TO IDEJ-ZEJOTIOnsr. 
 
 Characteristics Illustrated. 
 
 Once 
 More. 
 
 In this beautiful ode the poet mourns with deep and touch 
 in« melancholy over the loss of his poetic powers. Among th 
 characteristies may be mentioned ; — 
 
ii f <i Wii W ^iL»y * . i lit '^ JtfW 
 
 A SYNOPTICAL VIEW 
 
 1. The reality, depth, and tenderness of feeling. 
 
 2. The richness and sweetness of the melody, especially in 
 II. 45-58, 76-86, 118-125. 
 
 3. Choice imagery, as in 11. 78-80, 128-9. 
 
 4. Delightful fancies harmoniously expressed, as in sta. vii, 
 
 5. Close observation of external nature, as in 11. 31-6, 96-12i5. 
 
 :0: 
 
 --A- 
 
 POEM TO WILLIAM WORDSWORTH. 
 
 Address. General character of Wordsworth's Prelude. 
 Theme of 1, General statement of the theme, the develop- 
 Pbelude, ment of the human mind and the production of 
 poetic thought. 
 
 1. A theme of smiles and fears. 
 
 2. A theme of tides and currents. 
 
 3. A theme of moments awful. 
 
 4. A theme of fancies fair. 
 
 5. A theme of the social sense. 
 
 6. A theme of personal hope, 
 
 7. A theme of duty. 
 
 Effect of 1. It will immortalize the author. 
 
 THE 2, It discovers a new link of truth. 
 
 Pkelude. 3. It awakens me toTthink what purposes I have 
 had, what talents have been given me, and how 
 all will be but buried with me. 
 4. This self-reproach ill befits my task of praisinir 
 another. 
 
 In 
 
 of 
 ha 
 
 aci 
 
 J> 
 
 A/* 
 
^ 
 
 '' A 
 
 WGRDSWOETH. 
 
 23 , 
 
 ^ ^ '■ , r 6. Sage Bard, do n6t think of tne as I am, but as I 
 
 •ifi. 
 
 WHS, — my mind is eased^ peace is riigh. 
 / 6. While listening this evening to your poem, J / 
 felt poetic thought re-awaken within me. . ^ 
 ci • 7. At the close I felt a resolve tp , quit opium and 
 .') jM/ .[[ : to wTite something worthy of my learning and a 
 abilities. < ;■' --i r:, ;<./ri',.-i v;,; . ■]■„ 
 _.__:0:.^ 
 
 TO ^W^Oi?.lbs:W"OE.TH:,^ 
 
 -~' 's- 
 
 Characteristics Illfstrated. 
 
 ■ K 
 
 I i r 
 
 I. ■ -V , . . 
 
 ■'v ) I. . I » 
 
 .V 
 
 In this heavy and obscure poem, Coleridge describes the topics 
 
 of the Prelude, and then dolefully laments that he himself 
 has not written some poem worthy to live. Among the char- 
 
 acteristics, observe j — , r : - ^ , . • ' 
 1. Blank verse feebly handled. : •] , 
 2. General dullness and obscurity. 
 3i Awkward and obscure constructions, as in 11, 44-5, 71-5, 
 
 4. A few pleasing figures, as in **the choir of ever-duriug 
 men ;" ** hope that scarce would know itself from fear ;" 
 c:-i**thehalc5yon^hears, &c." ) 1 ] ' a i >t t t .r /. i<- ,r 
 
 " X):——— "*'■ ■-^---^--^■-^- 
 
 _ — -"A— - 
 
 sir3sroi^TioA.i:j "vie'w 
 
 Youth and age. '^ ^ ^ / i 
 
 '•■ >'\ t;j!; 'i :j '<-f 
 
 •J ■ ''i'f' 
 
 Youths 1, In youth Nature, Hope, and Poetry mMe 
 
 t -...I- 
 
 lu u.:-/; life happy. 
 
 fci ij ^ , 2. Th^t happy time is gone ; my bo6ly once full of 
 
 : . ..' 
 
 life and vigor now is dull and burdenBome. 
 
 
 1 1 i ,; , J J 
 
24 
 
 A SYNOPTICAL VIPJW. 
 
 3. In youth life was cheered by friendship, love 
 and liberty. 
 A Fond 4. He proposes to Youth that he shall fancy him- 
 CoxcEiT. self still in possession of it. 
 
 5. He puts on the mask and tries to be young. 
 Age. 6. But finds that what were pleasures in youth 
 
 are only sorrows in ctge. 
 
 '0: 
 
 yoxjth: .A-Istid A-O-ih. 
 
 Characteristics Illustrated. 
 
 ^ 
 
 1. Exquisite beauty of language in every line. 
 2- Richness of melody, arising from selection and arrange- 
 ment of words, and from variety of metre. 
 
 3. The whole is a beautiful fancy, a gem. 
 
 4. The idea of pretending to be young is richly poetic. 
 
 5. Original and apposite figures, as in 11. 8, 12, 15, 19, 39-40, 
 " Ah, woeful when," *' Ah, woeful ere." 
 
 :(J: 
 
 ESZj^ivriisrj^Tioisr x^a.i^e:e^s 
 
 I. 
 
 Warren Hastings. 
 
 1. When was this essay written ? What were the author's 
 occupations at the time? For \\hat publication was it 
 
 written ? 
 
 2. What are the distinguishing features of the division of 
 written compositions called The Essay? How far does thia 
 essay possess them ? 
 
 ^ 
 
EXAMINATION PAPERS. 
 
 25 
 
 tf 
 
 6 
 
 3. *' This essay exemplifies both the merits and the defects 
 of Maoaulay as a writer." Explain fully what is meant. 
 
 4. What special qualification had Macaulay for dealing 
 "Viith the administration of Hastings ? 
 
 5. Describe Macaulay 's prose style, and illustrate its main 
 features by (piotations from the essay. 
 
 6. Write a short paper on Macaulay as an essayist, 
 
 7. " Macaulay is the most pictorial prose- writer in English 
 literature." Quote or refer to passages in the essay that spe- 
 cially have this characteristic. 
 
 8. What features of his owui character does Macaulay ex- 
 hibit ill dealing with Warren Hastings? 
 
 II. 
 The x^ncient Mariner. 
 
 1. Give an account of the origin of the Ancient Mariner. 
 
 2. Quote and give the meaning of the obsolete words in the 
 A. M. State why they are so. 
 
 3. Quote the lines written by Wordsworth. Why did he 
 write so few ? 
 
 4. Express in your own lanajuage the meaning the following 
 w(n-ds have in the poem -.—Unhand, vespers, shroud, idle, silly, 
 
 5. Describe the metre ; account for variations in the length 
 of the lines and of the stanzas. 
 
 6. Explain these expressions :—" Through the drifts the 
 snowy clifts did send a dismal sheen ;" *' Steadies with up- 
 right keel ;" *' star-dogged ;" ** Fly brother, fly ! more high, 
 more high, or we shall be belated." 
 
 7. On what conditions may horrible, or painful scenes such 
 as those in parts II., ,VI. and IV. be selected as subjects for 
 poetry ? Are those conditions fully met in this poem ? 
 
 8. To what class of poetry does the A. M. belong ? What 
 influences were tending to make this kind of poetry popular 
 
 in England at this time ? 
 
 
 <i^ 
 
 J* 
 
■() 
 
 - 23 
 
 •T ' 
 
 A SYNOPTICAL VIEW. 
 
 
 I // 
 
 :5 ■-"• >ii^'III. nn..:. V... 
 
 The Ancient Mariner. 
 
 i; >.' 
 
 y 
 
 o 
 
 I t 
 
 fr 
 
 »{. 
 
 1. Write a short paper on the allegorical features of the A. M. 
 , 2. '* There is no proportion between the crime and the jnin- 
 ishment ?" Support or refute this. , 
 
 3. What relation does the Latin quotaticn that stand's at 
 the beginning bear to the poem ? 
 
 4. Classify the A. M. as a poem. Give reasons for your 
 'classification. ' " " '' " '' • " '"'' ' " ' ' , •■'■-"■'■■''■'■*' 
 
 5. Of the invention of the story what part belongs to Col- 
 eridge ? to Wordsworth r'* ' ' ' ' - '^ ' 
 
 6. What cardinal point in poetry did Coleridge intend to 
 illustrate by the A. M.? How far did he succeed ? 
 
 7. '* The most remarkable characteristic of the A. M. is its 
 simple radical force." Explain what is meant. • ' * ' 
 
 8. ** And the coming wind did roar more loud;' >* - 
 * And the sails did sigh like sedge ; ■ '" •• '"< ' .A 
 
 ', / ;A*id the rain poured down from c^ue dark cloud ;p. 
 The moon was at its edge, ^ . , ,. , , 
 
 )' The thick black cloud was cleft and still, ] -^ - 
 The Moon was at its side : ■ v ] i; i : >;: t. . : ^/ 
 
 , ,, Like Walters shot from some high prag, , 
 Ine lightning fell with never a jag, 
 A river steep and wide.'* 
 
 a. Refer these stanzas to their place in the tale'. 
 
 b. To what particulars do these stanzas owe their melody, 
 ' their picturesqueness, their vividness ? ., 
 
 ,. ; , jO Do the similes give clearness or beauty to the descrip- 
 j )• tion? If; you think they fitive both, explain how they giye 
 
 each of these two qualities, ' •; — i 
 
 /yd. Do you think the poet has accomplished any good pur- 
 pose by extending the second stan^^l Expl^ip,.,;; r ;| .u 
 
 Mil; 
 
 -qii 
 
 t ■ 
 
 i' '■.. i lo 
 
 ,.»/ 
 
 J; ■- 
 
 II.. 
 
 h 
 

 
 <% 
 
 t 
 
 I.. 
 
 •J-J. 
 
 . ^ .: _ , . ^ ■ - ,. IV. - ;- 
 
 Departing Year. '' • • 
 
 1. At what time and iiiuler what circumstances waB the 
 
 Ode written. 
 
 2. Describe the form and the metre. ' 
 
 3. Writa out stanza t. in prose, changing the languafi;^ as 
 far as possible. Be- careful not to omit or to add an idea. 
 
 4. Mention some of the weaknesses that critics have pointed 
 out in this Ode. If you agree with them, state why in each 
 case. • ■ '■■■'' ' ' ' ■ :'■ '' -■■■•^•'•■^ '^^ 
 
 5. *' This Ode has many flashes of elevated thought." Quote 
 some of thes^b thoughts, or give them in your own words. 
 
 6. **Two stanza^s of this Ode reach almost to sublimity," 
 Quote the stanzas that you think most worthy of this praise, 
 and show clearly what there is ther^i to merit it. 
 
 7. Write in other words the meaning the folio wing expre^ 
 ions bear in the Ode ;—t " In perplexed dance;" '* mailed 
 monarch's troublous cry;" "narrow dwelling;" '* unsolaced 
 
 groaning ;" *' centrail fires ;"** distempered triumph," 
 
 8. Editors call this Ode *' grand" and "noble," yet give 
 
 us nothing but a few barren notes on proper names to enable 
 us to see the *' grandeur" and *' nobleness" so patent to them. 
 If you think the poem worthy of these epithets, state why. 
 
 9. Write a short paper on the influence of the French revo- 
 lution on Coleridfije as a poet, ' ^ ^^ ' * '''■"■' ■ ' ■ ■' 
 
 V ,T ■■■{ V ■■ •r.rv-'l 
 
 ' ^ Ancient Marinkh and Departing Ykar.' 3 
 
 Iv Give in a few lines (less than ten) the argument of the 
 Ancient Marinfer. ';" ',<■■}{ <>.-ii 7.>.;a:ij"^ ,^yi.i,.Lj ;;,;i ^ 
 
 2. Write a brief account of the origin and of the literary 
 purpose of the Ancient Mairmbr. ■ ' -^ " ' . Oy.: ii i/>. icxii 
 
 . 4 
 
28 
 
 A SYNOPTICAL VIEW. 
 
 3. Quote passa^^'es fi'om the Mariner to show thcat Colerid^^'O 
 was a sensitive observer of nature. 
 
 4. State the difierent moral purposes which some commen- 
 tators think C. had in view in writing the A. M., and discuss 
 the question whether he intended to inculcate any moral 
 
 6. *'And now the storm-blast came, and he 
 
 Was tyraiwovs and strong, 
 He struck with his o^rktklug wings ^ 
 And chased us south along. 
 
 With sloping masts and dipping } roiv, 
 
 As who pursued vvith yell and blow 
 
 Still treads the shadow of his foe, 
 
 And forwa rd bends his head. 
 
 The ship drove fast, loud roared the blast, 
 
 And southward aye we flew. 
 
 a. Explain the words and phrases in italics. 
 
 b. Point out all the figures of speech you can. 
 
 c. Name the metre ; scan any two lines. 
 
 6. Quote from the A M. any stanza (other than those in 5) 
 that you consider possesses poetic beauties and state what you 
 think constitutes each of the excellencies you indicate, 
 
 7. Write a brief description of the form otthe Ode to The 
 Departing Year, 
 
 8. Give in your own words the meaning the following 
 words and phrases bear in the Ode :— "thy dark inwoven 
 harmonies," "unholy madness," "in perplexed dance," 
 "Nature struggling in portentous birth." "Death's tv\ice 
 mortal mace." "Wealth's insensate laugh." 
 
 r 
 
 <A 
 
r 
 
 <\ 
 
 EXAMINATION PAPEIIS. 
 
 21) 
 
 VI. 
 
 Ancient Mariner and Departing Year. 
 
 J. Who were the Lake poets ? Why so called ? Hov\^ did 
 
 tlieir works ditler from those of the poets of the previous 
 
 century ? 
 
 2. Tell what you know of the reli>,nous and political views 
 
 of Coleridge, 
 
 8. Under what circumstances was *'The Rime of tiie 
 Ancient Mariner" written? 
 
 4. What moral applicati(jn has the poem ?f 
 
 0, «how that tiie style increases the interest ot the story, 
 6. Mention historical references in the **Odeto the Depart- 
 ing Year." 
 
 ' 7. Explain the allusions ; — 
 
 a. " Where peace her jealous home had built." 
 
 b. '•' We in ourselves rejoice." 
 
 c. *' Who came a welcomer in herald's guise," 
 
 d. " Nor let my words impart more blame than needs." 
 8. Give the substance of the poem "Youth and Age," 
 
 VII. 
 
 France, Dejection, Wordsworth, Youth and Age. 
 
 1. " And when to whelm the disenchanted nation, 
 
 Like Fiend's embattled by a W^izard's wand, 
 
 The Monarchs marched in evil days, 
 
 And Britain joined the dire array," 
 
 * 
 
 a. Wi ite in prose order. 
 
 b. Give an explaration of the circumstances referred to 
 in the extract. 
 
 c. Show the relation of | the extracts to the poem as 
 a whole. 
 
 d. Explain fully the following expressions; — "disen- 
 chanted nation," "embattled by a Wizard's wand," 
 ''evil day," "dire array." 
 
 . € 
 
;k) 
 
 A SYNOPTICAL VIEW. 
 
 ■• / . I 
 
 /; 
 
 2. *' And all which I had culled from wood-walks wild, 
 f And all which patient toil had reared, and all 
 f Commune with thee had opened out, but flowers ,, , . 
 
 Strewed on my corse, and borne upon m v b»rr, 
 ^ In the same coffin, for the self-same grave '- . , , ( 
 Explain fully the meaning of this passage in itt- pr'^p'^-r 
 
 COllnection^''' '-i- :\i" --.i, v -■> -.-r ■.-;■.;■: ;''> '■ tr ;. . ] 
 
 8 "0 Lady ! we received but what we give, .. , ,, / t, , ,/. 
 '* And in our life alone does nature live." , ', // |. 
 f ( < *• The tnily great 
 
 : Have all one age, and f r:om one visible space shed in- 
 fluence^" , ;. • / L!,; 
 *' The Sensual and the Dark rebel in vain, . , ^. ^ , ^ • 
 Slaves by their own compulsion." ,/ , 
 **Life is but thought." , . , . ^ .. ,, 
 
 a. Explain fully the meaning of each of these passages, 
 ' ar.d show its relation to the poem in which it occurs. 
 
 b. Quote passages containing similar sentiments, naming 
 authors of quotation. ' 
 
 4. Give dates of the composition of these four poems, 
 ana show the propriety of calling the Ode to FrMc6, 
 The liemntation, and of saying that **the Ode to Dei 
 jection is a lament over tUe decay of Coleridge-s poetic 
 
 powers. 
 
 • 
 
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 THE END. 
 
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