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Un des symboles suivants apparaitra sur la derniAre image de cheque microfiche, selon le cas: le symbole — ^> signifie "A SUIVRE", le symbols V signifie "FIN". IMeps, pistes, cherts, etc., mey be filmed at different reduction ratios. Those too lerge to be entirely included in one exposure are filmed beginning in the upper left hend corner, left to right end top to bottom, es many frames es required The following diegrems illustrate the method: Les cartes, planches, tableaux, etc.. peuvent Atre filmAs A des taux d« reduction diffirents. Lorsque le document est trop grand pour Atra reproduit en un seul clichA, 11 est filmA A partir de Tangle supArieur gauche, de gauche A droite, et de haut en bas, en prenant le nombre d'images nAcessaire. Les diagrammes suivants iilustrent la mAthode. 1 2 3 1 2 3 4 S 6 I^OTES ON THB exami:n"ation" papees IM EIS GLISn LITEEATU HE, (FOR THIRD-CLASS CERTIFICATES, 1878). ' 8T T. C. L. ARMSTRONG, M.A., MODKRN LANOUAOB MASTER, COliLEaiATB INSTITUTE, BAHILTON. JAMES CAMPBELL & SON, PUBLISHERS. 1878. iHiiftiit"**!*''' ' Tm iwm mmev i y m w t Entere,i according to the Act of Parliament »« Can-^a, in Ae „n. thousand eioht hundred and seventy-eight, by JAMES IZZXlsZ, in the office of the Minister of Agriculture. I \ V '} PREFACE. *' The chief object of the notes ^'wcn in this little primer is to assist intendinj^ candidates for third-class certificates ; a secondary object, however, is held in view, viz., that of making it a useful companion to selected parts of the Fifth Reader. This double aini will, in a measure, explain the nature of the notes and questions. It will be observed that both notes and questions are framed more with a view to train the observation and reason, and to suf^j^est thouj^ht, than merely to supply information for examination. Thus, derivation is discussed more fully than is usual in public schools, but not, it is believed, too much so for the highest classes, where only, of course, this book will be used. It must be confessed that derivation, as fxc^erally taught, amounts to little more than bur- dening til memory with a number of foreign and half understood words, of \, ich no further use is to be made. A knowledge of versification is also insisted on. It ought not to be difficult to teach those who are fit for the highest of our Series of Readers, a knowledge of the varieties of our metres. The outlines S only of the subject have been given, and it is hoped that those using x\ the book may be stimulated to pursue the subject more fully. It is . certainly an important subject, and will amply repay any attention ) bestowed upon it. How is it possible to enjoy a highly finished /^ poem witlujut knowing wherein its beauties consist? To a person ignorant of rhetoric our noble literature exists almost in vain. The biographical notes contain the salient points in the lives of the authors. Some attempt has also been made to give the chief characteristics of their style and their peculiar;ties as writers. It must be confessed that most books of annotations are next to useless to a teacher who chooses to prepare his own work. Every one who does so will have some plan of his own to follow, and the \\ -. notes will often be quite foreign and consequently hindering to that plan. The chief object of notes, then, should lie to supply informa- . tion not renclily found by the student. But while this is the prin- cipal aim of these notes, they have a secondary ol)ject, viz., that of suggesting the best method of employing the lessons of the Readers, as a literary training medium. There is no doubt that if injudiciously used, derivation may become a nuisance, l)ut if used as suggested in the notes through- out, it can be made the foundation of many interesting and instruct- ive lessons, and cannot but be an improvement on the ordinary method of giving the "dictionary meanings" of words. Exercises on the meanings and uses of words may be alternated with exercises PREFACE. in transposition, grammatical equivalents, expandinjj contracted expressions, paraphrasing obscure passages, or rf)n(lcnsing whole paragraphs or lessons. All these can be used witli the greatest advantage not only for acquiring an insight into the author's mean- inr^, but as a means of training the pupils in the use of words and phrases, the structure and connection of sentences, and tlie beauties of composition, Tho young student is requested to examine the following, given by way of example to show how the verbal analysis of a lesson may be conducted. The first stanza of the " Ik Ule of Waterloo" might suggest the following questions : — What are the subject and predicate of the first line? Why is "there" used? What other word is used to introduce a sentence indefinitely? (It). What letter in the word "sound" is not radical? Compare it with " droTvncic'd." What meaningi has "of"? What other form has it? What is the history of " revelry." Distinguish between revelry, carousal and dissipation. What is the orginal meaning of "by"? Trace all its various meaninj^s back to the ori- ginal. Contrast " by " and " with." What form docs "by" assume in composition? (Bt'f as in between). Belgiuftis, what would this be in prose ? What is a capital ? What is a metropolis? What is " had" a contraction for? (Haved.) What other meaning had " and " in old English ? What other form for "then" have we? (Than). What figure is there in "her" ? What sort of a noun is " beauty " ? What-" beau " ? Account for the pronunciation of thes'^ two words. (One has the T rench and the other the English sound). What is meant by "chivalry"? When did it take its rise ? (After the Crusades). \Vhat influence has it had on the world ? (It gave us much of the feur'al spirit, most of the famous orders of nobility, and most secret societies). What book was a severe blow to chivalry ? (Don Quixote). What other form of the word have we ? (Cavalry). Derive' both. Why arc Latin words found so much corrupted in French ? (They were the vulgar words used by the lower orders of Rome who formed the emigrants to Gaul). From what language is "lamps" derived ? To what period does it belong ? What two meanings of " fair " have we ? Which mode of indicating the gender does " women " follow ? Why does it change its sound in the plural ? Why is " men " called a strong plural ? What is the force, and what the origin of strong plurals ? What is the difference between " happily " and " haply " ? What is the root of both? Define " hap," " happen," " hapless," " mishap," " perhaps," " happy." What objection is there to •* happify " ? (It is hybrid). Why is " p " doubled in these words ? Give the rule for doubling the final consonant. Etc., etc. (' 1 t c t il s; T. C. L. ARMSTRONG. Hamilton^ March^ 1878. :ted hole itcst ean- and uties the vlysis tie of '^hy is tence dical? What iguish )rgi.nal he ori- Lssume apital ? iaved.) t other "her"? )unt for ch and valry" ? nfluencc- rit, mosi , What lat other vVhy arc were the med the ed? To lir " have " follow ? n " called of strong 'haply"? hapless," there to ;se words ? RONG. NOTES TO THE riFTH READER 6 now TO STUDY AN ENGLISH LESSON. The first groat object in reading a literary extract, or work, is to ^aln e thorough linosvledf^o of whut tlie uuthor stys. Everything else is subaidiar] to this. Wu read to gain information, and if we are to experience the full uilect of tlio produution of the author, our attention should be directed solely to tlie soquonce of thought and not to the worda or other uiatters. It is, however, ueccsHury to know the meaning, force, and relation ol the words before we cuii understand the sense. Thin iMtimate connection between words and thought gives language a peculitir iorce as an educa- tional medium; it truina the miud to use its powers, while laying up a Store of information. Hence, in reading a literary piece both of these objects should be held in view. .Asa training medium we may investigate a literary work more miuutely tlian is absolutely required for grasping the sense merely. II judiciously uHttl, liiii^unge affords one of the finest means of mental cul- ture, fostering a bound judgment, logical reasoning and a critical tasto. Of English these reniiirks are particularly true ; it has the additional advantnt^ti of being useful to the htudent in after life as a source of profit or iutellectLiJ pleasure, in a))preciiitinc{ or composing good Knglish. To use a language /of the higher purposes of literature, we must have a knowledge of the proper use of that language such as the meanings and use of words, the structure of sen- tences, the characteristics of style, the nature of figures, the ccmposition of discourse, etc. These, thou, uro some of the points that ought to engage tha student's attention. Let us now investigate the use to be made of words in this two-fold object oi reading, viz.: for iuforuiation and for training. I. How do we arrive at the meanings of words?— 1st, Many, no doubt, have come to us in early childhood by a sort of intuition, —for such the extreme capability of the young mind to acquire words may be called. 2ud, We learn them by coucrete explanation, i.e., by associating the word directly with the tiling it represents. 3rd, by synoiiynis. i.e., by using a simpler word on the iirinciplo of explain- ing the unknown by tlie known. Too much care cannot be taken in this, to miike sure that the synonyms themselves are understood. 4th, By ol)6or\'int; their use in a sentence we judge from the context what the force or meaniuji nf the word must be. This, indeed, is the ordinary way of learning now wt^rds. By hearing or seeing a word frequently used, we at last arrive nt a dofltiite ideii ot its use. This process is often done unconsciously and erroneously, ns l)y chiMren, and needs careful watching. Great attention should be given to thismetliou of learnincr words. Ascertain clearly what each word means, compare it with other meanings, writing sentences with the word in Its various uses, giving synonyms for each, or if there be none, substitute a defining phniso. 5th. Hy Ktyniology. This very often assists us in discriminating between nearly synonyuK.us words. The literal meaning, also ofton gives us a cluo to the various nieunings of tlu word. To cicrlvo beneht from this process, wo should have a thorough knowledge of the moaning, Uho and changes of the prefixes and affixes; the nature md meaning of roots and eoiiipounds; tho forms that words assuiiio; their growth and corniptions; the cliau;;es that their meanings utidergo, and the laws tuat govern these changes. To th.ose may be added tho nature of our language; the kind and use of Snxon and of Latin words; tho intluence on style of having two sfta of words (L'ltin and Saxon). These, and many other facts, interesting and instructive, may bo flieaned. A good exei-ciso can be had by comparing Saxon and Latin words hat are nearly syilbuymous, such as "fatherly" and "paternal," and by NOTES TO THE FIFTH READEB tranalating Latin words into Saxon, or vire-veraa, tclJinq in all cnBes the period in vrbicli tue Latin word was iutruducod, and coiiii>a«"inn it with the cognate word of unotbor ))eried. Hucli is the uso n)udo of dorivution, and, tbough it may be thought ruther dilllciilt for tliinl-clnHH certillciitos, it will be found a useful practice, for in literature the work for all grades of certiflcates must cover the same ground, and will be found to differ only in degree. It muit be acknowledged too, that the tendency of the age is toward a fuller knowledge of the etymology of our words, as it is of the versification of our poetry. II. The meaning of sentences should he clearly understood. Thia in- volves an uccUiuto Uuowledge ol giaminaticiil forms and tiio relation of words and phrases to each other. Owing to the nature of our language, this affords a peculiarly useful exercise. The reasoning powors are continually called into play, owing to the fact that the loss of our graimnatical endings mared for and expected on an examination pap«>r. If, now, the meanin'i of the sentences is mastered, tliat of paraj^raphs, cliajit. rs, and tlie wlio'.e work may be grasped, the general scope of the piece understood, the ma,ia object of the author investigated, etc. III. A great de-J of collateral information mayhegainedincldentallylna reading lesson. Much of it, indeed, is often iiucosHary to tLie tuU unde; stand- ing of the author, All historical allusions and details sliould bo investigate il ; all rites, custv nd beliefs understood. Bomething siiould bo known of the persons and , mentioned, and of the many intorcbtiug facts connected with the hist i^he words and grammatical forms. IV. The author's life, works, and period iti literature, must be un- dorritood. Till) nature of his vritiuf;, his style, hib ojiiuions, his defects as a writer, his contemporaries, and his ])laco in literaturo. Finally, we may criticize the work as a piece of art. Its aim, thoughts, geutinieiits, uud general ell'ect sliould bo investigated. Tlio author's style should be analyzed as depending on his words, his scntfucpn, or his use of figures. Hia language may be chaste, accurate, loose, or antiijnatod, pure Saxon, or mixed with many Latin terms. His use of tigures may i;iakc his stylo simple, elegant, florid or plain. His sentences may l)e long or sliovt, clour or involved, antitliotical, balanced or periodic. Many other nmltirs will, necessarily, be included in a full critique of a poem or liternry production, which, though they have little reference to third class exiiiuiuutions, nmy be found useful to the student in his future studies, and are mentioned here to complete the sketch. Thus we should investigate :— 1. The characters, to see if the author has drawn thoni true, natural, well lofined,— 80 that wo can tell how they would acl and talk uixi •■rail circumstances; jousi stent,— not showing different qualities at (lillerent times, or contrasted with others. a. The descriptions oughttobc oxnmined. Are they artistically drawn? Are they vivid, strong or pleasing? What power of word painting has the author shown V etc. 8. Humor comes next, fa it uatuial or forced ? 4. Pathos, i.e., arousing our deepest feelings— is an important element. How is it produced? Is it true ? 5. Unity should run through a jiiecr, Nothing should be introduced that tvould detract attentiou from the main plan. 6. What invention has the poet shown ? Are his plot, scenes, incidonts, characters, etc., original or borrowed? 7. How the interest is kept up ; by plot, by narrative, or by character? How shown? le it in the incident or characters? VERSIFICATION. Briod nate «b it nd a. must ■t be ledgo lis in- words ffords called •ikes it iou or lation liiuses. useful iiR the to H\ib- itcnces Such I are to ieiinin'4 (( who'.e Lie maiu lallylna evstand- itigatt'il ; ,n of the junected jt be un- ects as a tbougbtfl, or'B Btyl« of flgures. Raxon, or lo Biinple, involved, Bsarilv, be h, though lud useful complete tural, well unstanceB; coutrafited lly drawn? ig Las the iharacters? it element. ducod that I, IncidontB, •acter? If a poom fi read, Uio metre, and all that it includes, shonld be invcitigatod and tested (sou metre). A short poem should bo committed to memory; so, also, should the finer paesaf^es of a louRor poem. This process j^ivcs a wider vocabulary and stren^'theuB the memory beuidos storing the mind with choice expJceMiona and noblo thoughts. VERSIFICA.TION. PoRTiiT l8 corapoaition written purposely to Rive pleasure, and difTers from proKo chiefly iu pitsscsHing a t^renter variety of fl({urativu expressions, a more elevated and peculiar diction, and a meuBurud structure, called Metro. Rhetorical figures are thoso UBod purposolv to heifiliten the effect, to qivG greater forco or beauty to the cxpreBRion. They are very numerous— 300 have been defined )>y Macbeth in his "Mii,'lit and Mirth of the Enplish Lan- guage." — Most of those occuring iu the extracts are pointed out and dotlued. Poetic diction is oBscntially dilferent from prose diction, though some poets, Wordsworth for example, beliovo and write otherwise. There are words that are the poculiar i)ropurty of poetry, which could not be used in prose without affectation of wliat is called flue writing, but which, if judiciously used, add a peculiar grace to poetry. Poetio diction has been distinguished as follows: iBt. It is archaic and nou-colloqulal. The explanation of this is that poetry is more affected bv the lauguago and traditions of the past; that most of out metrical words, which are but few, have already been used in poetic phraseB, have been handed down from one generation to another and are now common property ; and tliat the use of old words gives a (luaintneHs to poetry that calls up the feelings of veneration associated with anything old, 2nd. It is picturesque, i.e., prtfsents vivid pictures to the mind. It prefers images to dry eauineration of facts, avoids general terms, and uses individual or particular terms; it uses epithets for things— ornamental epithets— ad jec- civea for phrases. 3rd. It IB averse to length and is euphonious. This is shown in its use of brief •^axon words, in avoidini^thouseof articles, conjunctions, relativeB, the 's of the possessive, in using tlio Saxon possessive fortlieNormau, compounds for phrases, etc. The diction of i»oetry will depend on its nature. Thus the elevated style avoids everything that is colloquial or common-place and suggestive of little- ness; the graceful or olepant style, uses only what is pleasing, avoiding only what is in any way displeasing; the forcible style avoids everything that is tame; the rsimple Ktyle avoids lofty dictiou, uses figures sparingly, and mostly for explanation, has no violent inversions or ellipBos. Metre is the chief characteristic of v^ootry. Tiie term "metro "means measurb, hence i>oetry is measured coiu^)08ition. The method of measuring has varied with different Uiitions. Thus in English we mean by metre a regu- lar succession of accented and unaccented syllables, but this would not do for Latin, since metro is there marked by the quantity, i.e., the length of the syllable. As a definition uuiversuUy applicable, however, the following has been given : "Metre is the recurrence within certain intervals of syllables similarly affected." They may bo Bimilarly affected, 1st, by accent; '2nd, by rhymo; :5rd, by alliteration; 4th, by quantity; and 5th, by numbering. It is rare to }iBve any one of these used alone; and sometimes all are used together as in ihyming metro wth alliteration. Thus "Apt alliteration's artful aid." Accent is the distinguishing feature of our metre. It is a stress on a sylla" hie in a word. In English we have three varieties of accent. The proper English accent on the first syllable, tho French accent on the last syllable, and the distinguishing accent, to distinguish woren- X tor iue i8 iu&n voice. ,68 be- nifted as pre- wouid ioubic. When r'ithout ; verse. g aJter- u bexa- of King ,of uiue the end iUb of it B unlike, ire alike Rhyme opposed Bt, Fault to pause hymes. t was the noking a ynie, but with skill i art is to s pleasing thing ha« in words. \rBt being r the pur- •espond in s, hence it ae of the! , arranged ; effect, byl , or broad onsonnnts, motion by le voice to mts, Sharp e harmony le occurs in a dracciuR be laboring stag utrain^d fiill in vm ." Tlii« effect la aUo sometinies hciirhtenpfl bj' incrcos- iniif the leiigtii u( the tin . ThuH i'upe — a inattter in all the nicvtivH uf vcmHUatiun— Ium: " When Ajnx strives Bomc rock's hwji' mass to tlirow, The line too labora and the words move blow." Again: " A neolime. 2. The plan or order, the lommencement, the Hi>fhtM of fancy, the dii,'rc9Hion8. 8. NVhether the tone is sustahied throughout, if everylliinK i» natural and suit- a»)le. 4. The nature and variety of the poem, e.g., if an ode, it may bo sacred, heroic, moral, or \j;ay. Tlie stanzas and the ' irsiflcation. ThestNle: 1. Wei^'h the i)ropriety of the terms used by the poet. 2. Examine by what artifices hanuony of sound, of matter, of periods, if produced. 8. Examine the flpircs, note their effect, KTace, cnoryy, r naturalness. 4. Sec how tlie tnui>itiun.s are ctlected troai uontence '.o bentence, and from paniyniph to ])ara;;rai)h. 6. Estimate the kind of style. 7. Investigate, in the same way, the main subioct, the indiviaual tlioujjhts, senti- ments, etc. Apply tUr '.n criticising Shelley's Ode. 5. 0. H: STORY IN WORDS. (Tkia is referred to in the Notes as ''Etymology,"') Rlcbard Chenevlx Trench, (1807— still liviiif;) Archbishop of Dublin. In 1837 he published a liook of poems in imitation of Wordsworth, of uhich ".I'lstin Martyr" is best known. In \^A'\ ho liecame Dean of Westminster; and in 18ery or bitter things. Owing to the fact, however, that many words have assumed meanings entirely different from their roots (see below), Etymology is not always a safe guide. Thus we could have no idea of the meaning of (Zf!»/ittr«? from the meaning of mural, though they are from the same root. Compare also the words modem, modest, model. The origin and growth of language, and the various modes of word-building are points that naturally occur to one in beginning the study of Etymology. All language is sup- posed to have sprung from elementary monosyllabic words cailePe;^^^»"«"^«n' Tonellsb to other languages tA. nex^^P ,, ,p. X. Keltic. elab. 'to What AfPWim- { From Uoman ocoupaUon. ^ .t^atu./i, &c. a.KaltlcI^a-*^ \ HISTORY IN WORDS. 11 )n ro ad he im- ■ing ■ew, pean 1 the sh. rinan. Portu- jEoUo : tho Tett- :t point to iing or ap- 3s of IvJeaa, the case, :)aul. I Oeographi- Divisions. S. Bazon. 4. Sazou Latin. WlilNCH DBRIVKD. From invasion of Saxoni. - ( Prom introduction of -< ChrisManity by tlie oarlr Church. 5. Scandlnaylan. V on of ) y tlie [- To What Arrt.tno. Form the f,'r()uiid-w(irli of the lan|>ruaKe- all the ncccssarica of a lan^uatfc ; all articles ; pro- nouns ; iiunierala ; adverbs ; strong, defective, and auxili- ary verbs; strong pi urali; ir- gular adj8., conjs., &c. Mostly Church terras, greatly corrupted in forms, «, g. Priest, rrovuat, Pall, Pew. Only a few wonh can be traced e. !j., arc, bxsk. This element ^'ave rise to a cunfuuioii of in- 11' (lions. 6. Norman French 7. Modem or Learned Latin and Greek. All tonus of luxury, privilege, h was chiefly the result of the N. PYench, though the confusion was begun by the Danes. But apart fr(un this, we have incorporated fragments of other granuuara with our own ; thus, from the French wo have most of our graimuatical terms ; the plural in s ; the ^for- man possessive ; the feminine ending in pin; the nominative absolutes; inverted com- pounds; the loss of inflection atul the use of tho adverbial companion of adjectives; the future tcnso ; and the siuiulicity of our syntax. 12 KOT^ TO THE FIFTH BEADEB. NOTES lU ^-^^ come of them ihey tollo^'^^^'jS^'^ariatio.i of the mut^ uj ^^^^g,, by- . fl^t^ and «* a ^,^'";S^;f wc may represent ^he e tn ^^^ ^^^^^^ ^,,^ sharps. (c") NUiii^ changes' ue^- ,,„„pn cf. lorn, ^ost. sy^? .:::.. '''' '"T:a^ ant, emmet, ex. n......-^^^_^^^ any proper n^^^^ Fii^^^^." j'^S^^lS^ ^^^ ^ «T'''' .. Extension «>r Gfaer* " triumph'., l^"' ' '^a; lead us to apply ^^^ cunuiug, cai'oru.nilea u«e «^/-. V^«^ ,';,utJness o', ;""^[;1;'e' the new meaumg, e.g., :i. Deterioration W^^rds graduaUj aoqu clown, knave, churU ^^^^}1^^^.[ '"" _.. .„ traced m such words as vd am. do ^ ^ , .^«^ T. figurative acnsu, ""- 5-F^SUrffie-^\t::nK"-ln.-^^^^^^^ .ae.us only, e.i,-, viMOi.P ;imes a word l>a^ J ^.j to expresa ai S"«:S:».-'«' ,-, ,.™,. to >,c *a,....V .r«m rrr'ulK .ud ■« « It: :u;u,c3 to cxvrc,» - ^,^^, , „„t„ric.l Uon,. to >,c *»•■■■• ,Sn;'i«". """ ■*• That tntTu ill V-.. ^"i vom Trench hears evi HISTORY IN WORDS. mW be traceil fp-r boyoiic^ the earliest records. The history of a people can also be bi5ilt up from tlit^ir lai)ti:uaj,'e. Thus we could trace the vlcissitudeB of the liritish 'f'es in the various dashes of our words. Besides these, old states of society, of leariiinjj, old •ustoiiis. theoiifs, etc., can be detected in words they have left us. (See Extract and notes below.) NOTES. Synopsis -i. Information gained from names of l)t)dies of men. These names are of three kinds — (a) those as- sumed, h\h\ oonsequently descriptive of some distiiij^uishin^f quality ; (6) those imposed and assumed afterwards, wtiich, thouj,'h descriptive of a trivial quality only, irradualiy follow the law ol amelioration ; (c) those imposed and itot, aumimed, 2. Words that contain a record of their invention in tiii'niselves. 3. Names erroneously {jrivcn, and so giv- ing permanence to an error. 4. Words whoso form or sound suggest wrontf derivation. 5. Words incorrectly spelled from erro- neous derivation. 6. Words that indicate old customs or former states of society. 7. Words handed down from old sciences now exploded. To these we may add the matter of the remaining paraura|)hs of this chapter of Tn^nch's work, the whole of which should be carefully read. 1. History in language can be traced be- yond records. 2. History of a people can be built up from itslanuruage - as the predominance of the Normans from such words as sceptre, titles, luxury, boor, ox aiid beef, &c.; and that the church ia Latin, and monasticism is Greek. 3. State of civilization before Aryan lan- guages separated. 4. The history contained in individual words, as, church, sophist, romance, dunce. 5. Former systems of religion, &c. — as, panic, peoiiy, hermetic. Cavaliers (Low Latin, cahallus, a horse), the followers of the Stuarts. QaaJfer, j <•.. ^Vicmls— finst called so by Jut-tice Benet, 1650. FrancifcCaiia, <»i si. Francis — an order of monks in lloniish church. Fifth-Monarchy Men-a sect started about l(i.'j4, V, bo believed in the advent of Christ to estahlisli a liingduin since the four mentioned by Daniel were fulfilled. IndepenaentS, or Conirregatlonallsts — Founder, Robert Brown, 15S3. Friends - Founder George Fox, 1648. Tenets, "Inner Light;" reject baptism, oaths, Eucharist and fighting. Rationalists— believe thiit the test of truth is in the human conscience. Croats, of Croatia, in Hungary, conquered by the Magj'ars. Beguines— took their rise at Liege, in the twelfth century. Hussites -followers of John Huss, Calamity (cndo, to fail). — For other words of this nature see Ety. ; cf. frontispiece, John Dory, foolscaji. Expend (pendo, to weigh). Other words indicative of customs might be cited, &a deed, from do, once an imimrtant and for- mal transaction in wliicii the document had to be " siitned. sealed and delivered." Indenture, from denx, a tooth, a dupli- cate document on indented paper ; cf. also volume, style, pen. Signing our name— cf. shak., H^nryiv. " Dost thou use to write thy Uuvne ; or hast thou a mark to thyself like an honest plain-dealing man ? " Four humors, viz. —blood, choler, l)hlegm, and nielanciioly. A man's |)ecu- liar turn of mind was sni)posed to be de- cided by the preponderance of any one of these, hence " humorous " meant notion- ate ; cf. also, sanguinary (saiigjiis, blood), choleric {choUr, bile), i)hlegmatic, lymph- atic. Note 1. Tlie exploded science of Astrology has given us disaster (aster, a star), ill- starred, temjile (trnuio, to cut), in- fluence (ffuo, to flow), consider. 2. An olddoctrineof plants gives us such words as dogsbanc, henbane, ratsbane, &c. A certain i)lant being a poison peculiarly deadly to each animal, cf. also words from names of deities, as jovial, debauch, cereal. &c. N.B. — This extract shouid be very care- fully studied, the derivation of every W(ird mastered, questions will then readily sug- gest themselves. Chambers's Etyniolnyical Dictionary is the best ; every student should have it. >videi»t,» 1 1 M. u NOTES T« THE FIFTH BEADED THE CLOW. i.arkaWp years. luue." He waa CM'J ^«='^"*^^^fled w tH tbc «ta1 -. 1, " « nnem ot tXU"' . .. .liasaUS"*^'* ^ . 11,. wa 1^""^ ''^ «';San *t tunes.^too \^ 1?^^^^^^^^^ ,,e, " Alitor i^^^.^.. droatny, «"\f;^„re true feeluig.,, "m^quc o? AnarcLy, ^ ^.^.^^^ ^^ ..host ari:«es "•"" .^'; f„ii.,ws :- . , ^ . caverns of raui. ^q con- ,,lse w\.|eV i^.i:f. A metaphor i^*^^\i,jvt very fX "tlributil^v^ V'''^^^ ig our laiig^wv-^, . ,y i^ivisible, "'j;''^ .'ui,M, tbuii^bt ^ ttrikiiv' an»thoi, out j ^ ^„^. usau'c }"«^*:. '• .fe too. ilci-ends lU^ «^^^^ ^^, inferior « "^^^'^cttac/ircifis. Btroug sense, as t"£^,,^iyay. Ihis ^ pretty song. ^bvs ^^^^^ t,.r so also is laUgH- J^, ■^ _ ., „ ,r,Pt,apbor, 8o ^ , .rutturai oonneciea ^^>tb li.^i'\^ " oii/rnor()«, i •;.• ^"^ Vistakini? i' i'"^ V' ,t.r,rd:. in ougb. *•■ .k ii'nm 3 o'clock. Pillow- *»"*"'' THE CLOUD. 15 e- It iv he a" ays lusi- iveen .uer. four AH a )£ tbis con- aetbinj: he eign , Fer- "sex aJid y, wbicn ijation is personal \ directly . basis ol it tViat wi; ction 01 » [tcral one. n«in.to^^ ni? laugb- ^»- the guttural ere {ormerl.V "'^Si^V- 1. arc Aug ^^»g^,\S of tUe moun- aphor. Oa \^ See there arc topa of some mountains continually. This ia tha effect of the cold on the pass- ing air. Blast and the intensive bluster are radi- cally connected witli blow. Towers (F. tour) and bOWerS (A. S. bur), both show the tendency to make an an- ditional s>lla))Io hi pronouncing r after a vowel. Skyey — so spelled to indicate the sound. Fetter— fnjm feet ; cf. manacles (manus, the hand). Guiding- French ; correspondinj' English words, wit, wiziird. -cf. wile and guile. Qenii— (Lat. gigno, to produce), has Latin plural in technical sense, and Engli.>-li plural for ordinary sense. Mermaids, syrens, water-x|>riteH, &c. Purple — shows the change of r to I. Lat, purpur. Spirit— (spiro), tutelary (tueor, to guard) deities, as oreades, of mountains; dryades, of woods ; oceaniden, of ocean ; nereides, of the sea; ■tidiads, of rivers, lakes, &c. Bask and busk— the only real reflective verlis in Eng. liask=.ljath (bad) .self (sik), busk=bua-sik — prepare self. Heavens (hefan, to lift), art. omitted. The lightning attracted by the love of the genii (electrical attraetion), rushes after them, and drag.s nie along over rills, crags, hills, &c., with the blue sky al)ove me, while below arc thunder, lightning and rain. Sanguine— (sanguis, blood), see E.^. T^-^ redf color of sunrise and sunset is owing to the greater density and (juantity of atmosphere jiassed through by the " level rays," allowing only the red rays to pene- trate. Meteor— (nicta-ajiro, to lift), bright. Leaps a bold nicta|)hor. Dead=pale, owing to the cfreatcr brilliancy of the sun, and the diffuiion of rays in the atmosphere. Alit, lit and eve are short forms ttiat l)elongs to poetic diction. Its ardors ot rest and love— The gh.w of evening, the time of rest from labor and union with those we love— cf. " Her blue eye sonpht the west afar. For lovers love the evening star." and Scott. *' Thine is the breathing blushing hour When all unheavenly passions fly. Chased by the soul-subduing power Of love's delicious witchery." Campbell. "Evening Star." Crimson (kermcs, a worm). Pall (pallium, a cloak). Second Lat. Dc^th -an abstract noun from deep ; re- lated to dip, dive, duuk. It means here great height The word is so applied fmm the distance that we can see into the sky. Above- an adv,:=:to an atij. ]>hra8e, limit- ing heaven. A common use of the adv. ; cf. " The people here are kind." Brooding dove— (fr. breed and dive), ti strong simile. Orbed (orbis, round). Mortals— {mlural to an adj. is pro- bably from the Freneli. Glimmering — (a freciuentativo, from gleam). 2sotc the alliteration. Beat— It is a ple.asant fancy df imaginative writer^ t<> attril)Ute inusie lu the iniiverse. Collect similar cxpressiotis from The Bi- ble, Shakspeare, Ac. Only — (one-like), alunc, lone, none, atom (at one), are compounds of one, and shov its old pmniuiciation. The final e is tht result of Freneh influence ; the w souno comes from a >trango habit in early Eng- lish of prefixint; w to words, which give.-> us whith, who, iJcc. — originally hwa, hwilch. Whole shows this unnecessary if, as the word is merely another form oi hale, hail nnd lieHl. WMrl and Flee The motion of the clouds makes the stars api>ear to whirl about. Paved — (French Ir.nn I. at. j>avio. to pave) — the rtttcction of the stars, etc. shinin.r through ibe einuds on the water, look.s like anothtr sky below. These refei's to stars; it is too far from its antecedent for strength. I bind, etc.— i. e. the halos .>:ecn around the sun and moon. When the air is sur- charged with aqu; ■ i vapor, each dro]i acts as a prism and refracts tho rays oi li^'bt. Volcano (fr. Vulcan, see Rty). Dim -»• ". comjiared to ii,!,ditnin'jf. Torrent- (terreo, to burn)=boiling, ra?- n"-i^S'.^^:rl THE MERCHANT OF VENICE. 17 1 it lOT It ice, hat !', <^^ arth onae- 13. jta\>^' l^atcr reading lotftV^- , i oi ^^^ tViete « to a P«« froto ■uitea bo8, J cren' ate V'}g^'tccount ^rS^Bpeario. ^.ItV^ousand^^^tt,. .yiicraciea. .^ The great bulk of the wrilingH about Shakespeare arc aa to his life, the characters, dates and Hources of his plays, his metre, his language and his meaning. Many of his plays wei-e published in separate form called ouartos. They were nearly all collected and published in one volume in 1632. This edition is called the first folio. His chief faults are, too little regard fi)r the strict rules of the drama : too grea% a contempt for the common people, or "the common cry of curs ;" a habit of making trifling puns even in serious parts, and perhaps too much wordy declamation. TRIAL SCENE. This pl&y, written early in life (1597) is the best of Shakespeare's comedies. Besides the wonderful delineation of character, which marks all the works of Shakespeare, it has an interesting and romantic plot. A young merchant, Bassanio, in want of money, applies to his friend, Antonio, for It, who borrows it of one Shylock, a Jew. Tlie latter, actuated by intense hatred of the Christians, stipulated for a pound of Antonio's flesh on forfeit of the bond. Before the bond is due Antonio loses all his money and cannot pay the debt. The Jew demands his forfeit. The law of the city allows it. Bassanio, who has Just won his bride, Portia, an heiress, receives means from her to pay thrice the bond,andha.sten8 to his friend's as- »vhereheVlc^2i:^by Act nearest- /^ ^oud, aa we i*"" •"^tiiB in the DO ,. „ing, iB the \ tlurougb alU ^^^^^ ^,« «°tve their ;;efflo,i;a.n^^^^^^^^ See^ '°EtyS'^'^3 - "v,«" and ".seek." ^^2k* '°EtyS>^'^"«/„^ "be" and/^^^f speak, "'guttural k e^.^^ . ^,vc, chur the plural ^'"' ""^^A i e , wHb resolution. Anned-^-«;; ifleation. i^this i^^.^^ methods ot V 2«d. ?»^"^ gg^ Graui- &'"lJe.a..avs-dto-,or »ftr.Srof.^Uve in poverty i»^>« age-*"-' ,. { nie wben •^old ai,'e. ^ ^^ _3peak well oi lu »»fjSSA. lover -.metonymy. «tlV-lnt^meot8hakeHP«;;j-;;,-, »fr«&icalnow ,^,, believing- A I^*«hiir&l'iie crusade- , or r-^-to^"«-^^^^^^ 1 frequently tj^j^turemeai^y f -^^^^ i was used for * want ot an i ^^^ 1 '^^^^ '^'^enS Saxon, l^Se^n^t*^ 1 future teV«,t eprosent indicative ^ \ the use ot the ^ as, .. p^^^an come» ^ oitjf ..future, a . ^^ 1 * proposition. „«> ^houtt*« *S to tnarry hn" «*'■"« e and Jessica a.^ pjountain, l*** teook, etc MUSIC BY MOONLIGHT. 10 )t »• ;in- clo. Tonv lary- W not " co»- sent V*^: X^ botU relation to re. ov wo»« an inflect^ an come* t« ateU.eoltb« S^outsidc ot tuo rd contrary ^ -raw's W *• ■liy notly' Patlnes— (Latin, po^co, to be open,) orl- ally the plate for the Kuu)iuriHt: a Hniall round plato : Hanie as ualen. Ck>ld — Here there is no ngure. It is mere- ly a compariaoii. TbOU— why used? "Thou" has virtually become ol)Holcte in our lauj^uage. The 2nd. person singular is very frecpiently used in other languages, but in English it ia used only in sulenin style and poetry: in both because it is old and venerable. •' Thou," in time of Shakespeare, \ ery often had a contemptuous meaning when applied to a stranger or one to whom renpLH-t should be shown, and its modern disuse may have originated from that, assisted perhaps by the fact that this form of speech has been adopted entirely by one religious sect, the ()uakers. But In his motion, etc. -" Rut," here, i.s Hoinetinits called a negative relative )»ronoun. There is, however, some- thing repugnant to our notions of i^rammar in thus taking the word. It mean -I literally, "except," or "leave out," as we see from its derivation from the old preposition "ut," by prcHxing " be " and adding ' ' an,"— thus be-ut-an —butan—but. But wo cannot by ety- mology justify its use as a pronoun. To say it is a " relative,*' is misleading, or evading the difficulty. Relative and pronominal powers are entirely dis- tinct ; the relative pronoun has both ; "but" has only oue, viz., the relative. If we supply the ellipsis we can, in most cases, explain the construction. TTius, this clause means, " But (i. e. , leave out) that he sings, etc., and there is no orb," etc. ; where " but" is a verb with the clause as its object. We often find, in the growth of a language, imper- aUves becoming prepositions, govern- ing clauses, and these prepositions, again, becoming conjunctions. This is the way most of our conjunctions have originated. It is so with "but"; the word "that," which formerly intro- duced the clause, being omitted, "but" lost its force as a preposition and be- came a conjunction, meaning " unless," or, "save that." Hi^ is probably here the old neuter " his. " The old personal pronoun was— N. — he, heo, hit— he, she, it. 0.— his, hyre, his— his, her, (its). Here we see that " his " was used as the possessive of "it." "Its" was not used till about 1611, when it supplanted the uninflected"it." Quiring -singing in a choir. YOUng-eyed— bright-eyed, like children —a metonymy. OberubimB=cAe!ru&im— the " s " is un< necessary ; the word is plural. Such hannony, etc. -There is also such harmony in our immortal souls, but while we are In the body (muddy vesture of decay) it is shut up, and wo cannot hear it. Muddy vesture, &c. a metaphor ami also peri^)hia'^« °U?.^"« *« l.rorSH^e^Ci^irtaX'^- :Z \ ^.^'"^"Z ..... Pverce. re-o». word. . „ote c\o«e. Were*' re-o r5^ Derive note, ^v-olete JULIUS CiESAR. 21 r. m •i on> tote •y *" oetVc e vt e ftsy t t between fcurbedb> r»t trlono- Je deleft of SoCnsev. ^t m bonor ol baUye*"- ««» ^^' ail «/JJiilumutty "'• o!i when be ioTibat course Aken artos aj C»mr in behalf of Pomiiey, and had been pardoned by Ca>»ar. Follow— i.«. to the rojitrnm (rodo, to pnaw) » pUtfonn for speakers oriifinallv formed from t>he benkt of veHseU taken in war. Lot them— Pleonasm, one of the prona. is redundant. This wax common in old times. Ita ori{fin in probably two fold ; 1st, rhetorical, makinfi: the subject pro- minent by settini; it before the clause containing it ; and 2nd, grammatical, for the sake of prreater clearness rendered necefwary by the loss of inflections. PubllO reasons— (poputiM, the people and ratio, rea8on)=reaHons concernintf the itate. IlOIldered=dcllvereil {re, back, rfo, to give) the n in this word is not radical. See "liquids" above. L0Ver8=f riends. Note the set, sententious nature of this speech. The sentences are short and balaiu-ed and the parts con- trasted. Brutus was a Stoi^,i.e. one who was indifferent to pleasure or pain, and is said to have adopted this abrupt la- conic style. Mine honor— Sliakcsiware always uses mine before h. Censure me In your wisdom^Judcc me wisely, but bo attentive that you may come to a proper decision. Any— It is not now allowable to use ' ' any " substantively for a singular noun. Assembly (ad simul, together), b is not radical. Of C*88ar*S— Tliere is a great difficulty in explaining such expressions as this. llie rule of grammarians to supply a noun and consider the expression as par- titive is unsatisfactory. Perhaps having is the word understood after it, if any. There can, however, be no word supplied after the pronouns used in this way, as, "of yours," etc. Perhaps the best way is to consider them as double posscssives ; a povseesive being used for an objective, owing to a confusion of the Saxon and Morman genitives. Some are treble, as "of yours"=o/and r and s. In "of mine" mine may be a real objective. Less (than formerly), more than I did CsBsar. Had you rather— This had is subjunct- ive and does not stand fur "would have." ^t is the genuine inflected suhj., for which, after the inflection was dropped, "would have" has been substituted. 'Ihe object of had is the following noim clause. Rather is an adv. qualifying had. DlO— An Inf. depending on or governed by " had " (possess.') It means "to live to your dyiJig day/' Than that=:than you had ;— -tiiat Cscsar were living in onler for you all to die freemen (obj. in app. to you.) Who is here> &c.— Anacoonosis, i.e. ap- pealing to the opinion or feelings of the audience. Base— (Or. bninn, to trca«l) Thh is the metaphorical meaning. See Ety. Offended. («ft-/«ndo, to ward) injured. That would -Wo cannot take who as the antecedent here without detttroying the sense ; as we look for a clause of degree after so, we are led to conclu^-..»:-rfc>«sar .an^ ^?he r^^^^^^^ i: \ 8aytogB=*i*;nlv used *'\^''„7te^nintoe^ 'SJorJU n«;*^^titho double («r \^^^dett'» olniaxhns. i* ^^,,^3, (see .how tj" °f\„ the oltixcM W ^„,„ ■•.»°»?.^; ta .t .» '■.";^Si.l.w*"• V,ecomehox«eho^^^^ -f^B-k^ne^y Cro^m;;^*\ace),o{r, ^^^l'^"?t*^Ar-'Onewa vvorun, v»--^ to do him rever _„^„„,. greftt)= ^»«- macister, Ir. '"^^""J^iich we, sieurs, tor tne v ^garta ^P»~ ^^ your I Old E^"K"""\ VVheut^»8*^"? vsas to aoa » ^ ^t, it wa» adopted g became Buei , .^^ j^ ^^as a ^ ^^ lor the «wiV;»,^ ^^d have fF^P^j.and adopted the ly, ^eavun? *^^^^^ieftn l-inal accented e„ form, ;^9m J^ '^o it* '^''oU h gh ^-■. /"olfloS. retains (goue), n'B 'gaining oia 1 ^^^ custom "\,/^^i4 forms of tne ^^^ "^'^^?.^'C^rt^'^%^vf.SvSon of the ■preseatea g ^ the denvu. He deaA • • 'the sly ^^Sr and the comes mere ^„^g. ^^ KING MICHARD II. 23 iu libe ling line) len'> to of tto U think inter- tended here iB to leel bis rev- bestex- ressiona, is, thus, in order jeruadUl ,,great)= khich we. liar, using ord, roes- passions or e. and your tiia mode ol .rether fcW adjuncts In iesiieare. Bucb words aire's time. -Notice the jesar and the advances be- kating exactly It is nost cufl- coupie Biroilw „ong the dead bii^fmeak (to perfonn tlie action), be- sprinkle (chaii^cfl the ohject), between (by), becalm (to ninko), &c. TOU Will . . . the will— a pun or quib- ble on n word, a trifling njjure, often used by hhnkcspcaro, ovon in Holeinn pas8ag;eH, like this. It was the custom of the a)fe. Note here the skill with which he arouses their curiosity about the will by Eretemlinif to wlthbcildit. He, however, eeps it till the last. Tlie will g^ave the dtizens 75 drachmas ($15.) each, and all his walks, arbors, and new planted or- chards on this side of the Tiber. This was a powerful instrument in the handH of Antony. That day— on that day on which, Ac. The Nervii, p number of the tribes livinjf on the Scheldt, whose country was after- wards called liel^'ica. Antony thus as- sociates the mantle with one of Cas- sius' ffreatest achievements. Cursed steel— an inverted epithet or trope. A lljfiirfl. in which an adjective which properly belongs to one tnin)if is applied to another. As rushing— Supply if: a metaphor. Resolved — to be relieved or set free from all doubt ; hence, to be assured. Aagel-iangelus, a messen^cer) ; i.e., Cm- sar thought Brutus as perfect as an an- gel. Crosar is represented by Plutarch as having a warm friendship for Brutus, which, indeed, the deluded patriot re- turned. Most unUndest— Double comparatives and superlatives were very common in the time of Shakespeare, when greater force was needed. For . . . heart, and . . . fell— Note the rounded structure of the impa8.<«ion- ed oratory in the two parts of this sentence. The sense is k> pt back till the last of each part, which ends with a strong expression. This is called the periodic style ; one very popular with Roman orators, and imitated here. It is suitable for lofty declamation, but wearies if continued too long. It i-s well contrasted with the abrupt, curt, and cmmped style of Brutas. Statue— a trisyllable. Probably Shakes- peare wrote " statua." Ban hlood— cognate objective: ran is intransitive. It moans the blood of 0«b- sar, with which it was sprinkled. PaU —used In a double sense ; antana- claHiti, a more digniflod form of pun. FlOurlshed-triumphed, exulted :-amet' aphor. Dint— a blow, or mark of a blow ; here, impremtion or influence. Pity —same word as piety. Words of 8rd and 4th fiatin periods. Behold -To hold by or near, so as to get a close view, is the primary meaning. Traitors, treason -(^rana-rfo, to give). lie is now sure of their sympathy, and boldly u^es these wohIh. Note that the word "traitors" comes last. PlOOd — metaphor. Private— no doubt emphatic on account of the sarcasm. So with the word reeilion of Wat Tyler broke out, the leaders of which are not dealt justly with in this play of Shakespeare. Richard's reign was weak, and hence full of trouble. In 1898 he ■ ♦^.>. V. ♦ ■ rmmmmmo*' ;,at,ig Tsr» 24* . . i^-.^anASedfl I' A *v>n Duke of SChe'^i''* a" *S'icended the K^to'^aWn murdered la Pon ''n^S^^'lvhatis the literal meaning^ 0* Tbe oldest t has Bin"® . a on" i» xngo) i^^\> 1 19 CUBtOUl- itrong sense cbaracter ol ?ate by their I Clarence, l>y tbe murderer* tTewkesbury. ther, . the Duke of Clarence. On the death of his brother, Edward IV., he became Protector, and in a month after was crowned king by a subaer- Tient Parliament To secure his posi- tion, he declared the marriage of his brother invalid and his children illegiti- mate ; indeed, he is generally accused of murdering the latter in the Tower. His crimes at length turned all parties against him, and ultimately Henry of Richmond, the heir on the Lancastrian side, met and slew him at Boswell Field (1485). Qborob, Dur.B OP Clarknck. " False, fleeting, perjured Clarence" was t ther of Edward IV., and of Gloucester, after- wards Richard III. We might search history in vain for such another triad. Clarence and Gloucester both married daughters of Warwick, the powerful "king maker." In the contests be- tween the latter and Edward, Clarence first all ed himself with Warwick, then deserted him and joined the king. Still later, he joined Warwick once more, after the alliance of the latter with Margaret, but finally deserted him when he saw popular feeling turning from him. So great had been his treachery to every side, that we cannot regret his execution by his brothera : a just death for the man who murdered the noble young Edward on the field of Tewkes- bury, before his mother's eyes. Earl op Warwick (Richard Neville). This celebrated man occupies a promi- nent positior in the Wars of the Roses. Belated to the Duke of York by mar- riage, he fou^^ut for him in his attempt to wrest the crown from Henry VI., and at latit succeeded in placing Ed- ward, Duke o! York, on the throne, 1461. Displcf'Sed at the marriage of the new kiiJt; y/M\ Elizabeth Wood- ville, he held ak'of from the court, and soon after married his daughter to the DuKe of Clarence, the heir to the throne. He then allied himself M'itli Queen Mar- g»ret, and arranged a marriage between er son Edward and his daughter. This combinatii^n drove Edward from the throne, but getting assistance from Burgundyj he renewed the struggle, and Warwick was defeated and slam at Barnet. 1471. "That as I am," &C.— an adverbial clause of degree to " so full &c. " "As I am,' «&, is a contracted form of asseveration or oath. It may be con- iddered as an adverbial clause modifying "That . ,. I would, &c.," or the ellipsis may be supplied thus, "I aflUrm or swear that,'' &c. World of happy days— We use world la hyperbole aa equivalent to an im- mense quantity— all in the world, or enough to fill the world ; but, here, it stands for life in this world. MethOUght— Analyze this clause. Give other such verbs. Was embarked— Why "was"? Why do we use " have" now ? Burgundy— where ? How is it connected with the wars of the Roses ? Tempted— The literal meaning is to stretch out, hence "to try." See Dic- tionary, Hatches— oors that cover the hatch- ways or openings leading from one deck to another. Here, it means the upper, or hurricane deck. Tower— 1 «., Tower of London. Mention some historical names connected with it. Heavy— sad, full of trouble— a meta- phor. "So heavily, in first line." Wars of York and Lancaster— Ori- gin ? When ended ? Befallen us—" Be " here gives a transi- tive force. Giddy footing— literally, shaking. Here causing giddiness— metonymy. That thought—" who " would now be used, as the "we" cannot be limited; "that" is more euphonious, however. Tumbling— literally, falling awkwardly, or in heaps ; an expressive word here. Jewels— literally, a little joy. See Dic- tionary. Inhabit— is now transitive. Deep and main— are examples of a poetic habit of referring to things by epithets indicative of characteristic qualities. LeiBUre-literally, permitted ; spare time. Yield the ghost- literally, give (up) the spirit ; i.e., to die. Envious— literally, looking at begrudg- ingly. Here it has the meaning it has in the Bible— with ill-will. Panting bulk — gasping body. Tempest— (Latin tempxis, time) ; liter- ally, the stormy season. Melancholy flood— The allusion is to the mythological river Stj'X, that flowed round Hades (hell), over which souls were ferried by the grim ferryman Charon. Stranger soul— a poetic enallage; noun as adjective. Warwick— Give a short account of this famous man. Why was he called the king-maker? Monarchy — kingdom. What IB l.» present meaning? Afford— literally, ad-forum, to bring to market ; here it means, "to yield.' A shadow— " shade " and "shed" are three forms of the same word, Anglo- Saxon shadu ; " ow" is from the " u." Saxon final vowels became " e " in most cases— hence, " shade." He alludes to Edward, son of Henry VI. ^OTES TO THE ^1^^^ ^^ . to wonder 16 »^iphone,w JO count lor •"falsest** J;*"^\antagenet. .,jibiii8, ^Jl^f^i-Fvencb, irotn Latm ^ . . ..f bence the old v„r to wonder &t, " *T' ,K »eU b«n. see «>» «jl »veW'°'^.i'4mne,MtMeu^ ""J 1 M Vl? "V tor wW* *'' "^ jivoi-ce <",r^ Secretary »',„ Hetook .iBreosi""* '" „ k„»ili- «*^^"'^^le of Cloves. Henr^Bj^^ett. * «^W^.^nulen extended t« ^^ o£ tbe queen HAMLET. 27 d >o It loo ing be- leta- is » m^. sitiOB ning" her It is dia- oun. An yon weep—" II you weep." it is originally tiie same word as "and." " And" was used to join clauses, wliilo the condition was expressed by the subjunctive. When the mood endings were dropped, "if" was added to "and," thus— "But and if that evil servant ahall say in his heart " Does— This is the intransitive verb "do " (dugan)~to thrive, which we now use in the infinitive in— "How do you do." The first "do" here, is the transitive verb, used as an auxiliary. (A. S. don). I know myself now- 1 know now what to depend on— wherein my true happV . ness consists. Pillars- what figure ? A load (which) would sint— it is un- usual to omit the relative pronoun thus, when it, if used, would be in the nomi- native. It would only be allowed in poetry. Honor — is in apposition with "load." That hopes for heaven— i.e., he must, to bear it, be tempted to commit crimes that would bar his hopes. The omitted part here is necessary for the explanation of the change from "a peace," "to play the woman," He is infonned that his fall is the subject of talk, that Sir Thomas More is chan- cellor, that Cranmer has returned and is made archbishop, that Queen Anne l8 publicly recognized as the wife of Henry ; and finally Cromwell assures him of his aflfection. Honest truth— frank truth. Dull, cold marble— c/. Gray "The dull cold ear of death." Metonymy. Mention — literally, bringing to mind. See Dictionary. Depths and shoals— a metaphor. Mark but my fall— only take note of my fall. "But" is an adverb. Angels— 5ce Bible and Milton's " Para- dise Lost." Love thyself last— it is an ordinary practise for nien who have failed in their aims to treat their friends with homilies such as this, and Shakespeare has here shown his insight into human nature. Corruption — iniquity, double dealing, such as he had used himself. Gentle peace, &C.— Do not fight against envious back-biters, but caimly live their scandal down. And, prithee lead— the sentence is not exi)ressed. He suddenly asks his ser- vant to lead him in. Prithee- pray thee. Lead is infinitive. I served my king (with which)- this speech of the defeated cardinal is a mournful commentary on '• vaultini,' ambition which o'erleaps itself." Naked — a metaphor. Exposed. e-keep- »" is the inally » '—at the to flne— g on Ml® >hor from ce to the has hurst your true inal accent, lish accent, caused by noes. It " •oustruction ,i9 Bcntence- a This IB*" or emptJcal 8 pUy ia^*- 8aiybi*»ii»- HAMLET. Hamlet is one of Shakespeare's greatest tragedies. Critics have not agreed as to his real character. Some maintain that he was really mad, others that there was too much "method in his madness." The play is remarkable for the great number of lines and expressions that have become proverbial. The main features of the plot are as follows :— Hamlet, King of Denmark, is mur- dered by his brother, who, in two months after, marries the widowed queen and assumes the regal power. Grief for his father's death, shame for his mother's conduct, and suspicion of his uncle's guilt, act powerfully on the mind of the young prince Hamlet. Brave, honorable, and scholarly, he sees the duty of revenge, yet cannot make up his mind to take it. Indecision is hia bane ; the duty, plainly seen, is too great for him. He is warned by his father's ghost, and convinces himself of his uncle's guilt by the stratagem of having the murder of a king by his brother played in his presence. He becomes or feigns to be mad. The king, to get rid of him, sends him to England, but he returns ; then the king arranges a fencing match between him and Laertes, in which Laertes was to have a poisoned rapier. To ensure success, the king provides a cup of poisoned wine for Hamlet. In the fray, after Hamlet had been wounded, the rapiers get chrnged and Laertes is slain. The queen by mistake drinks the poisoned cup, and Hamlet, before dying, stabs the king and makes him drink the dregs of the poison. This soliloquy was said shortly before the private play, and Vfis overheard by the king who was spjdng to find out if Hamlet's madness was real or pretended, or if-«au8ed by love for Ophelia, sister to Laertes. NOTES TO THb *"fB u 28 , in drama, 'W^®" P^«*^^^mtttedto metnory. meaning TO W, ftC-r The >«^^?^« P^\80 iB the * "to Uve, <^ . a that >^^'Z» cift«»« J^a (is nobler)- 1.^^° metaphors T»*nfuS^«^^P^°''' ''Soubles" are blended ^"i^' 1st. A s^a «^ ^o be . aud f <>r«« ■' "•rfma--' ' ta^®.,*Tk in upo" V'«»^\CSeB ^Wch break in ui a host ol trouui ^^ * 8 like a ««^;-et)-T^« '^^^ tCsenae, bor"- V, Placed before "• .. ...^^ with the «r'irance Ta *f ^coU o^«P«'"' sj5iriw^Sou.bUe. ..^, .'41 it office— bere 'yn^y. ii i*- y,heu Oa»t o'v^Srety. . „ then"*'*"' (tbelstedji suggests w^^^^.Q„^ rnfvery'^lruUtul ---i^uB ot ol Shakespeare, viz , ^^ '^^S':-l^etereacboItbe-oaig^,,V. ^-saineasrcspei-v, ^^^^^ « I ^'P^^Si^al meaning. ^'.'^ eonsidera- letapbor, iru» ^^^^^, --- "'^"""nb eS Is the clause.- -^^ «*«*-l'1^'ay come," &c. ^ause dreams n^*^ „vmv. eflect w^ ^^^tr^ SSo P'^^Scumstance- ^*=«'^*V consideration, circ ^^^^ ^t jy,8pect-con ^^.^g that ^ Uterally, soi ..^y^at 01 tiro*-"' ' ""■ \netapbor,ova^ of aCtlon .^„, Lose tne St^ tbe na^e ot ^^.e longer ^^Sely exemplifte'i ^gt This is «t"kmg^y conduct ot »» ^eak. undecided ^„ «,edt '''^^^^'^ ^*.fsfto't&\bou|^^^^^^^ ^^^^ f r cSfyou a"aly^« «;,^.Sology.- Klxtract,We^J^,^4^^^^^ Svemeaning^^^^^S . ^f J^res, ob- vrtis a col- student at aafireii* !.l THE BATTLE OF WATERLOO. 29 ay e- eta- ance on ot ssionii ns ot inga *^ .oi^avy- fiaea a* r inixea aiisition. _are no f action, d in the Hamlet :ven u»edt ougbts n^ ,ery clanso tvmo\ogy.- rurative, ol I out covi- janings. r« t on was ft co^: U" student at ^K^een satire V J travel he, ir "Childe Harold" (Harold the Knight), his greatest poem. It was hegun in the Archaic fotm of Spenser, and is written in the Spenserian Stanza. Th« chief pas8ag;es in it are the "View of Rome," the "Dying Gladiator," the "Address to Ocean," and the " Battle of Waterloo." The latter occurs in the 3rd Canto, and hence has few obsolete words or anti- quated meanings, as he seems to have abandoned these in the latter part of the poem. Bj'ron tried Drama too, but even the two best of his Mysteries and Tragedie8-"Cain" and *• Manfred," — have little true dramatic power. His heroes are all alike, and are merely £!/ron under different aspects. He is called a 'subjective' poet, not 'objective,' ».«.: he could not get rid of his own idiosynerocies in drawing his charaetera, but he was "Himself the great orig^inal he drew." " Don Juan," his last great effort, is a brilliant poem, but debased by gross sensuality. He died at Missolonghi while aiding the Greeks to achieve their independence. Byron possessed great skill in versification. His metre is alwajs gracefuJ, and his 1)oems abound with passages of the deepest passion and elevated tliought, couched in the oftiest diction. He is essentially a poet of passion, and is one of the most popular with young people. The celebrated French Revolution wa.s the outgrowth of higher ideas of liberty, that spread all over Europe in the 17th and 18th centuries. In France it assumed the form of a revolt of the nation against a long age of oppression and tyranny. All the world sympathized with the patriots until, in the intoxication of success, they went to the uxtreuie of licence for which the only remedy was a military despotism, lliis soon came in the leadership of Napoleon. Periods of literature are found to correspond to these great national convulsions. One result of the Revolution was a great literaiy activity. Men's ]>a8sion8 and energies were ai-oused. Among poets some sympathized with the ruling class, while others ardently lonj^ed for liberty and cheered the patriots on, until offended and grieved by their extreme licence. Of the latter were Byron and the chief Knglish poets of his day. See Literature Primer. Some other peculiarities of the *ime may be alluded to here : 1st. The Archaism, consequent on a renewed popularity for old authors. Among other works causing this resurrection of primitive barbarism in this highly artificial, philoso- phical age, may be mentioned the fiction of Macphcrson (A.D. 1760,) in the so-called "Poems of Ossian," an old Keltic writer. Next came the forgeries of Chatterton, and fin- ally Bishop Percy publishei^. 'lis "Reliques of Ancient Poetry" (A.D. 1705), a book that did more than anj^ other to give permanence to the clKuige of st^le in all literature. One result in England was the revival of a knowledge and appreaation of old English authors, as Shakespeare and Spenser. The latter bc^coHie popular. Many poems were written in imitation of his style ; such, in the first two Cantos at least, is Cbilde Harold, from which this extract is taken. 2nd. A narrative was introduced. The^favorite style was the Metrical Romances of Scott, Byron, etc. * ^ f yrd. Ballad writing became popular after Percy. Yaah Stanza in this piece consists of nine lines, the last of which consists of six feet instead of five like the others. What are the name, origin, iteculiarities, effect, and who are writers of this stanza, are questions that naturally suggest themselves. (See Versification.) Why is 80 much of our poetry written in iambic feet? Why in pentameter? Could thispoemhavebeen written in tetrameter? Could 'Paradise Lost'? Name and describe sonie other famous stanzas in our literature. What is riding rhyme? blank verse? ^Vhat are the essentials and varieties of rhyme? When was it introduced? What did it supplant? What use is made of accent, of quantity, of alliteration, of onomatopoeia in poetry? (See Versification.) Name some of the varieties of poetry, with noted writers of each, in our own and in any other literature. To which class does this belong? (Narrative, descriptiw or metrical romance.) What ^ere the characteristics of the age of Byron in poetry? ,f travel .-, - STANTZA I. BBlglum'S— personification. But remem- ber that in i^octry the Saxon possessive is frequently used where in prose we would iisetheNomian. Tliis is owing to two rea- sons : 1st. It is Saxon, and, as such, it will be used by poetry, which retains old forms. 2nd. It is shorter, and poetry seeks condensed expressions. The Sax- on ponessive is now confined to ani- mate and personified objects. ^ r. rrnv FIFTH HEADER. ^OTES TO THE ,,^.... (a P^onate uDwitVi a double eptzew^v r- . thOUSand-Wbat , .^petition). ^ . . ^., „,e this in Pi^seT »"«• STANZA n. I case-ending^ „ ^^^ ^"'^^"fl^^ave" and o^3?t. thS'd^ersr' ^v^^e^^f L detecte.- :'.!rS,'tT object carJ J^/Ui. nfTpoetry.t^?;^f;Soie common, ^■^ to rbvniewitb ^"^^nciationtbat nesB to poetry tnai, j^j^e. uBcdbere? STA^lZA 111- ^ . «.fl nlcHe-AdjectivesarefotJJ^^^ Window dnicne^^^.^g ^? any verb, from no^"!ve' existence of any ffi?'^d" iB not verbab ^^.i,^ ^ic- «^^icbe" is French, frotn ^^.^j^e re- , c^io^^-oyster^l^en-^^^^^^^^^^^ Braf, »^L,va8 decided. ^ ^gans «^JVh^-^a ^•soi'^fi'^^Skny acute to. ^^^^tb a berrin| ^^"f ^Stiment ot catch the sound, as v . , . .^n^d. Une. STANZA I^;^ , Eyes-looks. A' next line. g,j,^ZA'.V. 1 \ 1 """ .. Tliestruc- tore ol the ''"^""The ropelW"" °' *^ ^tf. 4 VT ■ STANZA Vt^^^ ^^*iSi« -lied jx«-- «^'ere ^f xueans e''P,S'« Jv t-Tbis animated sty^eg, ^IJ^*.^-?'^?^ called vid<^ vpre by me*"« •^^'ft 's very e««f=SS the gay. 8i8. " 'dden transition "^^ ^^^ sound 9 5r ball-rooni to the omm ^^^ ^^^^ the cl"»«^."' p descn-es notice , ^ poNveriul inn ^^^liable y»*^ries mmm THE ACADEMY OF LAGADO. LOOUel— i.e. Donald Cameron of Locliiel, who aided the Pretender in 1745 ; cf. Campbell's " Lochiel's Warning." Alb]ni or Albaln- the Keltic name of Scotland used in poetry. "Albion" is probably another form of it applied by the French to the island of Great Brit- ain. The root of the word is "alp," a hill ; cf. Alps, Albania, Albany. There seems to be an attempt at imitative harmony in this stanza ; the words ending in "1" or "11" are nu- merous and allow the voice to dwell on them, thus imitating the drone of the pibroch. Saxon — The Highlanders and Celtic Irish still call the English "Saxons." Noon Of night- a metaphor. So flll'd -i.e., when they hear it. Evan's, &C. — These are perhaps tj'pical names, or they majr refer to Sir Kvan Campbell and Lochiel. It is in keeping with the ordinary custom of poetiy to prefer special to general terma. STANZA VII. Ardennes— Where is it ? Tear-drops— a personal metaphor. If aught— epanorthosis. Fiery —metaphor. Valor - nieton> u'v. STANZA VllJ. Last eve (beheld them) in, &C. Magnificently— It is an expedient in imitative harmony to represent large size, grandeur, &c., by the correspond- ing length of the words, aa here ; c/. Cowper's : — " Oh for a lodge in some vast wilderness f Some boundless contiguity of shade !" ad Shakespeare's : — "The multitudinous seas incarnadine." Rent— cleared away. ClOUds— here a metaphor for smoke of battle. Other clay— metonymy, material for product— corpses. Red— bloody, suggested by the color— allusion. Blent — blended; so spelled to rhyme with pent, and rent,— quite allowable and usual in poetry. THE ACADEMY OF LAGADO. con- sud- JONATHAN Swift was an Iriah parson, born 16€7, died 1745. His first noted work was the "Tale of a Tub," an allegorical satire on Christianity, under the similitude of three brothers — Peter (Saint), Martin (Luther), and Jack (Calvin). His "Drapier^s Letters" made him veiy popular. He wrote for the purpose of getting himself pro- moted and his failure made him morose and misanthropic. He ultimately became insane, and died in a hospital which he himself had built. This extract is taken from " Gulliver's Travels," the most celebrated of Swift's writ- ings. This work is a bitter, unscrupulous satire on public men of his time. It is a scornful mockery of human vanities, but is too full of venomous hatred and indecency. 'I'he allegory, however, is very captivating. Out of their senses — "We see the hu- mor and sarcasm of this when we read what these men were proposing. Melancholy— Give synonym. Which law has the meaning followed? From what exploded theory ? Ministers— Literal meaning? Account for its amelioration. What is its mean- ing here? What ministers has Canada? CMmeras— "See Dictionary. The word is generalized, and means any wild, idle fancy. The sarcasm consists here in implying that mankind were so debased that they looked upon these nobler schemes as things tnat never entered into the heart of mau. Academy— literally, a garden; the .jlace where Plato taught in Athens : hence a college, or hit^h grade schooL Versed— literal'ly, knowing all the turns swell inforincd about; conversant'^ familiar with. Here again we have a piece of irory. Vices — (vitiuin )=e\il qualities; vice (vici8)=cha,nge ; vice (vitiii)=a, clasp. For these words, see Dictionary. Give examples of other such heterochjna- mic words, <. e., words of the same form from different roots. A Strict universal resemblance- Of course, not so. The resemblance is only metaphorical, i.e., fanciful. SenaXe— (senex). Any deliberative as- sembly is meant. Certain— meaning ? Sitting— meaning ? Cf., sederunt, ses- sion. Sat— meaning ? Lenitives— ften/*, soft), a mild laxative; something to ease pain. AhStersives - (abst-rgo, to cleanse). Medicines to clean iway any impuritj . CephalalgiCS— C(}r, kephnle, the head ; and a2^o«, pain), remedies for head-ache. l0teTiCB—(icteni8). Kemedy for jaun- dice. v.- 32 NOTES TO THE FIFTH READEll. m ApophlegmatlCB- Remedy for phlcgnm ; cuuffh remedies. There is a sly humor in stringing these long terms of the physiciana together thus. Shorten debates, etc.— Notwithstand- ing tlie satire, perhaps the only effec- tual means of doing so. Short and weak xnemorieB— irony, of course. He means that they have a convenient memory. It is a euphemism for saying they purposely forget or C/., his own case for a key to prime minister. "4 neglect, this. First minister- t.e. preaier. Coins— What two words have we spelled this way T Levee— literally, rising^a morning visit ; an appointed meeting. Contrary— Thi.s would compel a man to speak against himself, which of course would clip the wings of many orators. LETTER TO THE EARL OF CHESTERFIELD. Dr. Samurl John80N,( 1709—1784). The son of a Lichfield bookseller. He was edu- cated at Oxford, after which, as his father was poor, he began life as an usher or tutor in a school. Failing in this, he became translator to a bookseller. Next he tried a school of his own, which he started with his wife's money, but soon gave it up, after losing all his money. He then, in company with his pupil, David Garrick (afterwards the celebrated actor), travelled on foot to London, where he spent many years as a literary hack. His "London," a satirical poem, first made him known : then followed the "Life of Savage," and another satire, "The Vanity of Human Wishes." In 1749, he published his tragedy, "Irene." In 1750, he started the "Rambler," a periodical in imitation of Addison 8 "Spectator," which was soon discontinued, and, after some time, succeeded by the "Idler." His celebrated " Dictionary of the English Language" -was his greatest work, occupying him for seven years. It was the first book of the kind in the language, and was necessarily imperfect. In derivation it is defective— the science of Philology, which has thrown so much light on the relation of languages to each other, being of later growth. ' * Rasselas," an Abyssinian tale, ' 'Journey to the Hebrides,* and the "Lives of the Poets" are his chief remaining works. In 1762, he received a l)en8ion of £300 a year, and from this time onward we know his life more intimately iihan that of any other literary celebrity, from the admirable biography of him by his admirer and companion, Boswell. Among his associates may be mentioned, Burke, iJarrick, Gibbon, Reynolds, and Goldsmith. His style is well known. The long, pon- derous Latin words, the careful antithesis and even-balance of the sentences, mark the style, called after him, "Johnsonese." Cliesterfleld, Philip Dormer Stanhope, Earl oL A statesman and author, noted for his brilliant wit and polished grace. His " Letters " to his son, are celebrated. Johnson called him "a wit among lords, and a lord among wits." The World— Addison and Steele pub- lished their celebrated " Spectator " in 1712, a species of classical periodical which Johnson attempted to revive in bis "Rambler." At the same time Edward Moore started his World, as- sisted by a number of the literary lights of the time. Papers— articles, a common use of the word. It is by metonymy— the paper for what is written on it. Address — manner of speaking or acting towards others. The French phrase is "the conqueror of the conqueror of the earth." Chesterfield is spoken of as having conquered everybody by his ex- cessive politeness. Pride nor modesty— His pride would not allow him to endure the indignities lie received, nor would his modesty allow him to renew bis suit when once repulsed. Uncourtly— In Chesterfield and Johnson we have probably the most polished ard the most "uncourtly" men of the Verge of publication— Johnson refers here to his celebrated Dictionary, pub- lished in 1755. The Shepherd, ftc— He introduces this classical allusion by way of uxplanatiou of his new found idea of a patton. It is metaphorical, as is the following sen- tence. Note the sarcasm here. Had it, JCC— Notice the careful balance and contrast in the sentences following. Cynical asperity— Tlie Cynics (fydn, a dug) were a sect of Grecian philosophers founded by Diogenes. Their chief char- acteristic was a severe asperity, an in- difference to pleasure or pain. If leds be possible— an example of epanorthosis. Notice with what skill he leads gradually to the close in the last sentence. .-<»W1MM->'«tMMi>'>4#<'MtMW?:n4*.^lM«IM II k4nh mm CHAUCER AND COWLEY. 33 TO HIS GRACE THE DUKE OF liEDFORD. On the accession of (Icdrfjo III., the war of i)olitical parties was carried on with KrotA aniniosity. Periodicals, instead of beiny "li'^unt literary essays, bccauie violent iH)liti- cal publications. Smollet stiirted the Jin n in defence of the jfovernnient in 1762, and at the same time Wilkes started the North Briton, which caino to a violent end in the celebrated "No. 4.')." Kour years later a series of letters appeared in the I'tiblie Advertiser that created a i^ViidA, sensation ; not, however, till 17()S» did they attract universal attenlioji. From tliat date till 1771 tliere appeared sixty-nine letters, sijjned •* lAn/imx," the antlior of which ha-s never been ascertained. Sir Phillip Francis ha.s perhaps the best claim to that title. It wius seen that the writer nmus a man possessed of all the secrets of the ;;overnment, ami many in \\\\i)\ authority were suspected. The letters are peculiar for their power of e.xiircssioii, cuttin«: sar'ciusni, stronic invective, and unscru|iulou.s lioldness. They are, perhaps, sometimes too hij,'hly wroujjht up with antithetic rhetoric. In this one everv sentence contains a stinyinjf satire or irony. Bedford -The fourth Duke of Bedford, a noted statesman (1744-1771) ; his chief literary work was his "Correspondence." There liavu ticen two lines of Dukes of Bedford in history ; the first ended with the celebrated KcKcnt of France in the time of Henry VI. ; the second, the Russells, a collateral family to the first, dates from 1094. The prominent posi- tion of the Russells in history, however, dates from V>7>0, when the earldom was received. The most noted in history were Lord Edward Kussell, in time (If William III. ; Lord William Ku.ssell, one of the most glorious martyrs of English liberty, beheaded by Charles II., 1683 ; Lord John Russell at present. Insult — He means that Bedford had suffi- cient intelligence to know that he could not deserve a compliment. Nice — scrupulous. Irony -he means the opposite of giving offence, i.e., by praising him. You have done good by stealth ; the rest is upon record -The rest, i.e., all that is on record, or known, is evil. Notice the effect of these short sen- tences. For speculation -i.e., as to what good you have done. We may trace, &c.— irony. Besides the sarcasm in the next para- graph, notice the art shown in the struc- ture and variety of the sentences. Compare — Here we have a long sentence consisting of contrivsted qualities. For compare —an exani- he ex- greater clearness the word ' is rej)eated after a digression pie of anaphora. Constitutional duty -which l)lains below. Violence of faction- i.e., would not pander to the rabble for the sake of popularity, nor basely cringe to the king to aid him in acquiring new riglits Purchase and sale of a horough— Political momlity was then very low. Bribery of individuals and of whole con- stituencies was common, and as we learn here, openlv avowed. Little tyrant rf. Oray, "the rant of his field withstood." here "petty." "Bedfoul" borough. Insulted with virtues -i.e., ing them attri))uted to him. In consultations— To have known this, he must have been in communication with some one engaged in them. Notice that he uses the antithetic style or contrast in paragraphs as well as in sentences. Point out the sarcasm in each sentence. Pick out ironical expressions. In alluding to the loss of an only aon, does he go beyond legitimate criticism 1 Is the style of Junius latinized or Saxon ? (Count over the verbs and nounn that are Latin.) The derivation of the Latin words should be known, and their mean- ings explained by synonyms or defini- tions. Pick out strong short sentences ; balanced ones ; antithetic ones. little t> - It means was his by hav- CHAUCER AND COWLEY John Drydkn, (163! - 1700). The most celebrated poet of his day. The leailer of the classical or French school of poetry. He was born of Puritan parents, but after the Restoration he became a Roman Catholic. His literary career, exce{)t a eulogy on Cromwell and another on Charles II., began with his " Wild Gallant," followed by twenty-seven other dramas written for the newly opened theatres. These were all grossly licentious, pampering to the low moral tastes of the wicked court, and were written in oraniped rhyming couplets, in which he maintained that dramas should be written. His "Annus Mirabilis" on the great fire followed. This is also his critical age ; hia *' Essay on Dramatic Poetry" being issued at this time. In 1670 he became poet laureate. 84 NOTES TO THE FIFTH llEADEH. I n PI He next aj^poarH as a utitin'sf, and piiblislied ' Absalom and Aehitophel," n poHticaf satire against Sliaftesbury. Monmouth, amllJiickitHfliam ; "The Medal," ntfainst Shaftos- b".ry ; and " Mac Flecnoe,' a>jainst a rival j>oot Shad well. We next hn ve a HcricH of relig- ious poems about the time of his conversion to Catholicism. " Itelijfio Laici " and the "Hind and I'anthcr," are in defence of the Cntholie Church. He has been accused of interested motives in his sudden chantjes from IMiritatiism to Kpiscopacy, and from that to Catholicism, and always at a time when it, was to his worldly advantajfe. He next a|)i)ears as a (rrokslntnr Virgil, Juvenal, and Horace, being rendered by iiim after the accession of William and .Mary. And finally ho wrote, in ituitntinn of his loved dassicH, "Odes and Fables." "The Ode for St. Cecilia's day" is one of the fitiest in the Iangua(,'o. It is founded on imitative harmony, and illustrates the i)liancy of our lan^juaue in ilei)ietinj? ])arision. His " Fables " are I i(;entiouH. II i.s style is full of K'ludy mannerisms, empty phrases, foreifjfu words, classical (piotations, and the artiHcial versification of the French school. Geoffrey Chaucer the first u^reat Kn^'- lisb poet. His i,'reate.st poem is the "(!anterl)nry Talcs," liut his works are very voluminous. Morn \',i2S. Abraham Cowley lorn l«ilS. A cele- brated writer of amatory lyrics. His most noted works are the "Davideis" and his ''Pindaric Odfs," that is, ir- rcf^ulur odes in imitation of those of I'indar, a noted (Jreek poet. Cowley's style was sjjarklin;; and witty, and made him very poi>ular in his day. Homer the ^'reat Grecian Epic wricer. His poem, the "Iliad," is the ^'reatest epic poem ever written, and is the model on which all others have been formed. Virgil-The Roman Epic poet. His ".I'^neid' is written in imitation of the Iliad, and connects the Trojan hemes of that poem with the early history of Italy. Horace- a celebrated satirist and ode writer of Rome, noted for the j,'race and vigor of his style. Lora Rochester- ('Tno- Wihnot), one of the i)rofligat(! courtiers of Charles II. A great poetical genius, but his writinga are full of brutal coarseness. Catullus li Roman poet. Not harmonious —Dryden did not know enough of old English to be a couipetent judge of Chaucer. He is wrong here. Chaucer, in imitation of the Italian, has sometimes eleven syllables, but mostly ten, nevernine. Last edition— He may refer to Speght, or Harris, both of whom entertained this idea, which indeed has been proved since by Tynvhitt and Warton. Tacitus — a celebrated Latin historian. The Latin here is — "Accommodated to the ears of the time." John Lydgate-a volnminous writer,about A.D. 1430. He wrote poetry as a trade. His poems number 250. John Gower, or Moral Gower. A con- temporary of Chaucer's ; a dull writir of three i>oems, oidy one of which was in English, viz., "Confessio .\mantif." EnnlUS " our own Emuus," the Romans 1 called him. The father of Latin poetry, H.C. ''-M. LuclliUS -the first Roman satirist. Lucretius— a cele! ra od Latin poet, B. ■ C. <.)r> ; wrote " De Rerum Natura'." I Spenser- One of our greatest jioets. It I is curious to sec Dryden rank him as a I child to Waller and Deidiam. In this wc see Dryden's "poetical prejudice.^.'" ; Heiiig a classical poet himself, he could I not vuiderstand Sjienser, who was of the I Italian and English schools. Spenser's I great work is the " Faerie liueene." : Harrington- -also of the Italian .school. i He translated "Orlando Furioso," A.D. IM\. A good poet. I Fairfax - translated another Italian I jtoem, Tasso's "Jerusalem Delivered," i A.D. 1600. i Waller— one of the most noted minor I poets between the Restoration and the ! Revolution. Had taste and elegance. I His panegyrics on Cromwell and on I diaries II. arc noted. I Denham, in 1(542, wrote a sxreat classiciil pociu, the "Cooper's Hill." Our numbers =our metre. Nonage=minority, infancy. This extract from Dryden is typical of his style and times. It was a highly critical am' tirical age, and showed a classical ta Men leferred to the clas- sics for then- rules of taste. Books of criticism were \vritten. Hence, als ;, the number of classical allusions and qu tinction and admiration. He, in doing this, describes the care each took of I his composition. ' The knowledge— c>ach liad awiuired ii next investigated, and iUi influence on the possessor. Prose comes next, from wi.ich lie (fian- ces ofT to Style- which he criticises with his usual balanced antithesis and metaphor. QenlUS the essence of all poetical quali- ties is next investigated and contrasted. The flights of fancy in eacli are com- pared by means of a metaphor, and finally we have the Effect on the reader. It will thus be seen that he ha.s woven most of the )K>int8 necessary to characterize a poet's works Into this criticism, which is couched in his usual latinized and antithetic stvle. This extract is taken from his " Lives of the Poets," a work of great vigor and erudition, hut often unsafe on ac- count of his prejudices. (jive an outline of the qualities dis- cusschI in the critique. In what does Pope excel Dryden? In what Dryden, Pope? What is a satire? What is genius? What are the various incen- tives to a poet to write? Can you judge a poet by knowing his object in writing? What are tiie chief jKiints to investigate in a literary critique? Give the deriva- tion and English equivalent of every classical word. If we have no English word, use periphraeeu. THE ORIGIN OF THE ENGLISH NATION. Tuo.MAS Babinqtok Macai'lay 13 one of the most prominent literarv' names of the nineteenth century. As the author of the " La.\ s of Ancient Rome," Macaulay stands distinguished a.*; a descrii)t)ve and lyric poet. Tliey are an attempt to write the lays of ancient Rome in the English ballad style, and are remarkable for their terse pictur- esqueness. As a master of English prose, he has few superiors, as is attested by hii line " Essays," and especially by his noble " HLstory of England." His style is brilliant and picturesque-qualities attained by a terse Saxon vocabulary, a bold imagination, and a grouping together of suggestive and associated particulars, instead of making general statements. He holds the proud distinction of being the first to jnake history at once accurate-which is necessary-and interesting. His splendid pictures are as entertaining as the pages of the latest novel. Born 1800, — M.A. (Cam.), 1825,— Barrister, 1825,— M. P., 1830,— made baron Macaulay, 1856. Died 1859. Great Charter — ?', e., Magna Charta. What were its tenns ? When and how obtained? Here commences, etc.— He takes the blinding of these two races as the real origin of English history. Wrong 3 Inflicted, etc. — by various tribes. State some of the wrongs in- flicted by the Picts on Celts, Saxons on Celts, Danes on Saxons, Saxons on Danes, Normans on Saxons. Physical barriers— i.c., mountains or water. Are rivers good or naturdl boundaries between two races? Give instances of nations overstepping these barriers. Morally separated, etc—Paraphrase this. Proud of, etc.— The causes usually as- signed for this fusion are :-the union of Nonnan barons and English yeomen to resist the tyrranyof theKing; and inter- marriages.' Tlie wars with France created a national feeling, and the loss of Normandy dissolved the close con- nection between the Normans in Eng- land and France. " «'R pe m^i 36 NOTES TO THE FIFTH READER. ; The source, etc.- a nnu simile, but coiiniioti. Sterile, etc.- Ourconnnon liiw JH fomid- imI uri ciistoinH t)mt tluto ))a(;k to tliu • iirly HaxoiiH. Muiiy of our iHjlitical iiistitiitioii> aro also dfiut'inlcd from them. Ill tli(' j^'reat dcliatos on the proropiti\f in revolutionary times, it was eiistomiiry to refer hack to the early state of affairs. Islanders, islanders Thin may he taken as un exaiiipli; of tin; figure i-alled nnadiploHiH, wliieh consists in be^fin- ninjf a clause with the last wonl of the jtrecedin^r. There is also a double mean- m(f in the word "islanilers," as it irt used ; »'.«., cut off from others by water, and also distinisMiished from others by peculiar (|ualities or customs. This hjfure \H va,\\fn\ ttntanndnHtn. The sec- ond meaninu: is derived from the first by metonymti, the effect for the liause. ►Show this by i)araphrase. (live the der- ivation of " island." Show that it is juis- spelled. Was the corruptio'i in spelling introduced by the learned or the ijfnor- rant? See Etymolo^fy. Constitution Why is it superior to a paper constitution ? Changes- The (.'onstitution has never been chanjfed. The chanj^es have been in the interi)retation of it. Copies — literally true. Thou),'h it is peculiarly suited to the jjfeniua of the British nation, it seems to meet with difficulties when transplanted to other countries, who lack the venerable asso- ciations of a thousand years of leyi.^la- tive administmtion. Defects— The chief one is the lack of a remedy in case the king should oppose the voice of the people as expressed by Parliament. Siiiritual and hereditary legislators might also be mentioned. House of Commons— AeW its fir^t kU- • inff — during the imprisonment of Henry III.,— summoned by Leicester, 1265. Science— Common law is founded on cus- tom or precedent, but it must be a cus- tom immemorial, i.e., whose beginning cannot be ascertained. The law is in- terpreted by judges who are guided by the decisions of previous judges, by rules of practice, etc. Imperial Jurisprudence— i. e., the old Roman Law, as enil)odied in the "In- stitutes of Justinian," which is the foun- dation of the laws of most Kuro|M«a nations. It has lieen said that (in'ece gave literature and culture to the world, and llome, law. Cinque Ports "Tliose havens that lie towards France, and have therefore been thought by our kings to be such as ought most vigilantly to be guarded against invasion." They are Sandwich, Dover, Hythit, ilomnev, and Hastings, to which were afterwards added Winchelsea and Kye. They had a Warden, who had a s])ecial Jurisdiction ; civil, militar>' and ntival. Both the great seats of learning-Cam- bridge and Oxford. The oldest college* at these respective universities are, Uni- versity (College, at Oxford, founded by Alfred, 87'2, but restored by William of Durham, 1249; and St. Peter's College, at ('ambridge, I'i.'}?. Less musical— "The sibilancy of Eng- lisli is a Kuropean proverb." This is partly f another taiilt, a much nioro important one i'l a historian, viz., that of adducinx as facts wtiat he hiis not (>rovt'd to hesiich liy suHioiunt invt'Htijj^ation. The want of authenticity ia the one fault never over!ooio/"WK5-ambr<'==amber ap- ple)— -literally, a scent ball. Beads-from ?>i'd=somethingt(> be count- ed, and originally used to count jirayera ou. $A CruciflX the Imageof Christyfitrti ona (•runs. Srr Dictionary. Sir Andrew Melvll " the Scottish am- bassador. Expected longed for; lookfd for with d( sire. Its usual meaning is to look far as certain. My son- i.**., James VI.. of Scotland, afterwards .lames 1., of Kngland. Mary h;ul been deposed and imprisoned by the Scottish i>arliani('iit, and Jamew was br-jught up a Protestant. Men-servants This is the fonn we have of indicating gender in English. The exs is only a borrowed expedient, and used with French words chiefly. "Ster" and "en" were the old Saxon feminine endings, but as such, are now only found in spinster and vixen. I The use of different words for gender I Is unnatural, and was owing to some I circumstance affecting one sex of the I animal and not the other, by which it '■ got a new name, after which the old name wou'd be u^ed for the other sex. j Thus the female of a ]ieculiaf breed of I >iorses might be imiiorted fnmi a coun- try where the geiienil name for horee W.1S "mare"; tliis name would then be confined to tlie female, while the old I general word "hor.se" would become masculine. Many of the .so-called dif- fiTciit words, liowevcr, are really the same word with gender endings, but so much corriijjtecl as to be disguised ; such are : — duck, drake ; gander, goose; nephew, niece, &c. Beale — A noted jurist and diplomatist. i Valets— varlet and vassal are other forms I of tlie same wi>rd. Dots this rei)roof of Mary's a id dignity to the narrati\eV Attire ->Si('e Dictionary; here, head-dress, an old meaning. Discovered — laid open or disclosed. Give all its nieaiiings. And the dean, &C. "and" refers to "the Earl of Kent answered." What is the meaning and derivation of "dean"? When introduced? Has it any relation to " deacon " ? Any other hut— We now use "than" after other. Pick out sentences that sliow a stiff, artificial style. Pick oiit words used w ith meanings not now common. What relation was Mary to Elizabeth V j^^fo.,.;.JSi.- NOTES TO THE FIFTH READER. CHARACTER OF ELIZABETH. David Humb, (1711-1776>. One of the most remarkable men of the last century. He made himself famous in three departments of letters— philosophy, metaphysics and history. Bom and educated at Edinburgh, he tried in turn law and commerce, but finally devoted himself to literature. His first work was " A Treatise on Human Nature," fol- lowed by "Moral and Philosophical Essays." After travelling through Europe as private secretary, he wrote his "Political Discourses," and his "Inquiry into the Principles of Morals." His greatest work was the "History of England," a work noted for its easy and graphic style, but defective in authenticity, and too partial to the Stuarts and Tories to be accepted as authority. His mind had a leaning towards ■cepticism. He became Under-Secretary of State, 1766. Personages — How does this differ from person ? Trace it to its origin. What does the "personnel" of a play mean? Leilgth-from'1558-1603, 4.5 years. George III. reigned 60 years ; Edward III. 50 years ; Henry Hi. 56 years. Prejudices— Owing to the religious con- tests throughout Europe at that time, it was an age of prejudices. Address— This word means speech, man- ners and dexterity. Which does it mean here? What other meanings has it? Singular talentS-Why singular V what other meanings ? Derive talents. What objection has been taken to "talented" as a word ? "Real" and "Pretended"— form an antithesis. Trace, also, the balance in the sentence. Sovereigns — Derive and show that it is misspelled. Prudence —^ Derive and define. What Latin period does it belong to ? Give the fourth (or recent) Latin form of the word. What is tlie derivation of "prude?" Enemies — i- <■., The Holy League— the Pope, Spain and the Guises, for the extirpation of Protestantism. France, also, being a Catholic country, must be included. Wise ministers and brave warriors — Name some of these and some of their deeds. Ascendant— Now means superiority; here it means ascendancy or influence. Mistress— I. e., held complete control. Note the omission of the conjunction here. Tender passions— love, &c. Faction and bigotry— Derive. What is the dilference. Softness of disposition— What figure? Mistress— i. c, a lover; scarcely used now in this sense on account of its lower meaning of paramour. What qualities of Elizabeth does he praise? What censure? How does he describe her as a woman ? As a queen T What faults had Hume as a writer? What is a sceptic? What is meant by a Latinized style ? Count over the nouns and verbs of the first paragraph, and estimate what percentage are Latin. When was the greatest period of Latin- ized style ? Had religion anything to do with it ? What effect had this extensive use of Latin vords on our language? Pick out antithetical sentences in the extract. Derive character, caricature, controlled, beauty, real, none, secret, advance, cost, court. > I ■ xi i THE BATTLE OF NASEBY. ItOrd TllOS. Fairfax — Made Commander- in-chief, A.D. 1045. instead of his father ; refused to he a judge of Charles I. ; sided with Monk ; was one of those sent to ivsk Charles II. back. oxford -What noted for? What side did it take in the contest? New model— i.«-, the new s.vstera of foot soldiers of Cromwell. Godliness was the test Daventry— literally, tb.e ♦"wn by the two Avens. Trc, A. S. means town. iatelligence —Give the derivation. Give another Latin synonym, and also a Saxon one. What other meaning has it I Considerable -Trace the meaning of this word to the root. From what old science do we get it? Give other examples. Condition -i.«. ns an army well prepared for the fray. Harborough— Trace this and other places nientioned in this extract, on the map. Mlght=could, the old meaning. It is still otten thus used in poetry. Ironsides- the name given to Cromwell's celebrated infantry who stnick terror among the soldiers of Catholic Europe. Host — How? VNhat other words of the same form as this have we? Derive each. Onwaxd-Note the effect of the coup6 or mm CROMWELL S EXPULSION OF PARLIAMENT. 39 abrupt style here, r.c, short sentences, with the conjunctions omitted. Hound-lieadB — A nicliiiame for the puri- tan soldiers of the Parlia»r>entary army, from their close cut hair. See Ety. Their opponents called themselves Cava- liers. No Chance, etc.— i.e., they had to flght ; the enemy was upon them. Expect— What is the literal meaning' of tnis word ? Its meaning here ? Its other meanings? Of. " Elihu had expected till Job had spoken" (had waited till Job.) Parliament's army— Parliament being an inanimate object, the Saxon pos- sessive Hoimds strange. Prince Rupert— Son of Fllizabeth, daugh- ter of James I. He was afterwards given command of the navy and was defeated by Blake. Sir M. Langdale— First distinguished at the siege of Pontefract. In 1600, he was made Lieutenant of Yorkshire after many years of exile. Lord Ashley— (Antony Ashley Cooper.) Earl of Shaftesbury, a noted statesman ; the Achitophel of Drydeii ; member of the Cabal. He introduced the Habeus Corpus Act. Earl of Lindsay- (Montague Bertie). A strong supporter of Charles I. Sir George Lisle — a Royalist. Taken prisoner at Colchester and shot. Henry Ireton— a Commissary-General at Naseby , married to Bridget, daughter of Cromwell ; intimately associated with Cromwell ; was second in command in Ireland where he died. Pride— What does Pride's Purge refer to ? Yonder hiJl This use of "vision" adds vividness to the description. Will do bravely— What does " do" mean here ? What two w ords " do " have we ? Account for the use of "do " in interro- gatives and negatives. Parse both " do's " in " I do do so." What ancient use was made of "do" in the conjun- tlon (if verbs? (ed.) What modem use? The bzoad moor glows — This little digression on the fair form of nature before being rent by the struggles of man, adds an intensity to the description. It is a common expedient and often comes in after the struggle is ended. The effect sought is contrast and pathos. Forlorn hope- a military term applied to the soldiers selected for the first attack, and hence almost certainly doom- ed M be destroyed. "Queen Mary"— It was customary in feudal times for soldiers to have a battle cry with which they charged the enemy. The Mary meant here was probably Henrietta Maria, the wife of Charles I., or, it may be, the Virgin Mary. Notmadetoyield=not of the stuff that yields. Halberd— a battle-axe on a long pole. Derive. The Invincible— t.e. Cromwell. Fairly— Completely. Work is yet to do -It is not necessary to have the passive form of the yerundial infinitive ; the active form has also a passive meaning ; hence " to let" is suf- ficient, notwith.standing grammars tell us that ** to be let " is the form. That rock —a metaphor. Clean forgotten— Where the adj. and adv. are of the same form as here we must seek the exi)lanation in the older fonns of grammar. Clarendon— (Edward Hyde.) Made High Chancellor after the Restoration ; left England on being accused of high trea- son ; died in exile. His daughter mar- ried the Duke of York, and was the mother of Queens Mary and Anne. He is noted for his "History of the Kebellion." Even -This is a scriptural use of the word, wliich was the custom among the Puri- tans. Note, again, the allusion to natural scenery. See above. CROMWELL'S EXPULSION OF PARLIAMENT. The Rrv. John Linoard, D.D., LL.D., a Roman Catholic historian (1771-1851.) Wrote " The History and Antiquities of the Anglo-Saxon Church," and a "History of England from the Invasion of the Romans to ]688." He was a polemic writer of great research, and as an historian is impartial on all con- troverted 8Ul)jects except that of his religion. His style is easy and graceful. There is a graphic picturesqueness in many of his descriptions. Big — pregnant. A metaphor. Cromwell's- Oliver Cromwell, the cele- brated Dictator. Give some account of his life and achievements. What different opinions have been held concerning him? Mac- aulay v>aints him us a great and patriotic statesman. Lobby — the outer room of the House where all the members meet. ^^ 40 NOTES TO THE FIFTH READER. This is the time - ref errinjf to a previous understandiiijf. Speaker— the presidinfj member, elected at the beprinnin^ of the Se.ssion. He nominally selects the debaters, decides points of order., puts the question, is the only one ever addressed in the House, and is called Speaicer, because he pre- sents petitions. Lenthall was Spealier at this time. John Harrison— a republican fjeneral, member ot the Council ; refused to be a jud]u:e of Charles I., or to co-operate with the " Usurper "; was executed A.D., 1660 by Charles 11. Presbyterians.— Presbyterianism is re- publicanism in church j,'overnment. Hence it is not strani^e to see that church taking an active part in the struQfy;les for liberty, though it could not follow Cromwell when sole ruler. You are no Parliament. - Parliament =liii)gand three estates, viz., lords tem- poral, lords spiritual, and commons. Why wore tliey no parliament ? Sir Henry Vane— a celebrated politician. He had been governor of Massachu.setts, but returned in 1636. He wa.s a factious, meddling fellow, and Cromwell was pro- bably in earnest iu wliat he said. He was beheaded 1662. Bulstrode WhitelOCk— a moderate re- publican ; would not act in the trial ; was .speaker of Cromwell's second House. He was exempted from execution. Chaloner —There were two Chaloners in Long Parliament, Jas. and Thos. Both were judges in the trial of Charles. A third brother was private chaplain to James I. Algernon Sidney— grand nephew of the famous Sir Philip Sidney, .'son of the Earl of Leicester a stern republican ; was one of the judges ; was beheaded by Charles IL for complicity in the Rye House Plot, along with Ru.ssell. He waa noted for his " Discourses on Govern- ment. Mace— This was formerly a weapon of war ; now used as a sign of authority. During the sitting of parliament it lie-s on the table. John Bradshaw— an eminent puritan. Hci became chief justice, and was pre- sident of the High Court of Justice to try Charles I. He did not believe in the necessity for the iron rule of Cromwell. His body wa.'< exhumed and hanged along with that of Cromwell and Ireton by Charles 11. Long Parliament.— What are its dates? Give a slight sketch of it. What variety of forms did it take? How had it de- fended, and how invaded, the liberties of the nation ? If partizans they had— an example of epanorthusiH. Slept -a euphoni.sm or "softened expres- sion " for " lay dead." DEATH OF GEORGE^ THE THIRD. 1-*^ ^- i^' it Vfu. M.A.KKFRAOK TiiACKKRAV, a celebrated, satirical novelist (1811-1863). He studied painting early in life, but took to literature instead. He first attracted atten- tion by a series uf tales and .sketches, then wrote for "Punch" the n-jted "Snob papers." His first and perhaps greatest novel was " Vanity hair;" then follow " Pen- dennis," " The Newconies," and " The Virginians." He ai^*o published "Lectures on Knglish Humorists," and •' The F'our Georges," from whicli this extract is taken. He was the lirst Editor of the " Coriihill" Magazine. He is prp-eminently the satirist of social sha of all sorts. His language is strong and idiomatic ; his wit sparkling. Malady- Rxphiined below. Derive. Landgravlna The German word (Jraf means a count or baron, inc is the fem. endin;^ and corres()onds to the Lat. ina (regina), the Greek ine (heroine), the Uussian i»a (Czarina), aiw the English en (vixen ) Famous order— i.e. Order of the Garter, which consists of a garter, a collar and a star. It is also called the Order of St. George (hence the "his" in the text), because it was instituted in honor of the Holy Trinity, the Virgin Mary, St IMward and St. George. The collar has vrt parts in reference to the 26 original members. It was instituted by Edward HI. in liifiO in order to enlist men to his side. But little is known of it till the reign of Henry VIII. The motto "Honi soit qui mal y peniie=Dishonored be lie who thinks evil of it," is said to have originated from the fact that the.se words were uttered by the king on picking up the carter (if the Count<,'Ss of Salisbury. On it— Although beard is the chief word going before, " it " must be taken as referring to breast. World of God— i.e. overruled by God who has filled it with all the pleasur j of .sight ami hearing, if wr iol' the kiug was deprived. The passage is veryavTic*-- ing. it is full of the deep'«t pathos. t sss ^m ■■■P IWlBil l., QUESTIONS. 41 m th A to ;he arl vas by lye wa» srn- 1 of ity. lies tan. pre- e to I the well, aong ti by ates? iriety itde- erties pie of xpre-s- He attun- Siiob rcn- rcs oil He Arist of to hl8 till the Honi red be to have words ms up ibury. word te ef ikeu as by God lewi"" J he V\iy/. ■y aJt "♦'- has. f Morallze=Make moral reflections, not to " point a moral." Simplest— 'I'he simplest words are always the strongest and the most suitat)le for the expression f ffrief. Here, however, he refers more to the plain, simple story, than to the words. Too terrible for tears— The deepest grief is silent and without tears. Uf. Goldsmith. " In all the silent manli- ness of grief. " Low he lies to whom, etc.— contrast or antithesis. Take a mournful hand— a metaphor. ChUdreu in revolt— referring more par- ticularly to his eldest son, who after- wards beeame George IV., and who was very dissipated. Darling of his old age— The Princess Amelia, his youngest daughter, died 1810. Lear— An allusion to "King Lear" of Shakespear , who having become offend- ed at the frankness of Cordelia, his youngest daugliter, divides his estate among Regan and Goneril, his other daughters. These, when once they have got all from the father, soon grow to look upon him as a burden, and neglect and illuse him, till finally he loses his rea.son and is then defended by Cordelia. The quotation is fn)m the death scene of the old ku)g Lear. The piece ends up with a climax. •♦• QUESTIONS. 1. What are the two main objects of a reading lesson? 2. Enumerate the various items that may be taken up in reading an author. 3. How do we arrive at the meanings of words ? 4. What does the etymological knowledge of a word include? 5. What are the meaning and utility of "expanding," "paraphrasing," and "i tomizing ? " C. What are "grammatical equivalents?" What is the equivalent of the absolute phrase ? 7. What different varieties of style are there, as Indicated by the use of words, of ligures, or by the structure of sentences ? ' epi- 4. Laf , 7. 8. ETYMOLOGY. I. Show by examples the use of derivation in aiding us to discriminate between words of similar meaning ? 2 What are roots ? Crude forms ? . What are the various methods of forming words ? Give examples ,jf each. What is the difference between derivatives and compounds ? Why are the latter •oc t expressive ? What varieties of compounds are there ? , V, hat are hybrids ? Which are objectionable ? (Compounds), H<- . do we ascertain the affinity between languages' Name some Saxon and or'ls that show a similar origin. t' two-fold classification do languages admit of? Write a table showing the relation between our language and other European languages. 9. Give a tabular view of the origin of our vocabularj-. Give the siib-divisiona of each historic: roup, and account for their int'-oduction. Trace the relation existing between the use and the origin of words. 10. What is the advantaire of having a bilateral vocabulary, i.e., Latin and Saxon? What effect has French had on our grammar ? Give examples of three kinds of double forms of words. II. Changes in the form of words are owing to a fondness of certain nations for cer- tain sounds, or to the influence of accent. Explain these. To which does Grimm's law 'efer? Give examples of the varieties of the latter. 12, What are the pecuharities of liquid sounds in derivatives ? 13 G;'»e examples of the two varieties of changes caused by mistaken origin. 14. What are the five laws that the meaning of a word may follow? Account for and give examples of each. 15. What Is assimilation ? On wha* does It depend ? How has It affected our grammar ? 16. What are the chief historical j jints learned from the etymology of words ? 17. ^I'^hatold theories have given us the words, henbane, consider, humoroui,»iid debauch ? 42 QUESTIONS. I Pi! '(• THE CLOUD. 1. Write a criticism on " The Cloud," pointing out its metre, its beauties, its style, and its defects. Write an epitome of it. 2. What are the figures depending on resemblance ? What are the varieties of meta- phor ? Distinguish metaphor and personification. 3. Define and give an example of oxymoron. (Plentiful lack). 4. Account for the sound of / in words ending in ough. 5. What are intensive words? Give examples. ' (i. Name some of the minor Latin deities. >• etc. etc. etc. _ SHAKESPEARE. What is a sonnet? Who is our chief 1. What minor poems did Shakespeare write? sonnet writer? •2. Name some of Shakespeare's tragedies, some of his comedies, and some of his liistories ? ilaj's of Shakespeare ? What is a dramatic cha- he attended to in drawing or criticising a cha- jclebrated characters, male and female, supernatural beings found ? What were the 3. What is the chief interuh r " '' racter? What are the chief i)Oij racter? Name ii few of Shakespe. 4. In what plays of Shakespeare a^. .5. Why is there so much difficulty with the text of Shakespeare ? folio and quarto editions? 6. Was Shakespeare famous in his own day ? In what period of our literature was he lea.st known? 7. Wliat is meant by saying tliat Shakespeare is an objective and Byron a subjective poet ? Which quality is best suited for a dramatist ? 8. AVhat is the difference between epic and dramatic poetry ? Which will have the language of everyday life? In which does the author appear in person? 9. How is the action carried forward in the drama? (By dialogues, monologues, and Jtage-directions.) 10. Why must epic and drama;tic poems be written in heroics? Why in blank verse? How docs Shakespeare use rhyme? (In closing a scene, in marking an "aside," or for some other special purpose ; and also in the short (trochaic tetrameter) line which he employs lor inferior beings, like the witches in " Macbeth.") 11. How does he use prose? (For subordinate characters, common-place events and thoughts, artificial reasonings, and also in the highest passion.) 12. Select examples from the extracts showing how the pronunciation, meaning, and grammatical use of words differed in Shakespeare's time from those of the present day. THE HISTORIANS. 1. Name some of the qualities of a good historian. Name some writers who are known to be such. What is the chief fault of historians? 2. Compare Macaulay with Robertson or Hume, as histoi-ians and as prose writers? 3. What is meant by picturesqueness ? How does Macaulay attain it ? 4. What is a Latinized style of writing? Name some historians noted for it. What variety of writing is most Saxon ? (Poetry.) Why? 5. Name four great historians of the last century, and four of the present. 6. What is the peculiarity of Thackeray's novels ? Name his chief works. Name the three earliest writers of the modern English novel with their works. Mention some of the many kinds of novels of the present da.y with their writers. What is the difference between a novel and a romance ? (The interest in the first is character, and in the second incident.) SATIRISTS. 1. What are the periods of Dryden's career as a writer ? Name his satirical poems. 2. What faults had he as a satirist T as a poet ? as a man ? 3. What is Johnsonese ? Why is it not natural ? talk ■■B vere the e was he ibjective | have the. ;ue8, and I QUESTIONS. 43 4. What two styles had Johnson i (Examine the followinfj sentences written by him at different times : " It had not life enoug'h to keep it from rottiiitr," and, " It did not possess sufficient vitality to preserve it from putrefaction.") In which of these styles did he write? 5. What is the chief defect of Johnson's Dictionary? What of his 'Lives of the Poets " ? 6. How did the position of literary men of his day compare with those of the present. 7. Why was a patron so desirable in Johnson's time? 8. What is remarkable about the letters of Junius? 9. When, and in what paper were they published ? 10. What was the nature of periodical literature at that time ? Compare it with an earlier period, and with the present period. 11. What are Swift's chief works? For what object did he write? How would you characterize him, as a man or as a writer ? 1. How does poetry differ from prose ? 2. In what ways may syllables be similarly affected ? - 3. How may harmony be introduced by words ? How by arrangement ? How by making sound correspond to sense ? 4. What is the history of rhyme and alliteration in our poetry ? 5. Name and give examples of the following lines : 4 ax, 4 xa, 2 axx, 6 ax. 6. Write notes on the line and the stanza of the extract from Byron. 7. Name some of the peculiarities of the poetry of Byron's age with their causes. a. Why was it called an age of literary forgeries ? 9. How would you account for the literary activity of the beginning of the present I century ? 10. What species of accent have we in English? What use is made of accent ? What effect has accent had on the forms of words? Mention some words in which the acctnt has changed. 11. What are the peculiarities of the extract from Byron as a jroetical production ? TEXT BOOKS ON Rnglish Langtiage and Literature, PUBLISHED BY JAMES CAMPBELL & SON, »»-oeo-«*- ABBOTT'S HOW TO PARSE $o 75 BELLS' STANDARD ELOCUTIONLST- - - - i 00 BROOKE'S, REV. 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