-when they see them as fine as tulips? Why, they must think themselves nobody. However, the twenty pounds I will have, if I've any, or not a farthing. 20. No, sir-no! I don't want to dress up the children like peacocks and parrots! I only want to make 'em respectable. "You'll give me fifteen Not a penny will I take 21. What do you say? pounds"? No, Caudle-no! under twenty. If I did, it would seem as if I wanted to waste your money; and I'm sure, when I come to think of it, twenty pounds will hardly do! Douglas William Jerrold. FOR PREPARATION.-I. From "Mrs. Caudle's Curtain Lectures" (first published in Punch, the greatest of humorous periodicals. These lectures were published in a book form in 1846). This piece is well adapted for a drill in the proper use of emphasis and inflection; each pupil, however, should read only a very short passage. II. Me-rï'-nõeş (-rē'-), bēa'-ver, fig'-ureş, minx'-eş, min'-ute (-it) (and mi-nute'), păr'-rots. III. Briggses, Browns, Smiths. (Names of persons sometimes take the form denoting many; it is used here to denote the members of the family.) IV. Farthing, threshold, cannibals, pound, club jokes, shopping, count esses. V. In this dialogue only one person is reported, and we have to infer what the other person says from the nature of the retort and from the words quoted; as, for example, "What do I want now?" is quoted or repeated from the response of the husband, who had said, "What do you want now?" What is the effect of keeping back one of the persons in the dialogue, and letting him appear only as reflected in the retorts of the other? (Does it not assist greatly in painting the character of the petulant scold, whose speech is torrent-like, and does not give an opportunity for the other to make reply except in the briefest rejoinders? There is another use of this style in some of the poems of Tennyson, and most frequently in those of Robert Browning, and in those of our own Bret Harte. A certain subtlety is added by it, which in some cases makes the poems very difficult to understand. Such poems are problems, in which you have given the effect of the one answer on the other, from which to calculate what that answer was; in case the suppressed answer was a long one, the difficulty of the problem is great.) In the above piece, number the rejoinders of Mrs. Caudle, and write out in full the remarks you suppose Mr. Caudle to throw in. Point out the colloquial expressions (vulgarisms): "Gracious knows," "chips," "little minxes," "such a pucker," "over 'em," etc. Note redundances (where more words are used than are necessary for the sense, as in "descend down"); e. g., cross over the threshold"; these are common with uneducated people, who do not realize two or more meanings in a word, but add separate words to express all of the meanings but one; cross means to go over, but Mrs. Caudle takes it in the sense of go. Explain omissions (called "ellipses") in "the less a poor woman does upon, the less she may." XL.-UNDER THE GREENWOOD TREE. 1. Under the greenwood tree Who loves to lie with me, And tune his merry note Unto the sweet bird's throat Come hither, come hither, come hither! No enemy But winter and rough weather. 2. Who doth ambition shun And loves to live i' the sun, Seeking the food he eats And pleased with what he gets— Come hither, come hither, come hither! No enemy But winter and rough weather. William Shakespeare. FOR PREPARATION.-I. From "As you Like It." In the forest of Arden (which Byron identifies with the forest of Soignies, near Waterloo) collect a number of people driven from the tyrannical French Court by various But our flower was in flushing 5. Fleet foot on the correi, How sound is thy-slumber! Thou art gone-and forever! Sir Walter Scott. The FOR PREPARATION.-I. From "The Lady of the Lake," Canto III., Gathering. Roderick Dhu summons his clansmen. He sends the fiery cross through the glens and moors as the signal for assembling upon Lanric Mead, where they waylay the huntsman who lost his gallant gray steed in the chase (Lessons XX. and XXII. of the Fourth Reader), on his return from the visit to the Lady of the Lake. The bearer of the fiery cross meets a sad assemblage singing the coronach, or funeral song, over the bier of one of the warriors of his clan. II. Wōe'-ful, fū'-ner-al, văl'-iant (-yant), war'-rior (war'-yer), mōurn'. fụl, còr'-reï. III. "Torches' ray "-one torch, or more? comparison between two or more objects? Searest," "nearest " IV. Accents, wail, gallant, bier, searest, blighting, foray, stripling, font, hoary, "in flushing," "red hand." V. “Fleet foot on the correi” (i. e., on the hollow side of the hill where the game lies). What similes are used to describe the loss the clan has met with? "Sage counsel in cumber " (i. e., in trouble). What rank had the deceased in his clan (line 6)? In what respect is a summer-dried fountain more to be dreaded than any other? Do the words "need was the sorest" seem to imply that the people were aware of the approaching war? XXXVII.-HOW TO RENDER SAD IDEAS. Ideas represented by such words as pathetic, pensive, sorrowful, grievous, pitiful, painful, distressful, lamentable, etc., are included under this head. The "semitone" is the most characteristic element in the expression of pathos in reading, as it is in music. The "moderate slide," which expresses matter-of-fact ideas, when shortened by a "semitone," expresses pathet ic ideas (see first and second examples below); and the "long slide," which expresses earnest ideas, when shortened by a semitone, expresses earnest pathos, or manly and womanly sorrow (see third and fourth examples below). As there is something painful in this sad spirit, the "stress" is more or less "abrupt," and on the last part of the emphatic syllable (often called "vanishing stress "). The "force” is "softer" than that of matter-of-fact or earnest ideas, and the "time is slower." EXAMPLES. I. "If you're waking, call me early-call me early, mother dear, 66 For I would see the sun rise upon the glad New Year; It is the last New Year that I shall ever see Then you may lay me low i' the mold, and think no more of me. To-night I saw the sun set; he set, and left behind The good old year-the dear old time-and all my peace of mind; And the New Year's coming up, mother, but I shall never see The may upon the blackthorn, the leaf upon the tree. causes. This little song reflects the tone of mind (feeling of relief and of restfulness, and quiet even to tediousness) of these refugees-just as a lake reflects the hills that surround it. (See remarks on Poe's Haunted Palace.) II. Roŭgh (rŭf), hith'-er, weath'-er, am-bi'-tion (-bish'un), ĕn'-e-my, pleased. III. Mark the feet and accented syllables in the above piece. Explain the sun. IV. "Greenwood tree," "tune his merry note." V. In the country-away from society and its complications of love and hate, of business relations and intrigues—the city born and bred find opportunity of rest and repose. "Here shall he see no enemy," etc., repeated (called a "refrain "). "Seeking the food" (i. e., having to hunt for it). XLI.-MEXICO AS FIRST SEEN BY THE SPANIARDS. 1. The troops, refreshed by a night's rest, succeeded, early on the following day, in gaining the crest of the sierra of Ahualco, which stretches like a curtain between the two great mountains on the north and south. Their progress was now comparatively easy, and they marched forward with a buoyant step, as they felt they were treading the soil of Montezuma. 2. They had not advanced far, when, turning an angle of the sierra, they suddenly came on a view which more than compensated the toils of the preceding day. It was that of the valley of Mexico (or Tenochtitlan, as more commonly called by the natives), which, with its picturesque assemblage of water, woodland, and cultivated plains, its shining cities and shadowy hills, was spread out like some gay and gorgeous panorama before them. 3. In the highly rarefied atmosphere of these upper regions, even remote objects have a brilliancy of coloring |