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same emphatic syllables. This occurs in the expression of such ideas only as have the "compound slides"; and then a kind of double emphasis is heard that is, the initial AND final stress together, or, as it is called, the "compound stress."

This "compound abrupt stress” on the "compound slide" is the characteristic vocal element which expresses this scornful spirit. The quantity of the emphatic syllables is often much prolonged, to give ample time for this double stress, and the quality of voice is more or less aspirated, to suit the nature and intensity of the feeling.

EXAMPLE OF SCORN.

"BANISHED from Rome?' What's banished^, but set

FREE

From daily contact of the things I loathe^?

'Tried and convicted traitor?' Who' says this?
Who'll prove it, at his peril', on my head?
Banished! I thank you for it. It breaks
I held some slack allegiance till this hour;

my chain.

But now my sword's my own^. Smile on, my lords; I SCORN^ to count what feelings', withered hopes', Strong provocations', bitter, burning WRONGS^,

I have within my heart's hot cells shut up,

To leave you in your lazy dignities^.

But here I stand and scoff^ you: here I fling
Hatred and full DEFIANCE' in your face.

Your consul's merciful! For this all thanks^!

(From “ Catiline,” by Croly.)

"That's the THIRD^ umbrella^ gone since Christmas!

What were you to do? rain, to be sure. I'm him that could spoil.

Why, let him go home in the certain there was nothing about Indeed^! He

Take cold?
Take cold?

does not look like one of the sort to take cold. Besides, he'd have better taken cold than take our only UMBRELLA. -Pooh! don't think me a fool, Caudle. Don't insult me. H-e^ re-t-u-r-n^ the umbrella! Anybody would think you were born yesterday. As if anybody ever did return an umbrella! Men, indeed-call themselves lords of creation! Pretty lords^, when they can't even take care of an UMBRELLA^!”

(From "The Caudle Lectures," by Douglas Jerrold.)

LVI. HYMN TO THE NIGHT.

1. I heard the trailing garments of the Night
Sweep through her marble halls!

I saw her sable skirts all fringed with light
From the celestial walls!

2. I felt her presence, by its spell of might,
Stoop o'er me from above-

The calm, majestic presence of the Night,
As of the one I love.

3. I heard the sounds of sorrow and delight,
The manifold, soft chimes,

That fill the haunted chambers of the Night,
Like some old poet's rhymes.

4. From the cool cisterns of the midnight air
My spirit drank repose;

The fountain of perpetual peace flows there—
From those deep cisterns flows.

5. O holy Night! from thee I learn to bear What man has borne before!

Thou layest thy finger on the lips of Care,
And they complain no more.

6. Peace! peace! Orestes-like I breathe this prayer! Descend with broad-winged flight,

The welcome, the thrice prayed-for, the most fair,
The best-belovéd Night!

Henry Wadsworth Longfellow.

FOR PREPARATION.-I. "Orestes-like I breathe this prayer." (In "Orestes," the drama of Euripides, the raving Orestes, pursued by the Furics of his mother, prays for "the precious balm of Sleep," which relieves his malady: “O divine oblivion of my sufferings, how wise thou art, and the goddess to be supplicated by all in distress!")

II. Rhymes (rīmz), de-light' (-lit'), häunt'-ed, broad'-winged (brawd ́-).

III. Make a list of twenty words in which the prefix ad, meaning to, is used: e. g., ad-apt (fit to), ad-duce (bring to), ad-here (stick to), ad-join (join to). The d of ad generally changes so as to agree in sound with the following letter when it is a consonant; e. g., af-fix, ar-range, at-tend, appendix, al-lot, ag-grieve, an-nounce, etc.

IV. Sable, celestial, majestic, "cisterns of the midnight air," perpetual, spell, "haunted chambers."

V. What personifications in this piece? Make a list of the metaphors ("cool cisterns of the midnight air," etc.).

LVII. SPEECH OF BRUTUS.

1. Romans, countrymen, and lovers! hear me for my cause, and be silent, that you may hear: believe me for mine honor, and have respect to mine honor, that you may believe: censure me in your wisdom, and awake your senses, that you may the better judge.

2. If there be any in this assembly, any dear friend of Cæsar's, to him I say that Brutus's love to Cæsar was no less than his. If, then, that friend demand why Brutus

rose against Cæsar, this is my answer: Not that I loved Cæsar less, but that I loved Rome more.

3. Had you rather Cæsar were living, and die all slaves, than that Cæsar were dead, to live all freemen?

4. As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honor him ; but as he was ambitious, I slew him. There is tears, for his love; joy, for his fortune; honor, for his valor; and death, for his ambition.

5. Who is here so base, that would be a bondman? If any, speak; for him have I offended. Who is here so rude, that would not be a Roman? If any, speak; for him have I offended. Who is here so vile, that will not love his country? If any, speak; for him have I offended. I pause for a reply.—[CITIZENS cry out, “None, Brutus-none!"]-None! Then none have I offended.

6. I have done no more to Cæsar than you shall do to Brutus. The question of his death is enrolled in the Capitol; his glory not extenuated, wherein he was worthy; nor his offences enforced, for which he suffered death.

[Enter ANTONY and others with CESAR's body.]

7. Here comes his body, mourned by Mark Antony; who, though he had no hand in his death, shall receive the benefit of his dying a place in the commonwealth : as which of you shall not?

8. With this I depart: That, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.

FOR PREPARATION.-I. From the play of "Julius Cæsar" (Act III., Scene 2). It is the time when Rome passes from the republican form of government (the "Commonwealth ") to that of the Empire. Brutus is animated

with the old spirit, and joins the conspirators who murder Cæsar, the representative of the new spirit, which is destined to rule Rome henceforth. But the killing of Cæsar does not kill what he represents, although patriot Brutus seems to think that it will. 'Antony . . . who shall receive a place in the Commonwealth," etc. (i. e., he shall be benefited by our deed, which saves the Republic).

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II. Am-bi'-tious (-shus), văl'-iant, en-rōlled', eoŭn'-try-men (kŭn'-), Cæ'-şar, mourned.

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III. The prefixes generally may be arranged in pairs, having opposite meanings: e. g., ad means to, and ab, from; altract = draw to; abstract = draw from. In this way, in is opposed to e or ex: include shut in; exclude shut out. (Ex takes changes to e, ef, or ec, before some roots; in also to il, im, etc.)

IV. Censure,

question [cause or reasons for] his death," extenuated (drawn out, diminished), "awake your senses," bondman, enrolled.

V. Note in this speech, and in that of Mark Antony (LXIII.), the most consummate oratorical art. Brutus completely carries away the convictions of the people whom he addresses. Mark Antony, in a manner still more skillful, removes the impression that Brutus has made. With Brutus, his transparent honesty gives the strongest effect to his speech, while with Antony the affected conflict in his mind between grief for his dead friend and the respect in which he holds the conspirators, finally drives the people to utter what he himself keeps back. In § 5, Brutus adroitly prevents any objections, by classifying the objectors in advance.

LVIII.-WE WATCHED HER BREATHING.

1. We watched her breathing through the night,
Her breathing soft and low,

As in her breast the wave of life
Kept heaving to and fro.

2. So silently we seemed to speak,
So slowly moved about,

As we had lent her half our powers
To eke her living out.

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