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. FREE From daily contact of the things I loathe^? Who' says this? Who'll prove it, at his peril', on my head? Banished! I thank you for it. It breaks 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 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 Why, let him go home in the certain there was nothing about 7^ Take cold? Indeed! He 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 I saw her sable skirts all fringed with light 2. I felt her presence, by its spell of might, The calm, majestic presence of the Night, 3. I heard the sounds of sorrow and delight, That fill the haunted chambers of the Night, 4. From the cool cisterns of the midnight air The fountain of perpetual peace flows there— 5. O holy Night! from thee I learn to bear What man has borne before! 162 Thou layest thy finger on the lips of Care, 6. Peace! peace! Orestes-like I breathe this prayer! The welcome, the thrice prayed for, the most fair, Henry Wadsworth Longfellow. FOR PREPARATION.-I. "Orestes-like I breathe this prayer." (In "Orestes," the drama of Euripides, the raving Orestes, pursued by the Furies 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 (rimz), 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.). 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 I 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. 66 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 offenses 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. William Shakespeare. FOR PREPARATION.-I. From the play of "Julius Cæsar" (Act III., Scene 2). It is the time when Rome passes from the commonwealth to another form of government-that of the empire. Brutus is animated 164 with the old spirit, and joins the conspirators who murder Cæsar, the repre- II. Am-bi'-tious (-bish'us), val'-iant, en-rolled', eoun'-try-men (kun'-), Cæ'-şar, mourned. III. The prefixes generally may be arranged in pairs, having opposite shut in; exmeanings; e. g., ad means to, and ab, from: attract draw to; abstract = draw from. In this way, in is opposed to e or ex: include clude = shut out. (Ex 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," bondinan, 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. 1. We watched her breathing through the night, As in her breast the wave of life 2. So silently we seemed to speak, As we had lent her half our powers |