to another of the clouds that rested on the hills, and thence to the loftier brotherhood that sailed in the air, it seemed almost as if a mortal man might thus ascend into the heavenly regions. Earth was so mingled with the sky that it was a day-dream to look at it. II. The figure of Rebecca might, indeed, have compared with the proudest beauties of England, even though it had been judged by as shrewd a connoisseur as King John. Her form was exquisitely symmetrical, and was shown to advantage by a sort of Eastern dress. Her turban of yellow silk suited well with the darkness of her complexion. The brilliancy of her eyes, the superb arch of her eyebrows, her well-formed aquiline nose, her teeth as white as pearl, and the profusion of her sable tresses which, each arranged in its own little spiral-twisted curls, fell down upon as much of a lovely neck and bosom as a simarre of the richest Persian silk, exhibiting flowers in their natural colors embossed upon a purple ground, permitted to be visible, all these constituted a combination of loveliness which yielded not to the most beautiful of the maidens who surrounded her.

EXERCISE LXXXIL

RHETORICAL ANALYSIS.

1. Examine No. 1 of Exercise LXXXI. under the following heads :

a. The choice and use of words: :

(a) Is every word used in its proper sense?

(b) Is every word the best that can be found to express the meaning intended?

b. The formation of the sentences:

(a) Is each of the sentences so formed as to present its meaning readily and clearly?

(6) Does each sentence deal with a single idea, or does it give prominence to its leading thought?

(c) Is due attention given to melody and the other requirements of elegance?

c. Construction of paragraphs:

(a) Is there a topic sentence?

(b) Are the sentences arranged in logical order?

(c) Are the sentences smoothly and properly connected?
(d) Does the paragraph possess unity; that is, do all the
sentences bear on the topic?

(e) Is there due proportion between the theme and the
illustration, or does the illustration occupy so much

space and attract so much attention as to overshadow the main thought?

d. Figures of speech. Name the various figures of speech that occur, and remark on the rhetorical value of each.

2. Go through the Exercise, dealing with each of the parts in a similar manner.

I

EXERCISE LXXXIII.

REPRODUCTION.

1. Study No. 1 of the preceding Exercise till you are thoroughly familiar with its meaning and sentiment.

2. Then close the book, and try to reproduce them in other language.

3. Next compare your work with the original, and if yours suffers by the comparison, try again.

4. When you feel satisfied with the manner in which you have brought out the sense and spirit of the passage, make a critical examination of your work, as indicated in the preceding Exercise. 5. Rewrite with emendations.

Note the suggestions made in Lesson XXXIV.

6. Go through the Exercise, dealing with each part in a similar

manner.

LESSON XL.

FORCE.

Force is a general name for that quality, or rather combination of qualities, which causes discourse to make a deep impression on the mind. Force is therefore the cause of impressiveness.

This quality manifests itself in a great variety of forms or degrees, and is therefore conveniently known by a variety of terms. Those most commonly used are, Strength, Energy, Vigor, Vivacity, Liveliness, Animation, Brilliancy, Grandeur, Magnificence, Loftiness, Sublimity.

Force applies to language addressed to the emotions as well as to that which informs the intellect; hence, partly, its complexity. In order that discourse may be forcible there must be —

1. A vigorous and skilful use of that part of our vocabulary which expresses power, physical, moral, intellectual, or emotional.

2. A clear and full representation of the object or thought. For example, a description of Niagara Falls might fail to awaken emotions of awe or sublimity if feebly or inadequately given.

3. While the central object or thought must be kept promi-nently before the mind, the supports and surroundings must be made to harmonize.

4. Striking features or points must have prominence, and details must be kept in due subordination, or omitted.

5. Young people are inclined to think that "big words" and dazzling figures of speech are the great cause of force. At times they may be, but simplicity in language and in the structure of sentences is often most effective. If the mind labors to get the

meaning, it will be less impressed.

What could be more effective

than, "A world of waters wide and deep "?

6. Force may be gained by dividing a general term into its chief parts, and stating, or, it may be, describing each part separately; as, "Neither love, sorrow, fame, ambition, nor strife (for

no feelings) can cut his heart with the keen edge of silent, sharp endurance."

7. Impressiveness, the outcome of force, is assured by building an argument on a generally accepted basis; e.g., if a person builds a logical argument on such a basis as "the fatherhood of God and the brotherhood of man," he will be sure to carry strong conviction to the minds of his readers.

8. One source of force is the author's vivid conception of the subject, accompanied by strong and deep emotion. As an example, take this definition of history: "History is a mighty drama, enacted upon the theatre of time, with suns for lamps and eternity for a background."

9. Whatever contributes to perspicuity contributes likewise to force. Hence simplicity, concreteness, and transparent clearness of arrangement are of vital importance.

10. Force may sometimes be given by the form of the sentence. For example, vigor is sometimes gained by a number of short sentences, by inversion of the order, or by turning the expression into the form of an exclamation or an interrogation.

II. Force may be obtained by a repetition of the same thought in various forms or under various figures; as, "How soon man is forgotten. History fades into fable; fact becomes clouded with doubt and controversy; the inscription moulders from the tablet ; the statue falls from the pedestal."

12. One of the most effective means of adding force is the use of appropriate and original figures of speech. This has already been seen in preceding Lessons.

13. As was shown in discussing Strength, there are in the use of language many devices that increase the force of style. All these may be employed to intensify the effect.

14. One great source of force is originality. This may show itself in the form, as in Carlyle; in the conception, as in Newton.

15. Force, as well as other qualities of style, may be increased by comparing the subject with some other whose impressive grandeur is well known. For example, a writer renders his portrayal

of the destruction done by the locusts more vivid by saying, “The locusts have done what the winds and the lightnings could not do; and the whole promise of the vintage, leaves and all, is gone."

PATHOS.

The quality of style that awakens tender emotions is usually called Pathos, or Feeling. It is the power of producing in the mind by means of language an effect similar to that which the scenes or incidents would themselves have created.

Pathos is awakened by descriptions or relations of —

1. The love of parents for their children, of children for their parents, or of persons of one sex for those of the other.

2. True friendship or self-sacrificing devotion to the interests of others. See the story of Damon and Pythias.

3. Tender sentiments, humane actions, or whatever else tends to increase human happiness or lessen human woe.

4. Scenes of suffering, misery, or distress. Those are all the more touching when prominence is given to the heroism, meekness, patience, or whatever serves to exhibit the nobility of the character of the sufferer.

As style is only form of expression, we should distinguish clearly between Pathos of subject and Pathos of style. Pathos of subject is always the same, though it may affect different persons differently, or even the same persons differently at different times; but the pathos of style varies according to the manner in which the subject is presented. In the statements that follow, pathos of style only is considered.

Pathos may be increased

1. By a clear and impressive presentation of the subject. For example, a scene of distress may affect us but little if it is so described as to give us but an imperfect idea of it.

Here, then, is room for the employment of all the devices that contribute to perspicuity, picturesqueness, and force. Attention should be given to what has been said under each of these heads; our feelings are reached through our intellect.