SECTION VII. POETIC PAUSES. IN poetry, we have three sets of pauses, viz., grammatical pauses, rhetorical pauses, which two are common to poetry and prose, and poetic pauses, which are peculiar to poetry. object of these latter is simply to promote the melody. The The At the end of each line, a slight pause is generally proper, whatever be the grammatical construction or the sense. purpose of this is, to make prominent the melody of the measure, and, in rhyme, to allow the ear to appreciate the harmony of the similar sounds. There is, also, another important pause, somewhere near the middle of each line, which is called the cesura, or cesural pause. In the following lines it is marked thus, There are hours long departed-which memory brings, Like blossoms of Eden-to twine round the heart, The cesural pause should never be so placed as to injure the The following lines, if melody alone were consulted, would be read thus, sense. With fruitless la-bor, Clara bound, And strove to stanch-the gushing wound; The Monk with un-availing cares, Exhausted all-the churches prayers. This manner of reading, however, it will be readily perceived, would very much interfere with the proper expression of the idea. This is to be corrected, by making the cesural pause yield to the sense. The melody is not injured by this, as much as might be supposed. The above lines should be read thus, With fruitless labor-Clara bound, And strove to stanch-the gushing wound; The Monk-with unavailing cares, Exhausted all the churches prayers. Sometimes, where the sense requires it, two cesural pauses may be made instead of one, as in some of the following lines: Soldier, rest!-thy warfare o'er, Sleep the sleep-that knows not breaking; Dream-of battle fields-no more, Days of danger-nights of waking. In lines like the following, three cesural pauses are proper. The first and last are slight, and are sometimes called demi cesuras. Our bugles-sang truce-for the night cloud-had lowered, QUESTIONS.-How many kinds of pauses are used in poetry? Which of them are common to both poetry and prose? Which is used in poetry alone? What is the object of this latter kind of pauses? Where is a slight pause generally proper? What is its object? What other pause in poetry is used? What is it called? Point it out in the example. What caution is given with regard to its use? Explain this by the example given in the lines" With fruitless labor," &c. When may there be two cesural pauses? When there are three, what are the first and last called? EXERCISES FOR PRACTICE IN INFLECTION AND EMPHASIS. In these examples, the words to be inflected and emphasized have the appropriate mark, and the principles applicable to them are explained by reference to the proper rule. ON THE DEATH OF FRANKLIN. Franklin' is DEAD'. The genius who freed America', and poured a copious stream of knowledge throughout Europe', is returned unto the bosom of the Divinity'. The sage to whom two worlds' lay claim, the man for whom science' and politics' are disputing, indisputably enjoyed an elevated rank in human nature'. The cabinets of princes have been long in the habit of notifying the death of those who were great, only in their funeral orations'. Long hath the etiquette of courts', proclaimed the mourning of hypocrisy. Nations' should wear mourning for none but their benefactors'. The representatives' of nations should recommend to public homage', only those who have been the heroes of humanity'. All the inflections in the above extract are explained by Rules I and IV, SEC. IV. BONAPARTE. He knew no motive' but interest; acknowledged no criterion' but success'; he worshiped no God' but ambition', and with an eastern devotion' he knelt at the shrine of his idolatry'. Subsidiary to this, there was no creed' that he did not profess', there was no opinion' that he did not promulgate'; in the hope of a dynasty', he upheld the crescent'; for the sake of a divorce', he bowed before the cross'; the orphan of St. Louis', he became the adopted child of the republic; and with a parricidal ingratitude', on the ruins both of the throne and the tribune', he reared the throne of his despotism'. At his touch', crowns' crumbled; beggars' reigned'; systems vanished; the wildest theories' took the color of his whim'; and all that was venerable', and all that was novel', changed places with the rapidity of a drama'. Nature had no obstacle' that he did not surmount; space no opposition' he did not spurn'; and whether amid Alpine rocks',—Arabian sands',—or Polar snows',he seemed proof against peril', and empowered with ubiquity`. The inflections in the above extract are chiefly explained by the principle of antithesis and series. Rules VI and II, 3§, SEC. IV. HAMLET'S REFLECTIONS ON SEEING THE SKULL OF YORICK. 3 2 Alas! poor Yorick'1 I knew him, well,2 Horatio'; a fellow of infinite jest',4 of most excellent fancy`.? He hath borne me on his back', a thousand times'; and now', how abhorred in my imagination is this skull! My gorge rises at it. Here hung those lips that I have kissed, I know not how oft`.? Where are your gibes', now?* your gambols 25 your songs 25 your flashes of merriment, that were wont to set the table in a roar ?5 Not one', now, to mock your grinning' ? quite chopfallen' 26 Now get you to my lady's chamber', and tell her', if she paint an inch thick, yet to this favor" will she come at last`.2 III. 7 1 SEC. IV. Rule II. 2§. 2 Rule I. 3 Rule IV. 4 Rule I, Remark. 5 Rule * Now is contrasted with the past, and the circumflex is proper. 6 Rule V. 7 Rule IV, Exception or Rule II, 4§. 8 Rule II, 1§. EXTRACT FROM A DESCRIPTION OF THE BATTLE OF FLODDEN FIELD. The border slogan rent the sky',' A Home! a Gordon was the cry';2 Loud" were the clanging blows';2 Advanced', forced back,-now low"-now high" The pennon sunk”—and rose` ;a As bends the bark's mast in the gale',' When rent are rigging',5 shrouds'," and sail'," It wavered 'mid the foes'.2 EXERCISES IN INFLECTION AND EMPHASIS. 37 The war',' that for a space did fail',1 7 Charge, Chester',' charge! On, Stanley',' on "”— SEC. IV, Rule IV. 2 Rule I. 3 Rule II, 2§. 4 Rule VI, 1§. 5 Rule II, 3§. 6 Rule I, Remark. 7 Rule II, 1§. REPLY OF SHYLOCK TO ANTONIO, WHO WISHED TO BORROW 12 Seignor Antonio',' many a time',' and oft',' 9 6 13 A CUR1-can lend three thousand ducats' ? or',1 "Fair sir'!1 you spit on me, on Wednesday last',' 1 SEC. IV, Rule IV. Rule I. Rule IV, Exception, and Rule II, 4§. ♦ Circumflex, because his present request is contrusted with his former abuse. D^g, cûr, and coûrtesies are also used ironically. 5 Rule III. 6 Rule V. 7 Rule II, or I. The order is inverted. The regular order would be thus: "On Wednesday last, you spiť` on me.” "On such a day', you spurned me.” 8 Rule II, 25. These phrases have the nature of exclamation. 9 Rule VI, 3§. SUGGESTIONS TO TEACHERS. To read with an appropriate tone, to pronounce every syllable properly and distinctly: and to observe the pauses, are the three most difficult points to be gained in making good readers. These points will require constant attention throughout the whole course of instruction upon this subject. Such other directions for read.ng, and such general rules as are considered of practical utility, will be found in the Introductory Article. and at the commencement of the several lessons. As considerable repetition is neces sary to the thorough acquisition of anything, the most important rules are repeated in successive lessons. If teachers will classify with reference to particular defects, it will much abridge the labor of teaching. Let all who read in a low voice, be put in one class; all who pronounce indistinctly, in another; and those who read too fast, in a third class, and let especial attention be paid to each of these faults. If pupils are required to criticise each other's reading, and go toward the head of the class as they correct faults, it sustains interest in the exercise, and makes them more careful in reading. But while one thing should be prominently attended to at a time, many things may be joined collaterally, if proper pains be taken. Let a class be called to read. The teacher requires the pupil to pay particular attention to emphasis. But he may, at the same time, direct them to stand at different distances while they read lessons; and thus secure a proper attention to force or loudness of utterance. Let the teacher sometimes place his class as far from his desk as the room will permit, and require the lesson to be read in a suppressed tone, but so distinctly as to be audible throughout the room; and in this way he will most effectually secure distinct articulation. But this book is designed for other purposes than merely to teach the pupil to read. The selections have been made with constant reference to the improvement of the mind, as well as to the cultivation of the voice. Many of the lessons require thought, and an extensive range of reading, in order to be appreciated, and before they can be comprehended. Let the teacher then study the lessons, as well as the pupils. Let him require, that the substance of what has been read, be continuously narrated by the pupils, without recurrence to the book. Let him direct that this be written down with no other appliances at hand than pen, ink, and paper. Let each pupil be so situated, that he can derive no assistance from his fellow pupil; and then let the narratives, both oral and written, be the subject of severe but candid criticism by the teacher and the other pupils, as to the style, pronunciation, grammar, and penmanship. Let the teacher sometimes read aloud a lesson to his class, having previously removed every means of taking notes while he reads; and then let him require each pupil, within a given, but sufficient time, to render in writing, and from recollection, an abstract of what he has read. This exercise improves the attention, practices the pen, gives fluency of expression, and a readiness of employing the ideas gained in reading, as capital of our own; and will be found very interesting to the pupils, and improving in a greater variety of ways, than many other highly approved methods of recitation. (38) |