control of the voice in the reading of verse, that the student should accustom himself to the practice of marking the accentuation of verse to the ear, a process in which the actual "rhythm" of the voice is decided, as in prose, by the position of accent. The mere prosodial "quantities" must, in elocution, be regarded as but subordinate and tributary means of effect to "" rhythmical accent," and as contributing to secure its perfect ascendency. Metre, then, in reading, is to be considered as but precision of "rhythm," by which utterance is brought more perceptibly under the control of "time," than in prose. Verse, accordingly, is scored for accent, exactly as prose is. Here, also, the student may be reminded that, in practising on metre, whilst, for the sake of distinct impression, he indulges its effect to the full extent, at first, he must accustom himself to reduce it gradually within those limits which shall render it chaste and delicate. The peculiar effects of "measure," in music, do not exceed those of metre in good reading and recitation; and they are indispensable in the reading of all forms of verse, but particularly in lyric strains. In these, as even a slight attention will suffice to prove, the poet often changes the mood of his metre along with that of his theme. The "Ode on the Passions," and all similar pieces, require numerous changes of "rhythm" and prosodial effect, as the descriptive or expressive strain shifts from passion to passion, and from measure to measure. It is by no means desirable, however, that the metre should be marked in that overdone style of chanting excess which offends the ear, by obtruding the syllabic structure of the verse, and forcing upon our notice the machinery of prosodial effect. The subjoined examples may serve to suggest, to the teacher and the student, the mode of marking on the blackboard, or with a pencil, similar exercises selected from the pages of this volume, or any other, at choice. It was deemed preferable to use, for our present purpose, the same examples which have been analyzed for the study of the prosodial structure of verse, so as to show, as impressively as possible, the difference between the literal accent of the mere mechanism of verse as such, and the free, varied, and noble "rhythm" which it acquires when, in reading and recitation, the object in view is to render verse tributary to meaning and sentiment, or to vivid emotion. The servile style of reading verse which follows its sound rather than its sense, is no worse fault than a literal practising of prosody, a fair and honest but most gratuitous scanning of the lines, rather than the reading of them. strict metrical marking, however, and due practice on it, may be very useful to those students whose habit, in reading, is to turn verse into prose, through want of ear for metre. The NOTATION OF RHYTHMICAL AND PROSODIAL ACCENT COMBINED. I. "IAMBIC" METRE. "Blank" Verse. 1 "Advanced in | view, they | stand, 1a | hor 1 Of dreadful | length, and dazzling | arms, 1in guise 3 Of warriors | old with | ordered | spear and | shield."991 1 "Demi-cæsural" pause. 2 "Final" pause. 3" Cæsural" pause. The pauses marked with the figure 1, etc., are founded primarily and necessarily on the sense; but the prosodial pauses, indispensable to the "rhythm" of every well-constructed verse, happen, in the present instance, to coincide with the pauses of the meaning. Every line of verse has a final pause," which detaches it from the following line, and a "cæsural" pause, which divides it into two parts, equal or unequal, or two "demi-cæsural" pauses, which divide it into three parts. The "demi-cæsural" pauses are sometimes used in addition to the "casural," to subdivide the two parts which it separates. "Heroic Couplet." "Like | leaves on trees the | life of | man | found: | is | Now green in | youth, now withering | | on the ground; | | An- | other | race | the | following | spring sup- | plies: They fall suc- | cessive, and suc- | cessive | rise." | 971991 i "Octosyllabic Couplet." "The way was | long, | was cold;| the wind | The minstrel | was in- firm and old." | | 4 প| Quatrain Stanza: "Octosyllabic Couplets." "The spacious | firmament | on high, 1 | a shining | frame, || pro- | claim." ||99| Quatrain Stanza: Octosyllabic Lines, rhyming alternately. "The heavens | de- | clare thy | glory, | Lord, | ༄། In every starthy | wisdom | shines; || But when our | eyes be- | hold thy | word, | 19 We read thy | name | in | fairer | lines." | 1991 "Common Metre" Stanza. "Thy love the power of thought | be- | His gracious | hand | in- | dulgent | leads, |99| And guards my | sweet re- | pose." || Elegiac Stanza. "Full many a gem, of | purest | ray | se rene, The | dark | un- | fathomed | caves of | ocean | 4 Full many a flower is | born to | blush un- | seen, And waste its | sweetness on the | desert | air." | But | one | vast | realm of | wonder || spreads a- | round; | 11 And all the Muse's | tales seem | truly told, | | 1991 Till the sense | aches with | gazing to be- | hold | The scenes | our earliest | dreams | have | dwelt upon. | পদ | পপ Each hill and | dale, each deepening glen De- fies the power | gone: and wold, which | crushed thy | temples 91 | Age | shakes A- | thena's | tower, but | spares | gray | Marathon." | | II. "TROCHAIC" METRE. 66 Softly sweet, in | Lydian | measures, | War he sung, is | toil | and | trouble, || Honor, but an | empty | bubble." ||| 66 99 III. ANAPÆSTIC METRE. 1. Lines of Three "Anapasts." "How fleet is a glance of the mind! ||99| Compared with the speed of its | flight, || The tempest | it- self | lags behind, | And the swift-winged | arrows of | light." || 2. Lines of Four “Anapæsts.” "The evening was glorious; | and | light | ◄ through the trees || Played the sunshine | and | raindrops, | the birds and the breeze;||| The | landscape lay On the lap out- | stretching in | loveliness, of the year, in the | beauty of 1991 CHAPTER IX. EMPHASIS AND "EXPRESSION." THE analysis of elocution has, in the preceding chapters, been extended so far as to comprehend all the chief topics |