On ǎ

1. Trochaic of one foot.
Ringing,

Singing.

2. Single Rhyme.

Tumult

cease,

Sink to peace.

3. Trochaic of two feet.

On the mountain,
By a fountain.

4. Single Rhyme.
In the days of | old,
Stories plainly told.

5. Trochaic of three feet.
When our hearts are mourning.
6. Single Rhyme.

Restless mortals toil for nought,
Bliss in vain from | earth is sought.
7. Trochaic of four feet.

Round us roars the tempest | louder.
8. Single Rhyme.

Idle, after dinner | in his chair,
Sat a farmer ruddy, | fat and fair.

9. Trochaic of five feet.

All that walk on foot or | ride in chariots,
All that dwell in palaces or garrets.

10. Trochaic of six feet.

mountain, stretch'd | beneath a | hoary | willow, Lay ǎ shepherd | swain and | view'd the | rolling billow

IAMBIC VERSE.

§ 293. In Iambic verse the accent should be laid on the even syllables.

2. Iambic of two feet.
What place is here.
What scenes appear.
3. Iambic of three feet.
In places far | Ŏr near
Or famous or obscure.

4. Iambic of four feet.
And may at last my weary age
Find out the peaceful hermitage.

Be wise

5. Iambic of five feet.

to-day, | 'tis madness to defer,

Next day the fatal precedent | will plead.

REMARK. This is called heroic verse. In its simplest form it consists of five Iambuses; but by the admission of other feet, as Trochees, Dactyls, Anapasts, etc., it is capable of many varieties.

6. Iambic of six feet.

For thōu | ǎrt būt | of dūst, | bě humblé and | be wise. 7. Iambic of seven feet.

The Lord descended from above,ănd bōw'd the heavens high.
This was formerly written in one line, but now it is divided
into two, the first containing four feet, the second three; as,
When all thy mercies, O my Göd!
My rising soul surveys.

§ 294. DACTYLIC VERSE.

REMARK. This kind of verse is not common.

When it is

pure Dactylic verse, the accent is laid on the first and the

fourth, the seventh and tenth syllables.

1. Dactylic of one foot.

Fearfully,

Tearfully.

2. Dactylic of two feet.

Free from saltiety
Căre and anxiety.

3. Dactylic of three feet. Ever sing merrily, merrily.

4. Dactylic of four feet.

Boys will anticipate, | lavish and | dissipǎte.

§ 295. ANAPESTIC VERSE.

REMARK. In this verse the accent is laid on every third syllable. The first foot of Anapæstic verse may be an Iambus. 1. Anapastic of one foot.

But in vain

They complain.

2. Anapastic of two feet. When I look | õn my boys They raise all my jōys.

3. Anapastic of three feet.

O, ye woods | spread your branches apǎce.

4. Anapastic of four feet.

May I gōvěrn my passions with absolute sway
And grow wiser and better as life | wears away.

PRONUNCIATION.

§ 296. Pronunciation consists in expressing words or sentences by the vocal organs.

Pronunciation comprehends accent, emphasis, pause, and inflection.

1. Accent consists in laying a peculiar stress of voice on a particular letter or syllable in a word to distinguish it from others.

Every word which has more than one syllable, has one of its syllables accented; as, miserable.

In a very long word a secondary accent is given to another syllable, for the sake of harmony and distinction; as, `Amplification.

2. Emphasis consists in laying a peculiar stress of voice on one or more words in a sentence to distinguish them from others.

3. Pause, in reading or speaking, denotes a cessation of the voice a longer or shorter period, according as the sense requires.

4. Inflections are peculiar variations of the voice, made in passing from one note into another.

The passage of the voice from a lower to a higher note, is called the rising inflection. The passage of the voice from a higher to a lower note is called the falling inflection.

5. Tones are those modulations of the voice which depend very much upon the feelings of the speaker, and the sentiments he expresses. In order to be impressive, they should be natural and adapted to the nature of the subject and the occasion.

FIGURES.

§ 297. Figures are intentional deviations from the regular form, construction and application of words. These figures may relate either to Etymology, Syntax, or Rhetoric.

FIGURES OF ETYMOLOGY.

§ 298. There are six principal figures of Etymology, Aphæresis, Syncope, Apocope, Tmesis, Diæresis, and Synæresis.

1. Apheresis is the taking away a letter or syllable from the beginning of a word; as, "'tis 'gan," for "it is began." 2. Syncope is the omission of some letter or syllable in the middle of a word; as, groc'ries, med'cine.

3. Apocope is the omission of the final letter of a syllable or a word; as, tho', th', for though and the.

4. Tmesis is the insertion of a word between the parts of a compound word; as, "What course soever he may pursue.' 5. Diaresis shows that two vowels coming together, should not be considered a diphthong; as, preeminent, coägulate. 6. A Synæresis denotes the contraction of syllables usually separated, into one; as, loved, lov-ed.

FIGURES OF SYNTAX.

§ 299. There are three figures of Syntax; Ellipsis, Pleonasm, and Hyperbaton.

1. Ellipsis is the omission of some word or words in a sentence, which are necessary to complete the construction, but not to express the meaning of the sentence; as, "The joys and (the) sorrows of life;" "What is your name? (it is) John."

2. Pleonasm is using a greater number of words than is necessary to express the meaning; as, "He spake with his voice."

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3. Hyperbaton is a transgression of the common order of words and clauses; as, Whom do men say that I am?" "He wanders earth around."

REMARK. This figure may be introduced into animated discourse, with much force, elegance, and propriety; but an emphatic repetition of the same idea, in ordinary sentences, should in every case be avoided.

FIGURES OF RHETORIC.

§ 300. A rhetorical figure is an intentional deviation from the regular application of words. Figures of this kind are called tropes. There are fourteen rhetorical figures, Metaphor, Simile, Metonomy, Synechdoche, Allegory, Irony, Hyperbole, Personification, Apostrophe, Interrogation, Ecphonesis, Vision, Antithesis, Climax.

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1. "A Metaphor is the transferring of a word from the object to which it properly belongs, and applying it to another to which that object has some analogy;" as, The field smiles;" "I will be unto thee a wall of fire round about, and a glory in the midst of her;" "Thou art my rock and fortress."

"The

2. Simile or comparison denotes that the resemblance between two objects is expressed in form, and extends farther than a metaphor admits; as, "As the mountains are round about Jerusalem, so the Lord is round about his city;" actions of princes are like those great rivers, the course of which every one beholds, but their springs have been seen but by few."

3. Metonomy is substituting the name of one object for that of another to which it sustains certain relations; as, the cause for the effect, the container for the thing contained, the property for the substance, the sign for the thing signified,