You have added the short syllabic part of the foot. Yes, the short syllable is added when Iambic verse ends with an additional syllable; and, in this respect, it is the opposite of the Trochaic, which you remember was increased by the long syllable. Have I not met with stanzas in which Trochaic and Iambic verse are in alternate lines? Yes, they are variously alternated at the will of the composer: here is an instance "PRAISE the LORD who REIGNS ABOVE, And KEEPS his COURTS beLOW; BISHOP MANT. Have you anything to say concerning the feet you call Spondee and Pyrrhic? Not much, as they are but of a secondary importance, and their chief use is to mix up with other feet and give variety here is an instance of the use of the SpondeeSEE the BOLD YOUTH STRAIN UP the THREATening STEEP. Trochee. Spondee by quantity. Spon. by accent. Iambic. Iambic. In this we have an instance of a Pyrrhic and a Spondee. That on WEAK WINGS from FAR purSUES your FLIGHT. Pyrrhic. Spondee. Iambic. Iambic. Iambic. Well, now let us consider the three syllabic feet : what have you to say respecting Anapastic verse? Anapastic verse may consist of one foot, two feet, three or four feet; though that of one foot may admit of doubt, as a stress of voice on the first and third syllable would convert it into Trochaic. Give instances of each. Anapæstic verse of one foot But in VAIN, They comPLAIN. Anapæstic verse of two feet "Let the LOUD trumpet SOUND, 'Till the ROOFS all aROUND." A short syllable is sometimes added, as- Anapæstic verse of three feet Oh, ye WOODS, spread your BRANCHes aPACE, Рорк. I would HIDE with the BEASTS of the CHASE, I would VANish from EVEry EYE. Anapæstic verse of four feet, to which an additional short syllable is sometimes added "Tis the VOICE of the SLUGgard, I HEAR him comPLAIN, You have WAKEd me too SOON, I must SLUMber aGAIN; As the DOOR on its HIN Ges, so HE on his BED, Turns his SIDES, and his SHOULders, and HIS heavy HEAD.” With an additional syllable WATTS. On the WARM cheek of YOUTH smiles and ROSes are BLENDing. Is it not time to pass on to the other trysllabic feet? Yes, we will commence with the Dactylic. It is not very common, it is the reverse of the Anapest because the long syllable is first. FROM the low PLEAsures of THIS fallen Nature, RISE we to HIGHer and NOBler themes. We take the Amphibrach next ReLIGion, what TREAsures UNtold. Amphibrach, Amphibrach. Trochee. Trochee. And lastly we give one instance of a Tribrach- Trochee. Trochee. NOTE.-Let the pupils discover instances for themselves of the use of the various feet, from any poetical work they may have at hand; the pleasure derived in reading or hearing poetic pieces read well, will amply repay the outlay of a little trouble in becoming acquainted with the poetic feet. Also, in reading aloud be careful to avoid anything approaching to a sing-song mode, also anything like stiffness, or mannerism, but let the tone of voice and mode of delivery be smooth and natural to the subject; when we look upon a beautifully-finished picture, we do not want to see all the touches of the painter's pencil in getting his colours to the required shade. At page 160 you deferred the consideration of poetical pauses until we had gained some acquaintance with versification? Yes, and we will consider them now. It was said that poetical pauses were of two kinds Sentential and Harmonic. Describe what you mean by Sentential. Sentential has reference, as the name would imply, to the points belonging to the sense, such as the comma, and the others already considered. What do you mean by Harmonic pause? Harmonic pauses will require some little care to understand; they are divided into final pauses and cæsural pauses, sometimes coinciding with the sentential, but not necessarily: so they have a kind of independent existence. What have you to say about the Final pause? 1st. Final is a word that comes from the Latin, finalis, the last; and in poetry the final pause takes place at the end of the line, closes the verse, marks the measure, and preserves the melody without interfering with the sense, and that simply by a suspension of the voice, without any change of note or ton in the final syllable. 2nd. The tone of the final syllable is always the same as the preceding, and as that changes with the subject, and varies with the sense, monotony, which soon offends the ear, is avoided. 3rd. The Final pause is sometimes the only distinction between verse and prose. Take, as an instance, the opening of Milton's Poem on Paradise Lost; drop the final pause, and it reads as poetical prose : "Of man's first disobedience, and the fruit of that forbidden tree, whose mortal taste brought death into the world, and all our woe, with loss of Eden, till one greater Man restore us, and regain the blissful seat, sing heavenly muse." With the Final pause it reads thus— "Of man's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Now explain the Casural pause. 1st. The Casural is from the Latin, and signifies a cutting. It is a figure in poetry, by which a short syllable at the end of a word, or beginning of a foot, is, as it were, cut off, and made long; or when a syllable is left after a complete foot. 2nd. The Casural pause divides the line into equal or unequal parts; and, being in its nature quite independent, it may or may not coincide with the sentential pause. 3rd. The effect of the Cesura is to arrest the attention, to note some comparison; and may be said to contribute to the melody, improve the harmony, and heighten the expression. 4th. The Casura sometimes divides the line into two, sometimes into three portions; frequently the divisions are marked thus (”). Give an instance of the Cæsura dividing the line into two portions. Again Can The silver eel" in shining volumes roll'd, The yellow carp "in scales bedroped with gold. See the bold youth" strain up the threatening steep, Rush through the thickets" down the vallies sweep. you give an instance of the Cæsura dividing the line into three portions? Yes, here is one that answers our purpose Outstretch'd he lay " on the cold ground" and oft " Look'd up to heaven. Have you anything more to note respecting the Cæsura? Yes, two things: First, the Cæsura in heroic verse is generally on the fourth, fifth, or sixth syllable. Sometimes the Cæsura is on the fifth syllable, or middle of the third foot; on the sixth syllable, or end of the third foot. Second, there is sometimes what is called a semi-pause, a kind of half Casura: we will take this instance Warms' in the SUN refreshes in the breeze, Glows' in the STARS" and blossoms in the trees; COMPOSITION OF PROSE. At folio 156 you stated that one of the things to be noticed was the composition of Prose, now state what you mean by the Composition of Prose ? 1st. Prose signifies language not restrained to harmonic feet, or set number of syllables; or, in other words, prose may be considered as the opposite of verse. |