117 GOD quit you in his mercy! Hear your sentence:
You have conspired against our royal person,

Join'd with an enemy proclaim'd, and from his coffers
Received the golden earnest of our death;

Wherein you would have sold your king to slaughter,
His princes and his peers to servitude,

His subjects to oppression and contempt,
And his whole kingdom unto desolation.
Touching our person, seek we no revenge,
But we our kingdom's safety must so tender,
Whose ruin you three sought, that to her laws
We do deliver you. Get you therefore hence,
Poor miserable wretches, to your death;
The taste whereof, God, of his mercy, give you
Patience to endure, and true repentance
Of all your dear offences!-Bear them hence.
"Henry V."

Shakespeare.

Problem XXI. Give a passage which is very delicate, and then contrast with others full of greater force, keeping the same dignity and ease, increasing only the touch and range of voice.*

118 POETS are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present. "A Defence of Poetry." Shelley.

119

JUST for a handful of silver he left us,
Just for a ribbon to stick in his coat.

120 HEW down the bridge, Sir Consul, with all the speed ye may; I, with two more to help me, will hold the foe in bay.

121 My life, my honor, and my cause, I tender free to Scotland's laws.

122 ROUSE, ye Romans! Rouse, ye slaves!

123 ALAS for him who never sees

The stars shine through his cypress-trees!

Whittier.

* In these illustrations, we have the most delicate touch in 118, the degrees of intensity increasing to 122. In 123 and 124, we have the expression of sorrow and seriousness, and we find in these that the intensity of the touch does not lessen, but rather increases. It is the texture and color that gives the feeling; the touch gives the control over it, or the intensity. In 125, there is a fine illustration of sudden change of texture and color, with little change of touch.

124 I SLEEP and rest, my heart makes moan, before I am well awake. Let me bleed! oh, let me alone, since I must not break!

125 CHARGE! Chester, charge! On! Stanley, on!

Were the last words of Marmion.

Problem XXII. Take a variety of emotions, and vary the touch in expressing them according to the intensity of thought or of feeling, but give the touch the same definite and decided character.

126 NAIL to the mast her holy flag, set every threadbare sail,
And give her to the god of storms, the lightning and the gale.

127 BEING above all beings! Mighty One,

Whom none can comprehend, and none explore,

Who fill'st existence with Thyself alone,

Embracing all, supporting, ruling o'er,

Being whom we call God, and know no more!

Holmes.

128 THERE's tempest in yon horned moon, and lightning in yon cloud; And hark the music, mariners! the wind is piping loud;

The wind is piping loud, my boys, the lightning flashes free,
While the hollow oak our palace is, our heritage the sea.

Cunningham.

129 FEAR no more the heat o' the sun, nor the furious winter's rages; thou thy worldly task hast done, home art gone, and ta’en thy wages: golden lads and girls all must, as chimney sweepers, come to dust. Fear no more the frown o' the great, thou art past the tyrant's stroke; care no more to clothe and eat; to thee the reed is as the oak; the sceptre, learning, physic, must all follow this, and come to dust. Fear no more the lightning flash, nor the all-dreaded thunder-stone; fear not slander, censure rash; thou hast finish'd joy and moan: all lovers young, all lovers must consign to thee, and come to dust.

"Cymbeline."

Shakespeare.

130 MOUNT, child of morning, mount and sing, and gaily beat thy fluttering wing, and sound thy shrill alarms; bathed in the fountains of the dew thy sense is keen, thy joys are new; the wide world opens to thy view, and spreads its earliest charms.

Sing on! sing on! What heart so cold, when such a tale of joy is told, but needs must sympathize? As from some cherub of the sky, I hail thy morning melody. Oh, could I mount with thee on high, and share thy ecstasies! Letitia Barbauld.

131. THE LEE SHORE.

SLEET and hail and thunder! and ye winds that rave
Till the sands thereunder tinge the sullen wave,
Winds that like a demon howl, with horrid note,
Round the toiling seaman in his tossing boat!
From his humble dwelling, on the shingly shore,
Where the billows swelling keep such hollow roar;-
From that weeping woman, seeking with her cries
Succour superhuman from the frowning skies;-
From the urchin pining for his father's knee;-
From the lattice shining, drive him out to sea!-
Let broad leagues dissever him from yonder foam.
O God! to think man ever comes too near his home.

132. "MAKE WAY FOR LIBERTY."

Hood.

"MAKE way for Liberty!" he cried; made way for Liberty, and died! In arms the Austrian phalanx stood, a living wall, a human wood! a wall where every conscious stone seemed to its kindred thousands grown; a rampart all assaults to bear, till Time to dust their frames should wear! ... Impregnable, their front appears all horrent with projected spears, whose polished points before them shine, from flank to flank, one brilliant line, bright as the breakers, splendours run along the billows to the sun. Opposed to these, a hovering band contended for their native land; peasants, whose new-found strength had broke from manly necks the ignoble yoke, and forged their fetters into swords, on equal terms to fight their lords; and what insurgent rage had gained, in many a mortal fray maintained: marshalled once more at Freedom's call, they came to conquer or to fall. . . . And now the work of life and death hung on the passing of a breath; the fire of conflict burned within, the battle trembled to begin: yet while the Austrians held their ground, point for attack was nowhere found; where'er the impatient Switzers gazed, the unbroken line of lancers blazed: that line t'were suicide to meet, and perish at their tyrant's feet;-how could they rest within their graves, and leave their homes, the homes of slaves, would they not feel their children tread with clanking chains above their head? It must not be: this day, this hour, annihilates the oppressor's power; all Switzerland is in the field: she will not fly, she cannot yield,—she must not fall; her better fate here gives her an immortal date. Few were the numbers she could boast, but every freeman was a host, and felt as though himself were he on whose sole arm hung victory. It did depend on one indeed; behold him,

...

-Arnold Winkelried! there sounds not to the trump of fame the echo of a nobler name. Unmarked he stood amid the throng, in rumination deep and long, till you might see, with sudden grace, the very thought come o'er his face, and by the motion of his form anticipate the bursting storm, and, by the uplifting of his brow, tell where the bolt would strike, and how. But, 'twas no sooner thought than done; the field was in a moment won. "Make way for Liberty!" he cried, then ran with arms extended wide, as if his dearest friend to clasp; ten spears he swept within his grasp: "Make way for Liberty!" he cried. Their keen points met from side to side; he bowed amongst them like a tree, and thus made way for Liberty. Swift to the breach his comrades fly; "Make way for Liberty!” they cry, and through the Austrian phalanx dart, as rushed the spears through Arnold's heart; while instantaneous as his fall, rout, ruin, panic, scattered all. . . . Thus Switzerland again was free; thus Death made way for Liberty! Montgomery.

XV. CENTRALIZATION.

133 LIKE to the falling of a star,
Or as the flight of eagles are,

Or like the fresh spring's gaudy hue,
Or silver drops of morning dew,

Or like a wind that chafes the flood.
Or bubbles which on water stood,
Even such is man, whose borrowed light
Is straight called in and paid to-night:
The wind blows out, the bubble dies;
The spring entombed in autumn lies;
The dew's dried up, the star is shot,
The flight is past,—and man forgot!

THERE is not only a succession of ideas, the mind is not only concentrated first upon one idea and then upon another, but we find also that the ideas themselves are related to each other. If we read over this little poem, we find that there is one word which is the centre around which all else radiates. We find also another word which seems a predication of this. 'Man forgot,' really includes the whole poem; all other words merely illustrate this, and make it clear and emphatic.

6

To illustrate, in the first line we find the word 'star' as the centre of our interest; in the second, eagle'; in the third, 'spring'; in the fourth, dew'; in the fifth, 'wind'; in the sixth, 'bubble';-and then the attention culminates in man,' which stands in opposition to all of the other ideas. The accentuation of the word 'man' must be strong enough to set it over,—not in opposition to any one of the others, nor in simple sequence, in the same category with these, but in such a way as to show that it is the one point referred to by all of the others. It stands in antithesis to all of them.

It can be seen at once, therefore, that this is something different from accentuation: it is the manifestation not of the successive ideas, but of the relation of these ideas to some central conception; it is the giving of some word or words by the voice so as to interpret the deeper meaning and relationship of ideas.

Taking the second half of this poem, we find that 'light' is again referred to and somewhat accentuated, and then the mindpredicates of it, 'called in' and 'paid to-night.' So of 'wind,' 'blows out,' of 'bubble,' 'dies,' of 'spring,' 'autumn,' of 'dew,' 'dried up,' of 'star,' shot,' of flight,' 'past.' That is to say, the objects which have formerly been accentuated are again referred to, and certain predicates are accentuated side by side with them; and through these predicates we arrive at the great logical predicate up to which all the rest lead, 'forgot.' The whole poem may be summed up and expressed in two words,— 'man,' forgot.' The leading words of the poem may be printed something like this, to illustrate their relative importance :star, eagle's, spring's, dew, wind, bubbles, MAN. light-night; wind-out; bubble-dies; spring — autumn; dew-dried up; star-shot; flight-past; man- FORGOT. From this we see, not only that there is a simple succession of ideas or words, accentuated with reference to the single idea upon which the mind is fixed, but also that, through several of these accentuations, the mind looks forward to a greater central