The Grammar of English Grammars Part 213

LESSON XIV.--OF ELOCUTION.

1. What is elocution? 2. What does elocution require? 3. What is emphasis?

4. What comparative view is taken of accent and emphasis? 5. How does L.

Murray connect emphasis with quant.i.ty? 6. Does emphasis ever affect accent?

7. What is the guide to a right emphasis? 8. Can one read with too many emphases? 9. What are pauses? 10. How many and what kinds of pauses are there? 11. What is said of the duration of pauses, and the taking of breath? 12. After what manner should pauses be made? 13. What pauses are particularly ungraceful? 14. What is said of rhetorical pauses? 15. How are the harmonic pauses divided? 16. Are such pauses essential to verse?

LESSON XV.--OF ELOCUTION.

17. What are inflections? 18. What is called the rising or upward inflection? 19. What is called the falling or downward inflection? 20. How are these inflections exemplified? 21. How are they used in asking questions? 22. What is said of the notation of them? 23. What const.i.tutes a circ.u.mflex? 24. What const.i.tutes the rising, and what the falling, circ.u.mflex? 25. Can you give examples? 26. What const.i.tutes a monotone, in elocution? 27. Which kind of inflection is said to be most common? 28.

Which is the best adapted to strong emphasis? 29. What says Comstock of rules for inflections? 30. Is the voice to be varied for variety's sake?

31. What should regulate the inflections? 32. What is cadence? 33. What says Rippingham about it? 34. What says Murray? 35. What are tones? 36. Why do they deserve particular attention? 37. What says Blair about tones? 38.

What says Hiley?

LESSON XVI.--OF FIGURES.

1. What is a _Figure_ in grammar? 2. How many kinds of figures are there?

3. What is a figure of orthography? 4. What are the princ.i.p.al figures of orthography? 5. What is Mimesis? 6. What is an Archaism? 7. What is a figure of etymology? 8. How many and what are the figures of etymology? 9.

What is Aphaeresis? 10. What is Prosthesis? 11. What is Syncope? 12. What is Apocope? 13. What is Paragoge? 14. What is Diaeresis? 15. What is Synaeresis?

16. What is Tmesis? 17. What is a figure of syntax? 18. How many and what are the figures of syntax? 19. What is Ellipsis, in grammar? 20. Are sentences often elliptical? 21. What parts of speech can be omitted, by ellipsis? 22. What is Pleonasm? 23. When is this figure allowable? 24. What is Syllepsis? 25. What is Enallage? 26. What is Hyperbaton? 27. What is said of this figure?

LESSON XVII.--OF FIGURES.

28. What is a figure of rhetoric? 29. What peculiar name have some of these? 30. Do figures of rhetoric often occur? 31. On what are they founded? 32. How many and what are the princ.i.p.al figures of rhetoric? 33.

What is a Simile? 34. What is a Metaphor? 35. What is an Allegory? 36. What is a Metonymy? 37. What is Synecdoche? 38. What is Hyperbole? 39. What is Vision? 40. What is Apostrophe? 41. What is Personification? 42. What is Erotesis? 43. What is Ecphonesis? 44. What is Ant.i.thesis? 45. What is Climax? 46. What is Irony? 47. What is Apophasis, or Paralipsis? 48. What is Onomatopoeia?

[Now, if you please, you may examine the quotations adopted for the _Fourteenth Praxis_, and may name and define the various figures of grammar which are contained therein.]

LESSON XVIII.--OF VERSIFICATION.

1. What is _Versification_? 2. What is verse, as distinguished from prose?

3. What is the rhythm of verse? 4. What is the quant.i.ty of a syllable? 5.

How are poetic quant.i.ties denominated? 6. How are they proportioned? 7.

What quant.i.ty coincides with accent or emphasis? 8. On what but the vowel sound does quant.i.ty depend? 9. Does syllabic quant.i.ty always follow the quality of the vowels? 10. Where is quant.i.ty variable, and where fixed, in English? 11. What is rhyme? 12. What is blank verse? 13. What is remarked concerning the rhyming syllables? 14. What is a stanza? 15. What uniformity have stanzas? 16. What variety have they?

LESSON XIX.--OF VERSIFICATION.

17. Of what does a verse consist? 18. Of what does a poetic foot consist?

19. How many feet do prosodists recognize? 20. What are the princ.i.p.al feet in English? 21. What is an Iambus? 22. What is a Trochee? 23. What is an Anapest? 24. What is a Dactyl? 25. Why are these feet princ.i.p.al? 26. What orders of verse arise from these? 27. Are these kinds to be kept separate?

28. What is said of the secondary feet? 29. How many and what secondary feet are explained in this code? 30. What is a Spondee? 31. What is a Pyrrhic? 32. What is a Moloss? 33. What is a Tribrach? 34. What is an Amphibrach? 35. What is an Amphimac? 36. What is a Bacchy? 37. What is an Antibachy? 38. What is a Caesura?

LESSON XX.--OF VERSIFICATION.

39. What are the princ.i.p.al kinds, or orders, of verse? 40. What other orders are there? 41. Does the composite order demand any uniformity? 42.

Do the simple orders admit any diversity? 43. What is meant by _scanning_ or _scansion_? 44. What mean the technical words, _catalectic, acatalectic_, and _hypermeter_? 45. In scansion, why are the princ.i.p.al feet to be preferred to the secondary? 46. Can a single foot be a line? 47. What are the several combinations that form dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, and octometer? 48. What syllables have stress in a pure iambic line? 49. What are the several measures of iambic verse? 50. What syllables have stress in a pure trochaic line? 51. Can it be right, to regard as hypermeter the long rhyming syllables of a line? 52.

Is the number of feet in a line to be generally counted by that of the long syllables? 53. What are the several measures of trochaic verse?

LESSON XXI.--OF VERSIFICATION.

54. What syllables have stress in a pure anapestic line? 55. What variation may occur in the first foot? 56. Is this frequent? 57. Is it ever uniform?

58. What is the result of a uniform mixture? 59. Is the anapest adapted to single rhyme? 60. May a surplus ever make up for a deficiency? 61. Why are the anapestic measures few? 62. How many syllables are found in the longest? 63. What are the several measures of anapestic verse? 64. What syllables have stress in a pure dactylic line? 65. With what does single-rhymed dactylic end? 66. Is dactylic verse very common? 67. What are the several measures of dactylic verse? 68. What is composite verse? 69.

Must composites have rhythm? 70. Are the kinds of composite verse numerous?

71. Why have we no exact enumeration of the measures of this order? 72.

Does this work contain specimens of different kinds of composite verse?

[It may now be required of the pupil to determine, by reading and scansion, the metrical elements of any good English poetry which may be selected for the purpose--the feet being marked by pauses, and the long syllables by stress of voice. He may also correct orally the few _Errors of Metre_ which are given in the Fifth Section of Chapter IV.]

CHAPTER VI.--FOR WRITING.

EXERCISES IN PROSODY.

[Fist] [When the pupil can readily answer all the questions on Prosody, and apply the rules of punctuation to any composition in which the points are rightly inserted, he should _write out_ the following exercises, supplying what is required, and correcting what is amiss. Or, if any teacher choose to exercise his cla.s.ses _orally_, by means of these examples, he can very well do it; because, to read words, is always easier than to write them, and even points or poetic feet may be quite as readily named as written.]

EXERCISE I.--PUNCTUATION.

_Copy the following sentences, and insert the_ COMMA _where it is requisite_.

EXAMPLES UNDER RULE I.--OF SIMPLE SENTENCES.

"The dogmatist's a.s.surance is paramount to argument." "The whole course of his argumentation comes to nothing." "The fieldmouse builds her garner under ground."

EXC.--"The first principles of almost all sciences are few." "What he gave me to publish was but a small part." "To remain insensible to such provocation is apathy." "Minds ashamed of poverty would be proud of affluence." "To be totally indifferent to praise or censure is a real defect in character."--_Wilson's Punctuation_, p. 38.

UNDER RULE II.--OF SIMPLE MEMBERS.

"I was eyes to the blind and feet was I to the lame." "They are gone but the remembrance of them is sweet." "He has pa.s.sed it is likely through varieties of fortune." "The mind though free has a governor within itself."

"They I doubt not oppose the bill on public principles." "Be silent be grateful and adore." "He is an adept in language who always speaks the truth." "The race is not to the swift nor the battle to the strong."

EXC. I.--"He that has far to go should not hurry." "Hobbes believed the eternal truths which he opposed." "Feeble are all pleasures in which the heart has no share." "The love which survives the tomb is one of the n.o.blest attributes of the soul."--_Wilson's Punctuation_, p. 38.

EXC. II.--"A good name is better than precious ointment." "Thinkst thou that duty shall have dread to speak?" "The spleen is seldom felt where Flora reigns."

UNDER RULE III.--OF MORE THAN TWO WORDS.

"The city army court espouse my cause." "Wars pestilences and diseases are terrible instructors." "Walk daily in a pleasant airy and umbrageous garden." "Wit spirits faculties but make it worse." "Men wives and children stare cry out and run." "Industry, honesty, and temperance are essential to happiness."--_Wilson's Punctuation_, p. 29. "Honor, affluence, and pleasure seduce the heart."--_Ib._, p. 31.