37. Give an example, in prose and verse, where the same words are used. 38. May prose as well as verse be cut into rhythmical clauses? 39. Give an example. 40. How many reasons can you give why verse is more easily read than prose 41. Mention these reasons. ? 42. What are the feeblest and heaviest lines in our verse? 43. Why is verse more easily committed to memory, and recollected with greater facility by the illiterate, than prose? 44. Mention one of the principal mistakes of prosodians in scanning English verse with artificial rules. 45. What is the first class of words that prosodians mistake? 46. What is the second class? 47. What is the third class? 48. What is the fourth class? 49. Why is there seldom any necessity for clipping off and contracting syllables in poetry? 50. What are the leading differences between measuring verse by musical cadences and artificial prosody? 51. In pointing out the errors of prosodians, what authors are chiefly noticed? 52. Where should the emphasis of sense be placed, in pronouncing the first line of Paradise Lost? 53. What does Mr Walker mean by preserving the poetical accent? 54. What is the rule to be observed with respect to prosodial feet, in order to read Milton properly? 55. What method does Mr L. Murray, in his English Grammar, follow, in measuring verse? 56. What method does Dr Carey follow, in his English prosody? CHAPTER FOURTEENTH. 1. According to rule first, how many accents are there? 2. When the full melody is written out, how many accents are there? 3. By rule first, in the poetical example, how many? 4. When the full melody is written out, how many? 5. By rule second how many accents? 6. When the full melody is written out, how many? 7. By rule third, how many accents? 8. When the full melody is written out, how many? 9. By rule fourth, how many accents? 10. When the full melody is written out, how many? 11. By rule fifth, how many accents? 12. When the full melody is written out, how many? 13. By rule sixth, how many accents? 14. When the full melody is written out, how many? 15. By rule seventh, how many accents? 16. When the full melody is written out, how many? 17. By rule eighth, how many accents? 18. When the full melody is written out, how many? 19. By rule ninth, how many accents? 20. When the full melody is written out, how many? 21. What is said by many concerning one accent being marked in a sentence, as sufficient? 22. Can this possibly be the case? 23. Can you shew by example that this cannot happen? CHAP. XV. EXERCISES on the Five Accidents of Language, exhibiting the Meter, Rhythm, and Melody of various kinds of Verse: 7 As now the shades of | eve, em- | brown "The scene where | pensive | poets | rove, P P "From care re- | mote," from envy's (frown, "The joys of inward | calm I | prove.1 What What holy strains a- | round me | swell!" J "No wildly rude tu- | multuous | sound;" No wildly They fix the soul with | magic | spell; Soft let me tread this favour'd | ground." Sweet is the gale that | breathes the spring, Sweet is the note, Love's warblers [sing, 7 ハ But sweeter Friendship's soothing theme." Mathias. 2.-The Dream.-Slow. Dread' dream that hovering in the midnight | & | | startled jear, While to i- magi- | nation's | startled fear," Toll'd the slow" | bell for | bright E-|liza| Stretch'd' l'on her | sable bier, the grave beon here side, A snow-white shroud her [breathless | bosom | p. с bound,1 O'er her wan|brow its gather'd | folds were | tied, And loves and graces | hung their | garlands round. |