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“I find them in the garden,
For there's many here about;
The ploughshare turns them out;
"Were slain in that great victory." The partial close should fall on garden” in the first line, becanse of the strong inversion. The direct form would be as follows : There's many here about, and I find them in the garden. “Garden” is emphasized because it is a statement telling exactly where. The second line is given with the rising slide (or bend), because what would naturally be the sequel is inverted. “Ploughshare,” in the fourth line, may be emphasized instead of “plough.” “Thousand,” in the fifth line, is equivalent to many, and need not be emphasized, as Kaspar did not probably intend to count the numbers. It is not necessary to emphasize “slain” in the last line (for of course they were killed), but emphasis may be deferred to it from " men.”
“Now tell us what 'twas all about,”
Young Peterkin, he cries;
With wonder-waiting eyes ;
And what they killed each other for.” Strong emphasis falls on "about” in the first line. Emphasize “Peterkin” and “Wilhelmine” in the second and third lines, because they have not been mentioned for some time. In the fifth line it would be proper to emphasize “about" instead of “all,” as a child would be very likely to repeat her brother's inflection, but the effect is better to put the emphasis on “all” rather than on “about” or “war," unless strong personation is desired. Wherever it is possible, put the emphasis, for variety, in different parts of the sentence.
“It was the English,” Kaspar cried,
“ Who put the French to rout;
I could not well make out.
“Cried” in the first line is given with the bend, making a wave of the sentence, with emphasis slight on “ English ” and in the second line on “French” (in antithesis with "English"). The second line ends with the partial close. If preferred, the emphasis may be strong on “English” and “French,” and the first line given with the falling inflection. The emphasis is repeated on “for” in the third line, because Kaspar is replying to their question. The four last lines are transposed. The related sequel is expressed in the third line. The natural order wculd be as follows: Everybody said that 'twas a famous victory, but I could not well make out what they killed each other for.
“My father lived at Blenheim then,
Yon little stream hard by ;
And he was forced to fly;
The first line ends with the bend. There is slight emphasis on “father.” Emphasize strongly either “fly” in the fourth, or “fled” in the fifth line, but not both. It would be correct to give the third line with the falling instead of the rising inflection, but the effect of so many falls in succession would be monotonous, so the statement may be made less vigorous and be more closely connected with what follows. The fifth line also may be given either with the rising or the falling inflection. If the latter is preferred, omit the emphasis on “fly” and “child” and emphasize “fled.”
“With fire and sword the country round
Was wasted, far and wide ;
And new-born baby, died:
• Be,” in the fifth line, is very strongly emphasized; it therefore falls. The sixth line is given with the bend, the related sequel "you know" being given in the fifth.
“They say it was a shocking sight
After the field was won ;
For many thousand bodies here
Lay rotting in the sun :
After a famous victory.” The first line should be given with the wave or the fall. The second line is given with the bend, the related sequel being expressed in the third and fourth lines. The partial close is on “sun” in the fourth line. The sixth line is given with the waving slide, the related sequel “you know,” which would naturally close the sentence, being expressed in the fifth line.
“Great praise the Duke of Marlbro' won,
And our good prince, Eugene."
Said little Wilhelmine.
“It was a famous victory." The partial close comes on “thing” in the third line,“ wicked" being strongly emphasized.
“And everybody praised the Duke
Who this great fight did win.”
Quoth little Peterkin.
“But 'twas a famous victory.”
EACH AND ALL.
BY R. W. EMERSON.
Little thinks, in the field, yon red-cloaked clown,
Nor knowest thou what argument
If the meaning of the poet is not clear to the pupil, put it into the following form : How very dependent we are on each other. No man stands alone. Every one exerts, unconsciously, an influence on his neighbor. For instance, that fellow in the turnip-field does not suspect me of watching him; that heifer does not low to please me, etc. nor do you know when you are doing a thing whether you are helping or hindering some one else.
The first sentence is a masked compact one, neither does the clown, neither does the heifer, etc. The bend, therefore, comes at the end of the second, fourth, and eighth lines. It would be proper to put it after the fifth line also, but the partial close is better here, because a number of upward inflections follow each other. The partial close comes on “ each one,” in the eleventh line. Alone,” in the twelfth line, means tuken by itself.
I thought the sparrow's note from heaven,
Separated from their natural surroundings, things lose their effect. Emphasis is strong on “sparrow,” in the first line, because it is a new illustration. In the fourth line, “now" is given with the bend because of the related sequel in the fifth line—"now,” that is, without proper surroundings, the song seems very ordinary. In the sixth line, emphasis cannot be deferred from "He” to “they,” because the antithesis is so strong.
The delicate shells lay on the shore;
I wiped away the weeds and foam,
and the sand, and the wild uproar. There is strong emphasis on “ beauty” in the ninth line, very slight on “shore.” Defer emphasis in the last line from “sun” and “sand” to “uproar.” These words form a series, that is, the scene with all its surroundings.
The lover watched his graceful maid,
The partial close comes at the end of the second, fourth, fifth, and sixth lines. If “hermitage,” in the fifth line, were given with the bend, the effect would be too trivial. The thought conveyed by the third and fourth lines is, that all together was needed to make up the pretty picture.
Then I said, “I covet truth ;