"I find them in the garden,

For there's many here about;
And often when I go to plough

The ploughshare turns them out;
For many thousand men," said he,
"Were slain in that great victory."

The partial close should fall on "garden" in the first line, because 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;
While little Wilhelmine looks up

With wonder-waiting eyes;

"Now tell us all about the war,

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;
But what they killed each other for,
I could not well make out.

But everybody said," quoth he,
"That 'twas a famous victory."

"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 would 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;
They burnt his dwelling to the ground,
And he was forced to fly;

So, with his wife and child, he fled,

Nor had he where to rest his head."

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 many a nursing mother then,

And new-born baby, died:

But things like that, you know, must be

At every famous victory."

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 :

But things like that, you know, must be

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."

"Why, 'twas a very wicked thing!"

Said little Wilhelmine.

"Nay, nay, my little girl," quoth he,

"It was a famous victory."

The partial close comes on thing" in the third line, "wicked" being strongly emphasized.

EACH AND ALL.

BY R. W. EMERSON.

Little thinks, in the field, yon red-cloaked clown,
Of thee from the hill-top looking down;
The heifer that lows in the upland farm,
Far-heard, lows not thine ear to charm;
The sexton, tolling his bell at noon,
Deems not that great Napoleon

Stops his horse and lists with delight,

Whilst his files sweep round yon Alpine height;

Nor knowest thou what argument

Thy life to thy neighbor's creed has lent.
All are needed by each one;

Nothing is fair or good alone.

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. the twelfth line, means taken by itself.

I thought the sparrow's note from heaven,
Singing at dawn on the alder bough;

I brought him home, in his nest at even;
He sings the song, but it pleases not now,
For I did not bring home the river and sky; -
He sang to my ear-they sang to my eye.

Alone," in

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;
The bubbles of the latest wave
Fresh pearls to their enamel gave;
And the bellowing of the savage sea
Greeted their safe escape to me.

I wiped away the weeds and foam,
I fetched my sea-born treasures home;

But the poor, unsightly, noisome things

Had left their beauty on the shore,

With the sun, 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,

As 'mid the virgin train she strayed,

Nor knew her beauty's best attire

Was woven still by the snow-white choir.

At last she came to his hermitage,

Like the bird from the woodlands to the cage ;

The gay enchantment was undone,

A gentle wife, but fairy none.

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;

Beauty is unripe childhood's cheat;

I leave it behind with the games of youth.”—
As I spoke, beneath my feet

The ground-pine curled its pretty wreath,

Running over the club-moss burrs ;

I inhaled the violet's breath;

Around me stood the oaks and firs;

Pine-cones and acorns lay on the ground;

Over me soared the eternal sky;

Full of light and of deity;

Again I saw, again I heard,

The rolling river, the morning bird ;—

Beauty through my senses stole;

I yielded myself to the perfect whole.