VII. They ascribe qualities to things to which they do not literally belong; as, 66 --Thomson. 1. Or drowsy tinklings lull the distant folds."-Gray. 2. VIII. They use concrete terms to express abstract qualities; (i. e., adjeo tives for nouns;) as, 1. "Earth's meanest son, all trembling, prostrate falls, 2. And on the boundless of thy goodness calls."-Young. "Meanwhile, whate'er of beautiful or new, Sublime or dreadful, in earth, sea, or sky, By chance or search was offered to his view, He scann'd with curious and romantic eye." -Beattie. 8. "Won from the void and formless infinite."- -Milton. as, IX. They substitute quality for manner; (i. e., adjectives for adverbs ;) 1. " -The stately-sailing swan, Gives out his snowy plumage to the gale; And, arching proud his neck, with oary feet Bears forward fierce, and guards his osier isle."-Thomson. 2. "Thither continual pilgrims crowded still."-Id. X. They form new compound epithets; as, 1. "In world-rejoicing state, it moves sublime."-Thomson. 2. "The dewy-skirted clouds imbibe the sun."-Id. 3. "By brooks and groves in hollow-whispering gales.”—Id. 4. "The violet of sky-woven vest."-Langhorne. 5. "A league from Epidamnum had we sailed, Before the always-wind-obeying deep Gave any tragic instance of our harm."-Shakspeare. XI. They connect the comparative degree to the positive; as, 1. "Near and more near the billows rise."-Merrick. 2." Wide and wider spreads the vale."-Dyer. 3. "Wide and more wide, the o'erflowings of the mind Take every creature in, of every kind."—Pope. XII. They form many adjectives in y, which are not common in prose; as, A gleamy ray,-towery height,-steepy hill,-steely casque,-heapy harvests, —moony shield,—writhy snake,—stillý lake,—vasty deep, paly circlet. XIII. They employ adjectives of an abbreviated form: as, dread, for dreadful; drear, for dreary; ebon, for ebony; hoar, for hoary; lone, for lonely; scant, for scanty; slope, for sloping; submiss, for submissive; vermil, for vermillion; yon, for yonder. XIV. They employ several adjectives that are not used in prose, or are used but seldom; as, azure, blithe, boon, dank, darkling, darksome, doughty, dun, fell, rife, rapt, rueful, sear, sylvan, twain, wan. XV. They employ personal PRONOUNS, and introduce their nouns afterwards; as, 1. "It curl'd not Tweed alone, that breeze."-W. Scott. 2. "Is it the lightning's quivering glance, That on the thicket streams; Or do they flash on spear and lance, The sun's retiring beams ?"—Id. XVI. They sometimes omit the relative, of the nominative case; as, "For is there aught in sleep can charm the wise?"—Thomson. XVII. They omit the antecedent, or introduce it after the relative; as, 1. "Who never fasts, no banquet e'er enjoys, Who never toils or watches, never sleeps."-Armstrong. 2. "Who dares think one thing and an other tell, My soul detests him as the gates of hell."-Pope's Homer. XVIII. They remove relative pronouns and other connectives, into the body of their clauses; as, 1. "Parts the fine locks, her graceful head that deck.”—Darwin. 2. "Not half so dreadful rises to the sight Orion's dog, the year when autumn weighs."-Pope's Homer. XIX. They make intransitive VERBS transitive; as, 1. " Gazing the inverted landscape, half afraid To meditate the blue profound below."-Thomson. 2. "Still in harmonious intercourse, they liv'd The rural day, and talk d the flowing heart."-Id. XX. They give to the imperative mood the first and the third person; as, 1. "Turn we a moment fancy's rapid flight."-Thomson. 2. "Be inan's peculiar work his sole delight."-Beattie. 3. "And what is reason? Be she thus defin'd: as, Reason is upright stature in the soul!"-Young. XXI. They employ can, could, and would as principal verbs transitive, 1. "What for ourselves we can, is always ours." 2. "Who does the best his circumstance allows, Does well, acts nobly:-angels could no more."-Young. 8. "What would this man? Now upward will he soar, And, little less than angel, would be more."-Pope. XXII. They place the infinitive before the word on which it depends; as, "When first thy sire to send on earth Virtue, his darling child, design'd.”—Gray. XXIII. They place the auxiliary after its principal; as, "No longer heed the sunbeam bright That plays on Carron's breast he can."-Langhorne. XXIV. Before verbs they sometimes arbitrarily employ or omit prefixes: as, begird, bedim, evanish, emove; for gird, dim, vanish, move:-lure, wail, wilder, reave; for allure, bewail, bewilder, bereave. XXV. They abbreviate verbs: as, list, for listen; ope, for open. XXVI. They employ several verbs that are not used in prose, or are used but rarely; as, appal, astound, brook, cower, doff, ken, wend, ween, trow. as, XXVII. They sometimes imitate a Greek construction of the infinitive; 1. "Who would not sing for Lycidas? he knew Himself to sing, and build the lofty rhyme."--Milton. 2. "For not, to have been dipp'd in Lethe lake, Could save the son of Thetis from to die."-Spenser. XXVIII. They employ the PARTICIPLES more frequently than prose writers, and in a construction somewhat peculiar; as, 1. "He came, and, standing in the midst, explain'd The peace rejected, but the truce obtain'd."-Pope. 2. "As a poor miserable captive thrall Comes to the place where he before had sat XXIX. They employ several ADVERBS that are not used in prose, or are used but seldom; as, oft, haply, inly, blithely, cheerily, deftly, felly, rifely, ruefully, starkly, yarely. XXX. They give to adverbs a peculiar location; as, 1. "Peeping from forth their alleys green."-Collins. 2. "Erect the standard there of ancient night."-Milton. S. "The silence often of pure innocence Persuades, when speaking fails."-Shakspeare. 4. "Where universal love not smiles around."-Thomson. 5. "Robs me of that which not enriches him.". "—Shakspeare. XXXI. They omit the introductory adverb there; as, "Was nought around but images of rest."-Thomson. XXXII. They employ the CONJUNCTIONS, or—or, and nornor, 8:3 correspondents; as, 1. "Or by the lazy Scheldt or wandering Po."-Goldsmith. 2. "Wealth heap'd on wealth, nor truth nor safety buys."―Johnson. 8. "Who by repentance is not satisfied, Is nor of heaven, nor earth."-Shakspeare. XXXIII. They often place PREPOSITIONS and their adjuncts, before the words on which they depend; as, 66 Against your fame with fondness hate combines; The rival batters, and the lover mines."-Johnson. XXXIV. They sometimes place the preposition after its object; as, 1. "When beauty, Eden's bowers within, First stretch'd the arm to deeds of sin, 2. "The Muses fair, these peaceful shades among, With skillful fingers sweep the trembling strings."—Lloyd. XXXV. They employ INTERJECTIONS more frequently than prose writers; as, "O let me gaze!-Of gazing there's no end. O let me think!-Thought too is wilder'd here.”—Young. XXXVI. They employ ANTIQUATED WORDS and modes of expredsion; as, 1. "Withouten that would come an heavier bale."-Thomson 2. "He was to weet, a little roguish page, Save sleep and play, who minded nought at all."-Id. 8. "Not one eftsoons in view was to be found."-Id. 4. "To number up the thousands dwelling here, An useless were, and eke an endless task."--Id. 5. "Of clerks good plenty here you mote espy."-Id. APPENDIX V. SUGGESTIONS FOR ORAL LESSONS LESSON I. Teacher (holding up any object, as a pen, a book, a pencil, etc., so that it may be seen by the pupils). What is the name of this object? What is the name of this? Of this? Of this? Pupils (successively). Book. Slate. Pencil. Pen. T. (Writing the names upon the blackboard, or requiring the pupils to write them.) Now read the names of the objects. T. Can we talk of things without knowing their names? T. You see then how necessary it is that everything should have a name, and that we should have a correct knowledge of the names of things. Now you may write the following: 1. Five names of parts of your body. 2. Five names of parts of the chair. 3. Five names of things which you have seen. 4. Five names of flowers. 5. Five names of fruit. 6. Five names of places. 7. Five names of persons. [Require the pupils in writing these names to commence each with a capital, and place a period after each word. Everything should be done with care and accuracy.] LESSON II. Teacher (holding up a book). What is the name of this? T. P. Can you say something about this book? The book is new. The book is green. The book has covers. The book has leaves, etc., etc. [In the same manner let the pupil say or write something about other things the names of which have been mentioned in Lesson I. In writing these statements care should be taken that they are correct as to capitals, spelling, and punctuation.] The teacher now writes on the blackboard: The birds is pretty. Bees makes honey. My pen are bad. We was going home. T. Read what I have written on the blackboard, and tell me what you think of it. The pupils mention what is wrong in each statement, and correct it. T. Now you may write on your slates these statements as you have corrected them. T. Can you tell me why it is wrong to say, The birds is pretty, —why it should be, The birds are pretty? T. That is true, children. You do not know this yet. Do you know what you must study to learn this? |