48. As for me, says Luther, I do not cease the cry of the Gospel! Gospel! Christ! Christ! And my opponents are ready with their answers: Custom! Custom! Ordinances! Ordinances! 49. 50. Fathers! Fathers!-D'AUBigné. Of heaven, if thou wouldst reach a gleam, On humblest object fix thy eyes; So travelers in a picturing stream, Look down, indeed, but see the skies.-L. WITHINGTON. "When young-eyed Spring profusely throws From her green lap the pink and rose; When the soft turtle of the dale To Summer tells her tender tale; At every season, let my ear Thy solemn whispers, Fancy, hear.” 51. Let the bugles sound the Truce of God to the whole world forever. Let the selfish boast of the Spartan women become the grand chorus of mankind, that they have never seen the smoke of an enemy's camp. Let the iron belt of martial music, which now encompasses the earth, be exchanged for the golden cestus of Peace, clothing all with celestial beauty.CHARLES SUMNER. 52. Other nations may boast of their magnificent gems and monster diamonds. Our Kohinoor is our common school system. This is our "mountain of light," not snatched, indeed, as a prize from a barbarous foe, nor destined to deck a royal brow, or to irradiate a Crystal Palace; but whose pure and penetrating ray illumines every brow, and enlightens every mind, and cheers every heart and every hearthstone in the land, and which supplies "ornaments of grace" unto the head, and chains upon the necks of every son and daughter of Massachusetts.-ROBERT C. WINTHROP. 53. 54. 66 Hope and fear alternate sway'd his breast, "One from a thousand feather'd deaths he chose." 55. James (the royal poet) is evidently worthy of being en rolled in that little constellation of remote, but never-failing luminaries, who shine in the highest firmament of literature, and who, like the morning stars, sang together at the dawning of British poetry.-W. IRVING. 56. The mind of England's Elizabeth was like one of those ancient Druidical monuments called rocking-stones. The finger of Cupid, boy as he is painted, could put her feelings in motion; but the power of Hercules could not have destroyed their equilibrium.-SCOTT. 57. Our present repose is no more proof of inability to act, than the state of inertness and inactivity in which I have seen those mighty masses that float in the waters above your town is a proof that they are devoid of strength, and incapable of being fitted for action. You well know how soon one of these stupendous masses, now reposing on their shadows with perfect stillness; how soon, upon any call of patriotism or of necessity, it would assume the likeness of an animated thing, instinct with life and motion; how soon it would ruffle, as it were, its swelling plumage; how quickly it would put forth all its beauty and bravery, collect its scattered elements of strength, and awaken its dormant thunders. Such is one of those magnificent machines when springing from inaction into a display of its might; such is England herself; while apparently passive and motionless, she silently concentrates the power to be put forth on adequate occasion.-CANNING. SYNTHESIS. 1. Compose a passage which shall contain an Allegory. 2. Compose a sentence which shall contain an Allusion. 3. Compose a sentence which shall contain an Anacœnosis. 4. Compose, in like manner, in succession, sentences which shall severally contain all the figures of speech described in this work. PART VIIL POETICAL FORM S. CHAPTER I. PRELIMINARY STATEMENTS. DEFINITIONS. § 616. POETICAL FORMS are those combinations of language which are characterized by certain specific differences between them and composition in general. These differences relate to the laws of Prosody. Poetry, besides holding much in common with Grammar, Logic, and Rhetoric, has certain laws of its own. Grammar aims at the correct use of language for the common understanding of those who speak and write it. Logic addresses the reasoning faculty. Rhetoric endeavors to persuade the will to action. The aim of Poetry is to please, by addressing the imagination, the taste, the sensibilities. In order to give pleasure, it uses the forms of Grammar, of Logic, of Rhetoric, and also those PECULIAR FORMS WHICH ARE INDICATED BY PROSThus a dactyl, a verse, and a stanza are Poetical forms. ODY. PROSODY. § 617. PROSODY, from the Greek πрóç (for), ¿ðý (song), Latin accentus, originally signified accent. It is now used in a wider sense, and includes not only the doctrines of Accent and Quantity, but also the laws of metrical arrangement. ACCEN T. § 618. ACCENT or Stress bears the same relation to poetry in modern languages which Quantity does to that of the Sanscrit, the Greek, and Latin. In the great family of languages called the Indo-European, three made time the index of their rhythm, while all the rest employed accent. It is remarkable that those dialects which now represent the Sanscrit, the Greek, the Latin, have lost their Temporal, and possess merely the Accentual rhythm. So gradual was the change in the Greek, that even as late as the eleventh century there were authors who wrote indifferently in either rhythm. Et can tārě pǎ rês ēt | rēspōn|dērē pā|rāti.—VIRGIL. Here the rhythm is formed by Long and Short syllables. She taught the weak' | to bend', | the proud' | to pray'.—POPE. Here the rhythm is formed by Accented and Unaccented syllables. QUANTITY. § 619. Moreover, in the Classical languages, quantity was measured by the length of the Syllables, while in the English language quantity is measured by the length of the Vowels. Thus both syllables of the word index in Latin are long; both vowels of the same word in English are short. Accordingly, the word forms a Spondee in Latin, and, being accented on the first syllable, a Trochee in English. It ought, however, to be added, that while there is a difference in respect to Quantity and Accent in Classical versification and English, there is also an agreement, which, in the common statements, is apt to be lost sight of. In both Classical versification and English, time and accent enter as elements, but in different proportions, though in the one, quantity, and in the other, accent or stress, predominates. This may be the better understood from the following statement. ELEMENTS OF MUSICAL COMPOSITION. § 620. There are three elements of musical composition: 1. Time; 2. Acuteness, or its opposite, Gravity; 3. Loudness. Now it is certain that the early poems in Greece were sung, and this must have had an influence on the poetry by the introduction of the three elements of music just mentioned. The same was true in ancient English. CHAUCER, in his address to Troilus and Cressida, tells us that it was intended "to be read or elles sung," which must relate to the chanting recitation of the minstrels. The same qualities exist in spoken sounds. In these sounds, |