3. Prosodial:

(a) The pause occurring between feet. These require, for the most part, suspension of the voice, a slight lingering on the last syllable of the poetic foot.

(b) The cæsural pause.

This occurs at or near the

middle of the line, between words. Sometimes it may

come between the syllables of a poetic foot.

(c) The verse pause. This occurs at the end of the line. It is always to be observed, if the poetic form of the composition is to be expressed.

4. Euphonic or Rhythmic Groupings in Prose. These are semi-poetic. The same or similar elements of imagination, emotion, dignity, and nobility demand similar regularity of movement in poetic prose as in poetry itself.

Find and make examples of all kinds of pauses.

[See, also, NOTES on this chapter for illustrations.]

NOTES ON CHAPTER V.

ON GROUPING.

NOTE 1.

Grouping will be found to be affected, directly or indirectly, by nearly every principle of Rhetoric. The few cases given here are enough to show that punctuation depends on the logical grouping quite as much as grouping depends on the punctuation; and that the most solid basis for criticism of punctuation is just such analysis of the thought as is required for intelligent vocal interpretation.

Rewrite the following passage, dividing it into paragraphs, adding punctuation, and indicating the vocal grouping.

"Our opponents have charged us with being the promoters of a dangerous excitement they have the effrontery to say that I am the friend of public disorder I am one of the people surely if there be one thing in a

free country more clear than another it is that any one of the people may speak openly to the people if I speak to the people of their rights and indicate to them the way to secure them if I speak of their danger to monopolists of power am I not a wise counselor both to the people and to their rulers suppose I stood at the foot of Vesuvius or Ætna and seeing a hamlet or a homestead planted on its slope I said to the dwellers in that hamlet or in that homestead you see that vapor which ascends from the summit of the mountain that vapor may become a dense black smoke that will obscure the sky you see the trickling of lava from the crevices in the side of the mountain that trickling of lava may become a river of fire you hear that muttering in the bowels of the mountain that muttering may become a bellowing thunder the voice of a violent convulsion that may shake half a continent you know that at your feet is the grave of great cities for which there is no resurrection as histories tell us that dynasties and aristocracies have passed away and their names have been known no more forever if I say this to the dwellers upon the slope of the mountain and if there comes hereafter a catastrophe which makes the world to shudder am I responsible for that catastrophe I did not build the mountain or fill it with explosive materials I merely warned the men that were in danger so now it is not I who am stimulating men to the violent pursuit of their acknowledged constitutional rights the class which has hitherto ruled in this country has failed miserably it revels in power and wealth whilst at its feet a terrible peril for its future lies the multitude which it has neglected if a class has failed let us try the nation that is our faith that is our purpose that is our cry let us try the nation this it is which has called together these countless numbers of the people to demand a change and from these gatherings sublime in their vastness and their resolution I think I see as it were above the hilltops of time the glimmerings of the dawn of a better and a nobler day for the country and for the people that I love so well."

Let each student compose a passage, and another punctuate it.

NOTE 2.

The student should at this point practice, under competent guidance, Prosodial Groupings, taking especial pains to locate cæsura in long lines:

(a) “Though the mills of God grind slowly, || yet they grind exceed-
ing small,

Though with patience He stands waiting, || with exactness grinds
He all;"

and to mark expressively the verse pause in the case of "run on lines:

(b)

"And the stately ships go on

To their haven under the hill."

REMARKS: 1. It is not needful to make falling slide at verse pauses, nor to make an abrupt break. The verse can be marked by a slight prolongation, or suspension, of voice, as well as by an actual stop.

2. The musical element is the first thing in poetry. Otherwise the thought would have been expressed in prose.

3. The truly poetical reading of verse never necessarily interferes with intellectual rendering of the thought. The elements of inflection, stress, and quality have their full force, as in prose. Pauses are, for the most part, arranged for by the very structure of the poetry.

Examples.

ancestors repose

NOTE 3.

RHYTHMIC GROUPING IN PROSE.

I appeal to you by the graves in which our common in many an ancient village church yard, where daisies grow on the turf-covered graves, and venerable yew trees cast over them their solemn shade.

- HALL.

....

Loud shouts of rejoicing shall then be heard . . . . when the triumphs of a great enterprise usher in the day of the triumphs of the cross of Christ. GOUGH.

A mighty cry of joy went forth through all the sky. - DICKENS. REMARKS. - 1. Observance of this rhythmic element in reading will favorably react on diction. 2. Exaggerated dignity is never to be sought by this means. 3. "Sing-song," or scanning, is not to prevail. 4. Avoid too much prolongation and swell. 5. Evenness and dignity form the essence of this property.

NOTE 4.

Find cases of Hendiadys in the following passages. ble translate the hendiadys into a single term:

When possi

Gen. i. 2, ii. 24, xiv. 19, xxv. 34, xxviii. 12, xxxv. 11, xxxix. 20, xliii. 3, xlvi. 31; Ex. iv. 4, ix. 1; Lev. xi. 3; Num. xxii. 7, xxx. 15; Deut. xxxi. 1, xxxii. 44; Josh. vii. 2, xiii. 1; Judg. ix. 50, xv. 8; Ruth iii. 15; 1 Sam. vii. 6; 2 Sam. vi. 2; 1 Kings vii. 13; Ps. vii. 15, xl. 1, lv. 8, xc. 6; Jer. ii. 2, vi. 21; Mark iv. 27, v. 38, ix. 27, xi. 4; Luke v. 18, vii. 36, x. 25; John iv. 35, ix. 7, x. 12; Acts xiii. 16; 1 Cor. xv. 24.

Find other cases.

Examples of kinds of Pauses.

1. Grammatical Pause.

Gen. xxii. 3; Ex. xi. 6, xxxv. 22; Judg. xiii. 6; Ruth ii. 19; Isa. vi. 4, xxi. 13, xxv. 5, xxvii. 1, xxxiii. 21, xli. 7; Jer. xvii. 25, li. 24; Ezek. xl. 9; Hos. vii. 16; Amos iv. 6, v. 3, ix. 3, 15; Jonah ii. 2; Mic. iv. 4; Zeph.

iii. 12; Matt. ii. 19, x. 15, xii. 45, xxi. 23; Luke vi. 15, 22, viii. 5, 12, ix. 39; Acts v. 12, ix. 7; Rom. iv. 11-12, 1 Cor. x. 13, xv. 3; 2 Cor. iv. 2; Eph. iii. 16; Heb. v. 7, vii. 18-22.

2. Rhetorical or Elliptical Pause. Supply the Ellipses.

Gen. xxxvii. 31, xlv. 3; Ex. xxxii. 32; Judg. xi. 35; 1 Kings xviii. 21, xix. 4, 10; Esth. iv. 17; Ps. viii. 3-4; Eccl. xii. 8; Isa. i. 2, 24, viii. 19, x. 5, xliii. 1, lx. 2, lxvi. 1; Matt. xxiii. 38, xxvi. 38-39; John vii. 27, xi. Rom. vii. 24 1 Cor. vi. 2-3, xii. 19, xv. 13; 2 Cor. xi. 1.

43;

Find other examples.

NOTE 5.

Ministers and theological students will find many of the finest poetic examples in the language in any good hymn-book.

Cases of grouping for prose rhythm will be found in many passages of the Old Testament history, in the Psalms and Prophets, and not less in many emotional passages in the New Testament, particularly in the Epistles and the Revelation. A few cases may suffice for illustration. Note the semi-poetic grouping.

1 Chron. xxix. 11-19; Job xxxviii.; Ps. xc.-civ.; Isa. xl.; 1 Cor. xiii.; 1 Thess. iv. 13-18; Heb. xiii. 20-21; 1 John iii. 1, 2; Jude, 24, 25; Rev. iv. 10, 11, v. 11-14, vi. 10-17, xx. 11-15, xxii. 17-21.

CHAPTER VI.

DISCRIMINATION.

Analysis. Discrimination compared with Formulation. It deals with relations of facts and truths. It is expressed by inflection, which is an intentional variation of tone during the utterance of an element. Completeness: Finality, conclusiveness, wide intervals. Momentary completeness, expressing importance of an idea or elliptical construction; small interval and pause. The Loose sentence is a typical case; Incompleteness: subordination a "matter of course," small intervals; Anticipation, a matter of curiosity; rising third. The Periodic sentence is a typical case.

Completeness and Incompleteness are best paraphrased by reconstruction: Implied forms of Incompleteness; Negative or non-affirmative statement, including concession, inability, unwillingness, triviality, obviousness, and anticipatory member of antithesis.

Implied negation is paraphrased by translating into grammatical negative. Doubt or uncertainty; expressed by the bodily attitude of hesitation and by suspended voice. Doubt is paraphrased expansively by showing balancing motives Interrogation, direct and literal, symbolized by a rising fifth; indirect or figurative, usually by a falling slide. Supplication, weakness looking up to strength, or fear to protecting power; shown by a sensitive voice and by a rising slide with slight swell. Cases of affectionate entreaty belong to supplication.

Assumption is really a negative element. Assertion produces distinctive emphasis in connected relations, and is shown by the Continuative falling slide. Assumption and Assertion are paraphrased by inversion. Complex relations; double motive, double motion. Comparison or contrast with affirmation shown by falling circumflex. Comparison or contrast with incompleteness, shown by wave.

Affir