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further secured by giving an extra syllable at the end of the first two lines of each stanza.

Especially effective is the rhythm made by repeating in a fifth verse in each of the three stanzas the meaning of the first verse in the first and second stanzas. These fifth verses repeat the meaning already given, and are there only for rhythmical fullness. This is characteristic of Hebrew poetry; the last half of a line in the Psalms repeats the meaning of the first half. This element of rhythm is characteristic of both Tennyson and Longfellow. The thought becomes so highly emotional that it tends to recur in rhythmical repetition. By reading the poem omitting the last line of each stanza, the value of these lines will become apparent.

And, further, the stanzas bear an organic and rhythmical relation to each other which enhances the beauty of the poem. The whole poem thus appears as a

complex, organic, rhythmical unit.

Finally, the poem is made still more concrete and effective by having the personal embodiment of the author himself — by being lyrical. The universal objective is made real and vivid in being regarded as individual and subjective. Longfellow says "my life," but no one supposes he means merely his own life; the reader, whoever he may be, must say "my life." Thus the reader makes it a close personal matter with himself.

It thus appears that the analysis of this poem consists in organizing the means by which the specific emotional effect is produced. Were it a didactic selection, then all must be shown to have unity in some cognition;

and were it an oration, everything must be shown in its tendency to move the will.

For a full exposition of the nature of literature and method of literary analysis, see the author's "Literary Interpretations."

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Concreteness, 230.

Construction of description, 81;
of narration, 103; of exposition,
128.

Content of the class, 112; of the

theme, 113.

Correctness, 5, 199.

Critic, 23.

Criticism, standard of, 28; liter-
ary, 38.

Culture, all-sided, 21, 24.

Dactylic foot, 213.
Deduction, 139.

Definition, 113; law of, 114; rule
for making, 116.
Description, 55, 59, 61; attribu-
tive, 62; partitive, 75; outline
of, 80; illustrations of, 81; ex-
ercises in, 89.

Didactic discourse, 34.

Difference, no unity without, 48;

likeness and, 62.

Discourse, 6, 8; definition of, 12;
purpose in, 13; skill in, 21; lit-
erary, 34; the thought in, 41;
four processes in, 59.
Distinctness, 199; of conception,
263.

Effective speech, 46.

Effectiveness, 18; conditions of,
19; laws of, 178.
Efficient means, 13.
Elegance, 174, 182; conditions for

securing, 194.

Elements, the organic, 8; order
of, 9; organic relation of, 10;
unities of, 53; organization of,
into theme, 241; the proper
order of presenting, 255.

Ellipsis, 291.

Elocutionist, the true, 30.
Emphatic ideas, 270.
Enallage, 295.

End, a worthy, 13.

Energy, 174, 179; conditions for

securing, 191.

Enthymeme, 141.

Epanalepsis, 293.

Epenthesis, 291.

Epigram, 325.

Epizeuxis, 294.
Euphemism, 302.
Euphony, 202.
Exemplification, 118.

Exercises in description, 89-92;
in narration, 109, 110; in expo-
sition, 134; in argumentation,
168; in synonyms, 239; in par-
onyms, 239; in poetic form,
219; in verbosity, 245; in sen-
tence unity, 265; in classifying
figures, 329-334.
Exposition, 59, III; outline of,
128; illustrations of, 128.
Extension, 70.

Extent of a class, 112; of the
theme, 123.

Factor, controlling, 33; invariable,
34.
Factors, two, 60.
Fallacy, 150.
Familiarity, 222.

Figures of speech, 289; spelling,
290; syntax, 291; thought, 295;
association, 299; comparison,
304; expressed comparison,
307; implied comparison, 309;
contrast, 323.

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Idea, origin in, 55.
Idealization, 120.

Ideas, association of language
forms with, 222.

Illustrated, the process of descrip-
tion, 81; narration, 103; expo-
sition, 128.

Independence, Declaration of, 44.
Individual, 54, 58.

Induction, 141; lowest phase of,

144; highest phase of, 145.
Inference, 140.

Interpret with efficiency, 45.
Interpretation of description, 86;

narration, 106; exposition, 132.

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