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2. Oft in my waking dreams do I

Live o'er again that happy hour,
When midway on the mount I lay,

Beside the ruined tower.
3. The moonshine, stealing o'er the scene

Had blended with the lights of eve;
And she was there, my hope, my joy,

My own dear Genevieve!
4. She leaned against the armed man,

The statue of the armed knight ;
She stood and listened to my lay,

Amid the lingering light.
5 Few sorrows hath she of her own,
My hope ! my joy! my Genevieve !
She loves me best whene'er I sing

The songs that make her grieve.
6. I played a soft and doleful air,

I sang an old and moving story-
An old rude song, that suited well

That ruin wild and hoary.

20

LITERARY ANALYSIS.—5-8. Oft ... tower. Arrange this stanza in the prose order.-Explain “waking dreams.”—Give an instance of alliteration in this stanza.

7-10. State in your own words what was the scene of the romance. Is it effective for the poet's purpose? Why?

11. And... joy. What two metaphors in this line?
15, 16. She ... light. Point out examples of alliteration.

17. Few ... own. What is the most emphatic word in this line? By what device is it brought into prominence? Transpose into the prose order, and note the difference.

17-20. In this stanza, how many words are of other than Anglo-Saxon origin?

18. My hope! my joy! Note the fine effect of the recurrence of these terms used in line II.

20. grieve. Were it not for rhyme's sake, do you think the poet would use a word so strong as "grieve ?” What is perhaps a more fitting word ?-Se. lect, from Dryden's Alexander's Feast, a line expressing a thought similar to that in lines 19, 20.

25

?. She listened with a flitting blush, With downcast eyes

and modest grace ; For well she knew I could not choose

But gaze upon her face.
8. I told her of the knight that wore

Upon his shield a burning brand;
And that for ten long years he wooed

The Lady of the Land.
9. I told her how he pined: and ah!

The deep, the low, the pleading tone
With which I

sang

another's love
Interpreted my own.
10. She listened with a flitting blush,

With downcast eyes and modest grace;
And she forgave me, that I gazed

Too fondly on her face!

35

40

11. But when I told the cruel scorn

That crazed that bold and lovely knight,
And that he crossed the mountain-woods,

Nor rested day nor night;

45

12. That sometimes from the savage den,

And sometimes from the darksome shade,
And sometimes starting up at once

In green and sunny glade,

LITERARY ANALYSIS.—25-28. Observe how preparation is made for the introduction of the story—how (stanza 5) we are told that Genevieve loved best when listening to songs that made her grieve, and how (line 22) the lover sang a "moving story;" then how, before proceeding with the story as began in stanza 8, a fine effect is obtained by the pause in stanza 7.

28. But Grammatical construction ? 31. And ... wooed. Supply the ellipsis. – What is the peculiar force of "long” as here used ?

37, 38. Of what lines are these an iteration ?-Observe the context of these lines in each instance.

41-44. In stanza 11, name two words derived from Latin through French. 45-47. That sometimes ... once. What is the figure of speech? (See Def. 36.)—To what word is the phrase "starting up at once" an adjunct ?

13. There came and looked him in the face

An angel beautiful and bright;
And that he knew it was a fiend,*

This miserable knight;

50

14. And that, unknowing what he did,

He leaped amid a murderous band,
And saved from outrage worse than death

The Lady of the Land;

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15. And how she wept, and clasped his knees;

And how she tended him in vain,
And ever strove to expiate *

That scorn that crazed his brain;

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LITERARY ANALYSIS.--49, 50. There came ... bright. Transpose into the piose order, and point out which effects are obtained by the use of the poetic order.

51, 52. Point out an instance of pleonasm in these lines,

57–59. Note the employment of the conjunction and to introduce each clause.'

59. expiate. Etymology?
63. yellow. What does the use of this epithet suggest ?
64. man. Grammatical construction ?

65. His dying words. Note the sudden pause by which the conclusion is left unexpressed. What is this figure of speech called ? (See Def. 88.):

i The employment of conjunctions to an unusual degree is sometimes made a distinct figure of speech under the name of polysyndeton.

70

75

80

18. All impulses of soul and sense

Had thrilled my guileless Genevieve;
The music and the doleful tale,

The rich and balmy eve;
19. And hopes, and fears that kindle hope,

An undistinguishable throng,
And gentle wishes long subdued,

Subdued and cherished long!
20. She wept with pity and delight,

She blushed with love and virgin shame;
And, like the murmur of a dream,

I heard her breathe my name.
21. Her bosom heaved—she stepped aside,

As conscious of my louk she stepped-
Then suddenly, with timorous eye,

She fled to me and wept.
22. She half enclosed me with her arms,

She pressed me with a meek embrace;
And, bending back her head, looked up,

And gazed upon my face.
23. 'Twas partly love, and partly fear,

And partly 'twas a bashful art,
That I might rather feel than see

The swelling of her heart.
24. I calmed her fears, and she was calm,

And told her love with virgin pride;
And so I won my Genevieve,

My bright and beauteous bride.

85

90

LITERARY ANALYSIS.—71–76. In the enumeration of details in these lines, which particulars are to be classed as “impulses of soul," and which as “impulses of sense?"

74. undistinguishable throng. Explain. 75, 76. subdued, Subdued. Notice the use of the same word at the end of one phrase and at the beginning of another.'

1

This is sometimes made a distinct figure under the name of anadiplosis.

II.-MORNING HYMN TO MONT BLANC. 1. Hast thou a charm to stay the morning-star

In his steep course? So long he seems to pause
On thy bald, awful head, O sovran Blanc !
The Arvé and Arveiron at thy base
Rave ceaselessly; but thou, most awful form!
Risest from forth thy silent sea of pines,
How silently! Around thee and above
Deep is the air, and dark, substantial, black,
An ebon mass : methinks thou piercest it,
As with a wedge! But when I look again,
It is thine own calm home, thy crystal shrine,
Thy habitation from eternity!
O dread and silent mount ! I gazed upon thee,
Till thou, still present to the bodily sense,
Didst vanish from my thought: entranced in prayer,
I worshipped the Invisible alone.

IO

15

2. Yet, like some sweet beguiling melody,

So sweet, we know not we are listening to it,
Thou, the meanwhile, wast blending with my thought,
Yea, with my life, and life's own secret joy;
Till the dilating soul, enrapt, transfused,
Into the mighty vision passing—there,
As in her natural form, swelled vast to heaven.

20

3. Awake, my soul! not only passive praise

Thou owest! not alone these swelling tears,
Mute thanks, and secret ecstasy! Awake,
Voice of sweet song! Awake, my heart, awake!
Green vales and icy cliffs, all join my hymn.

36

4. Thou first and chief, sole Sovran of the Vale!

Oh, struggling with the darkness all the night,
And visited all night by troops of stars,
Or when they climb the sky or when they sink :
Companion of the morning-star at dawn,
Thyself earth's ROSY STAR, and of the dawn

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