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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.”
laws of, 160; exercises in, 168.
teriori, 152; by signs and re-
157 ; by authority, 160.
of, 65, 97; in argumentation,
for securing, 185.
Energy, 174, 179; conditions for
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
Exposition, 59, m ; outline of,
128; illustrations of, 128.
Extent of a class, 112; of the
Factor, controlling, 33; invariable,
Factors, two, 60.
Figures of speech, 289; spelling,
of, 9; organic relation of, 10; association, 299; comparison,
Irving, 37, 66, 101.
Judgment, 58, 137.
Language units, 2; in discourse,
171; fundamental law of, 173;
qualities required, 174 ; inter-
pretation of, 197 ; an object of
perception, 198; literal, 284;
Law of unity in definition, 116;
comparison and contrast, 117.
Laws of partition, 77-79.
Likeness and difference, 62-68;
order of presenting, 69, 97.
Location of an object, 67.
“ Logic,” Mill's, 146.
Lowell, 42, 181, 244.
Macbeth, 290, 312.
Maclaren, Ian, 73.
“ Maud Muller," 132.
Metaphor, 309; exercises in, 313.
tion, 81; narration, 103 ; expo Milton, 21, 294.
Motive, genuine, 30.
144 ; highest phase of, 145. with description, 93; first step
in, 96; second step in, 98; out-
line of, 102; illustrations of law
narration, 106; exposition, 132.1 109.