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leaves and hear their whispering as it passes from tree to tree, and to ask yourself what is meant by trees "that branch'd and blossom'd in the zenith"? We learn

that the zenith is a term used in astronomy to denote the point in the heavens directly overhead: but how can we speak of trees that branch and blossom in the zenith? The explanation is that in the tropical countries many trees, like the coco, rise straight and tall and do not begin to send out branches until they are high in the air.

Why does the author speak of Enoch Arden as "ranging" instead of "walking"? Here, again, the picture becomes doubly interesting when we learn that to range means to walk to and fro as if in search of something.

We have now prepared ourselves to study the picture as a whole. We know the meaning of the words and phrases, and have determined the groups. We have the parts of the author's picture and these we must now put together, but unless we are careful we may lose sight of the picture in one group as we pass on to the next. In the line, "The mountain wooded to the peak," we get a picture, but there is no statement made concerning it; and if you will take the rest of the pictures down to "the glows And glories of the broad belt of the world," you will find that there is no predicate. Then come the words, "All these he saw," and we understand that "these" refers to "the mountain," "the lawns," "the glades," "the plumes," etc., and that we cannot get the sense until we come to “All these he saw." It is as if we were to write "His splen

did work in history, his excellent work in Latin, his good work in mathematics, and his unusual excellence. in manual training, all these he received no credit for."

Turning more particularly to Group Sequence, we see how the sense is suspended from line to line until the assertion ends the incomplete groups with "All these he saw." Now follows a simple statement, "but what he fain had seen he could not see," in which the thought is as completely finished as if the sentence were followed by a period. Then comes the phrase equivalent to the "what," complete in itself: "the kindly human face." After this is another entire statement: "Nor ever hear a kindly voice." But after that there is suspense in the groups ending with "oceanfowl," "reef," "zenith," "wave," "ranged," "gorge," and "sailor.” Are you following the text, page 133?

As for Inversion, here we have an excellent illustration; and while, after noting the Sequence in the various groups, we do not need to spend much time on Inversion, yet it does help us somewhat in getting the meaning when we recognize that the opening groups are out of the order in which we should expect them; it is as if the object of a verb should begin a sentence.

Your careful preparation enables you to enjoy the scene in a way that would have been impossible without the details, and there is no reason why such a study should deprive you of one jot of pleasure in the picture. There is beauty piled on beauty: the mountain, the lawns, the glades, the coco's crown of

plumes, the flash of insect and of bird, and the glorious coloring of the tropics-all these that would have thrilled a lover of nature to Enoch are as nothing.

Now note the change: "All these he saw," but never "the kindly human face." He never heard "a kindly voice," but instead, the ocean-fowl, the roller, the whisper of huge trees, and the sweep of the rivulet,

As down the shore he ranged, or all day long
Sat often in the seaward-gazing gorge.

From this analysis we get two large pictures: what Enoch saw-but not the kindly face; what he heardbut not the kindly voice. All the glories of form and color meant nothing to him; all the sounds of the tropical world could tell him nothing. His senses longed for human faces and human voices. The pathos of his loneliness is made the more terrible by the beauty of the nature that environs him. What his heart yearns for is a human face, a human voice; but in vain he longs:

A shipwreck'd sailor, waiting for a sail.

Has our study not brought us a rich reward? The paragraph which at first seemed so obscure and perhaps to most of us so dry, has become clear and interesting, full of life and beauty. We have learned, too, that interest does not necessarily lie in action and excitement, but, as in this case, often in the beauty of the picture described, or in sympathy aroused in us for the people in the story. Now reread the entire selection, first silently, then aloud.

CHAPTER VIII

GROUP MOTIVE

In the chapter on Group Sequence we learned that so long as the thought was incomplete the voice would rise at the end of the group-a rising inflection, or glide upward; and further, that when the thought was complete, when we asserted strongly, when we demanded or commanded, the voice at once responded with a downward inflection at the end of the group, whether the group was long or consisted of only a single word. In this chapter we are to discuss the

subject at length.

When you ask such a question as "Are you going home?" you hear the rising tune most clearly marked on "home"; and if you were asked where you were going and you answered, "I am going home," your melody would be decidedly downward, and the inflection would again be particularly noticeable on "home." To make this more clear hum the two sentences. The tune is more easily recognized in humming because it is not combined with the words. Very often in simple sentences one can understand another by his tune, although he is uttering no words at all. If someone makes a remark to you which you do not catch, you may say, "What did you say?" or "What?"

or just "Hm?" In every one of these cases the tune is the same (although in the first answer you used more words than in the others) and it asks for information. Or, let us take a tune that expresses a demand or an assertion, such as "I won't go home," or "I won't," or "No," or, what is quite common among us, just the strong murmur "M-m." In all these cases it is the tune that conveys the motive behind the words. And what a big difference in the tunes! You probably never noticed before that there were tunes in speech and that so much depended on them in speaking and reading. Now what caused you to make this difference in tune? You did not try to make it: you were not even conscious that you were doing it: you did not have to learn how to do it. The motive, the purpose, in the two cases was different, and the melody changed with the motive.

Now, what applies to these little sentences applies to every phrase or sentence you utter: as the motive changes your melody changes with it. We saw this in the examples under Group Sequence, but we noticed it chiefly at the end of the groups; now you see that the principle applies to every word and syllable of the group. Speech tune or melody is just rising or falling of the voice sometimes by jumps, sometimes by slides; and is determined solely by the motive. If we change the motive, the melody changes; if the melody changes, the audience gets a different conception with every change.

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