TIME Time is a factor in Rhythm observed by the best writers in their arrangement of the measure, and it should be as carefully regarded by the reader. In all well-written compositions the poet has suggested the movement by the metre, but when, from the nature of the poem, the spirit of the sentiment varies, the interpreter must not allow himself to be hampered by the mechanism. What the poet has done is not meant to hinder but to help the speaker. Observe how the different measures in the following selections harmonize with the varying nature of the sentiment: Examples 1. The Assyrian came down like a wolf on the fold, And his cohorts were gleaming with purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee. From "The Destruction of Sennacherib "-Byron. 2. One touch to her hand, and one word in her ear, When they reached the hall door, where the charger stood near; So light to the croup the fair lady he swung, So light to the saddle before her he sprung; "She is won! We are gone, over bank, bush, and scaur; They'll have fleet steeds that follow!" quoth young LochFrom "Lochinvar invar. 3. I sprang to the stirrup, and Joris, and he; I galloped, Dirck galloped, we galloped all three; Scott. "Good speed!" cried the watch, as the gate-bolts un drew; "Speed !" echoed the wall to us galloping through; Behind shut the postern, the lights sank to rest, And into the midnight we galloped abreast. From "How they Brought the Good News"-Robert Browning. 4. The splendor falls on castle-walls Blow, bugle, blow, set the wild echoes flying; Blow, bugle, blow; answer, echoes, dying, dying, dying. From "The Princess "-Tennyson. 5. Singing through the forests, Rattling over ridges, Shooting under arches, Rumbling over bridges, Whizzing through the mountains, Buzzing o'er the vale, Bless me! this is pleasant, Riding on a rail. From "Rhyme of the Rail"-John G. Saxe. 6. Did you hear of the Widow Malone, Ohone! Who lived in the town of Athlone, Oh, she melted the hearts Of the swains in them parts Ohone! So lovely the Widow Malone. From "Widow Malone"-Charles Lever. 7. How beautiful this night! the balmiest sigh, 8. Once upon a midnight dreary, while I pondered weak and weary [lore, Over many a quaint and curious volume of forgotten While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. From "The Raven"-Edgar A. Poe. 9. 'Tis midnight's holy hour, and silence now Is brooding like a gentle spirit o'er The still and pulseless world. Hark! on the winds From "The Closing Year"-George D. Prentice. ACCENT Accent is so well understood that its study for prose reading is unnecessary. We learn accent in the same way we learn words; it is a part of their pronunciation. Every one appreciates the value of rhythmical movement. It is pleasant to listen to the regular splash of the waves on the shore, the cry of the katydid, the steady patter of rain, or the horse's hoof-beats on the frozen earth. Accent is stress given to a sound; it is pulsation and consequent recession. By proper accent one syllable stands out prominently while the others are comparatively obscure. In poetry these pulsations are regular, while in prose they are not governed by any rule. In compositions, however, where the emotions are aroused and the imagination is given play, there is a tendency toward beautiful forms of expression, and a great many prose passages of the best writers are very rhythmical. The rhythm in the italicized parts of the following is perfect: She was dead. No sleep so beautiful and calm, so free from trace of pain, so fair to look upon. She seemed a creature fresh from the hand of God.-Charles Dickens. Again the pealing organ heaved thrilling thunders.-Irving. As all modern English poetry is marked by regularly recurring accent, examples may be found anywhere. The reader should observe its principles, exercising care not to render it too prominent on the one hand, nor entirely to obscure it on the other. If it is made too promi |