The Grammar of English Grammars by Goold Brown (read books for money TXT) 📖

What is cadence? 33. What says Rippingham about it? 34. What says Murray? 35. What are tones? 36. Why do they deserve particular attention? 37. What says Blair about tones? 38. What says Hiley? LESSON XVI.—OF FIGURES.

1. What is a Figure in grammar? 2. How many kinds of figures are there? 3. What is a figure of orthography? 4. What are the principal figures of orthography? 5. What is Mimesis? 6. What is an Archaism? 7. What is a figure of etymology? 8. How many and what are the figures of etymology? 9. What is Aphæresis? 10. What is Prosthesis? 11. What is Syncope? 12. What is Apocope? 13. What is Paragoge? 14. What is Diæresis? 15. What is Synæresis? 16. What is Tmesis? 17. What is a figure of syntax? 18. How many and what are the figures of syntax? 19. What is Ellipsis, in grammar? 20. Are sentences often elliptical? 21. What parts of speech can be omitted, by ellipsis? 22. What is Pleonasm? 23. When is this figure allowable? 24. What is Syllepsis? 25. What is Enallage? 26. What is Hyperbaton? 27. What is said of this figure?

LESSON XVII.—OF FIGURES.

28. What is a figure of rhetoric? 29. What peculiar name have some of these? 30. Do figures of rhetoric often occur? 31. On what are they founded? 32. How many and what are the principal figures of rhetoric? 33. What is a Simile? 34. What is a Metaphor? 35. What is an Allegory? 36. What is a Metonymy? 37. What is Synecdoche? 38. What is Hyperbole? 39. What is Vision? 40. What is Apostrophe? 41. What is Personification? 42. What is Erotesis? 43. What is Ecphonesis? 44. What is Antithesis? 45. What is Climax? 46. What is Irony? 47. What is Apophasis, or Paralipsis? 48. What is Onomatopoeia?

[Now, if you please, you may examine the quotations adopted for the Fourteenth Praxis, and may name and define the various figures of grammar which are contained therein.]

LESSON XVIII.—OF VERSIFICATION.

1. What is Versification? 2. What is verse, as distinguished from prose? 3. What is the rhythm of verse? 4. What is the quantity of a syllable? 5. How are poetic quantities denominated? 6. How are they proportioned? 7. What quantity coincides with accent or emphasis? 8. On what but the vowel sound does quantity depend? 9. Does syllabic quantity always follow the quality of the vowels? 10. Where is quantity variable, and where fixed, in English? 11. What is rhyme? 12. What is blank verse? 13. What is remarked concerning the rhyming syllables? 14. What is a stanza? 15. What uniformity have stanzas? 16. What variety have they?

LESSON XIX.—OF VERSIFICATION.

17. Of what does a verse consist? 18. Of what does a poetic foot consist? 19. How many feet do prosodists recognize? 20. What are the principal feet in English? 21. What is an Iambus? 22. What is a Trochee? 23. What is an Anapest? 24. What is a Dactyl? 25. Why are these feet principal? 26. What orders of verse arise from these? 27. Are these kinds to be kept separate? 28. What is said of the secondary feet? 29. How many and what secondary feet are explained in this code? 30. What is a Spondee? 31. What is a Pyrrhic? 32. What is a Moloss? 33. What is a Tribrach? 34. What is an Amphibrach? 35. What is an Amphimac? 36. What is a Bacchy? 37. What is an Antibachy? 38. What is a Cæsura?

LESSON XX.—OF VERSIFICATION.

39. What are the principal kinds, or orders, of verse? 40. What other orders are there? 41. Does the composite order demand any uniformity? 42. Do the simple orders admit any diversity? 43. What is meant by scanning or scansion? 44. What mean the technical words, catalectic, acatalectic, and hypermeter? 45. In scansion, why are the principal feet to be preferred to the secondary? 46. Can a single foot be a line? 47. What are the several combinations that form dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, and octometer? 48. What syllables have stress in a pure iambic line? 49. What are the several measures of iambic verse? 50. What syllables have stress in a pure trochaic line? 51. Can it be right, to regard as hypermeter the long rhyming syllables of a line? 52. Is the number of feet in a line to be generally counted by that of the long syllables? 53. What are the several measures of trochaic verse?

LESSON XXI.—OF VERSIFICATION.

54. What syllables have stress in a pure anapestic line? 55. What variation may occur in the first foot? 56. Is this frequent? 57. Is it ever uniform? 58. What is the result of a uniform mixture? 59. Is the anapest adapted to single rhyme? 60. May a surplus ever make up for a deficiency? 61. Why are the anapestic measures few? 62. How many syllables are found in the longest? 63. What are the several measures of anapestic verse? 64. What syllables have stress in a pure dactylic line? 65. With what does single-rhymed dactylic end? 66. Is dactylic verse very common? 67. What are the several measures of dactylic verse? 68. What is composite verse? 69. Must composites have rhythm? 70. Are the kinds of composite verse numerous? 71. Why have we no exact enumeration of the measures of this order? 72. Does this work contain specimens of different kinds of composite verse?

[It may now be required of the pupil to determine, by reading and scansion, the metrical elements of any good English poetry which may be selected for the purpose—the feet being marked by pauses, and the long syllables by stress of voice. He may also correct orally the few Errors of Metre which are given in the Fifth Section of Chapter IV.]

CHAPTER VI.—FOR WRITING. EXERCISES IN PROSODY.

[Fist] [When the pupil can readily answer all the questions on Prosody, and apply the rules of punctuation to any composition in which the points are rightly inserted, he should write out the following exercises, supplying what is required, and correcting what is amiss. Or, if any teacher choose to exercise his classes orally, by means of these examples, he can very well do it; because, to read words, is always easier than to write them, and even points or poetic feet may be quite as readily named as written.]

EXERCISE I.—PUNCTUATION.

Copy the following sentences, and insert the COMMA where it is requisite.

EXAMPLES UNDER RULE I.—OF SIMPLE SENTENCES.

"The dogmatist's assurance is paramount to argument." "The whole course of his argumentation comes to nothing." "The fieldmouse builds her garner under ground."

EXC.—"The first principles of almost all sciences are few." "What he gave me to publish was but a small part." "To remain insensible to such provocation is apathy." "Minds ashamed of poverty would be proud of affluence." "To be totally indifferent to praise or censure is a real defect in character."—Wilson's Punctuation, p. 38.

UNDER RULE II.—OF SIMPLE MEMBERS.

"I was eyes to the blind and feet was I to the lame." "They are gone but the remembrance of them is sweet." "He has passed it is likely through varieties of fortune." "The mind though free has a governor within itself." "They I doubt not oppose the bill on public principles." "Be silent be grateful and adore." "He is an adept in language who always speaks the truth." "The race is not to the swift nor the battle to the strong."

EXC. I.—"He that has far to go should not hurry." "Hobbes believed the eternal truths which he opposed." "Feeble are all pleasures in which the heart has no share." "The love which survives the tomb is one of the noblest attributes of the soul."—Wilson's Punctuation, p. 38.

EXC. II.—"A good name is better than precious ointment." "Thinkst thou that duty shall have dread to speak?" "The spleen is seldom felt where Flora reigns."

UNDER RULE III.—OF MORE THAN TWO WORDS.

"The city army court espouse my cause." "Wars pestilences and diseases are terrible instructors." "Walk daily in a pleasant airy and umbrageous garden." "Wit spirits faculties but make it worse." "Men wives and children stare cry out and run." "Industry, honesty, and temperance are essential to happiness."—Wilson's Punctuation, p. 29. "Honor, affluence, and pleasure seduce the heart."—Ib., p. 31.

UNDER RULE IV.—OF TWO TERMS CONNECTED.

"Hope and fear are essentials in religion." "Praise and adoration are perfective of our souls." "We know bodies and their properties most perfectly." "Satisfy yourselves with what is rational and attainable." "Slowly and sadly we laid him down."

EXC. I.—"God will rather look to the inward motions of the mind than to the outward form of the body." "Gentleness is unassuming in opinion and temperate in zeal."

EXC. II.—"He has experienced prosperity and adversity." "All sin essentially is and must be mortal." "Reprove vice but pity the offender."

EXC. III.—"One person is chosen chairman or moderator." "Duration or time is measured by motion." "The governor or viceroy is chosen annually."

EXC. IV.—"Reflection reason still the ties improve." "His neat plain parlour wants our modern style." "We are fearfully wonderfully made."

UNDER RULE V.—OF WORDS IN PAIRS.

"I inquired and rejected consulted and deliberated." "Seed-time and harvest cold and heat summer and winter day and night shall not cease."

EXERCISE II.—PUNCTUATION.

Copy the following sentences, and insert the COMMA where it is requisite.

EXAMPLES UNDER RULE VI.—OF WORDS PUT ABSOLUTE.

"The night being dark they did not proceed." "There being no other coach we had no alternative." "Remember my son that human life is the journey of a day." "All circumstances considered it seems right." "He that overcometh to him will I give power." "Your land strangers devour it in your presence." "Ah sinful nation a people laden with iniquity!"

   "With heads declin'd ye cedars homage pay;
    Be smooth ye rocks ye rapid floods give way!"

UNDER RULE VII.—OF WORDS IN APPOSITION.

"Now Philomel sweet songstress charms the night." "'Tis chanticleer the shepherd's clock announcing day." "The evening star love's harbinger appears." "The queen of night fair Dian smiles serene." "There is yet one man Micaiah the son of Imlah." "Our whole company man by man ventured down." "As a work of wit the Dunciad has few equals."

   "In the same temple the resounding wood
    All vocal beings hymned their equal God."

EXC. I.—"The last king of Rome was Tarquinius Superbus." "Bossuet highly eulogizes Maria Theresa of Austria." "No emperor has been more praised than Marcus Aurelius, Antoninus."

EXC. II.—"For he went and dwelt by the brook Cherith." "Remember the example of the patriarch Joseph." "The poet, Milton, excelled in prose as well as in verse."

EXC. III.—"I wisdom dwell with prudence." "Ye fools be ye of an understanding heart." "I tell you that which you yourselves do know."

EXC. IV.—"I crown thee king of intimate delights" "I count the world a stranger for thy sake." "And this makes friends such miracles below." "God has pronounced it death to taste that tree." "Grace makes the slave a freeman."

UNDER RULE VIII.—OF ADJECTIVES.

"Deaf with the noise I took my hasty flight." "Him piteous of his youth soft disengage." "I played a while obedient to the fair." "Love free as air spreads his light wings and flies." "Physical science separate from morals parts with its chief dignity."

   "Then active still and unconfined his mind
    Explores the vast extent of ages past."

    "But there is yet a liberty unsung
    By poets and by senators unpraised."

EXC.—"I will marry a wife beautiful as the Houries." "He was a man able to speak upon doubtful questions." "These are the persons, anxious for the change." "Are they men worthy of confidence and support?" "A man, charitable beyond his means, is scarcely honest."

UNDER RULE IX.—OF FINITE VERBS.

"Poverty wants some things—avarice all things." "Honesty has one face—flattery two." "One king is too soft and easy—an other too fiery."

   "Mankind's esteem they court—and he his own:
    Theirs the wild chase of false felicities;
    His the compos'd possession of the true."

EXERCISE III.—PUNCTUATION.

Copy the following sentences, and insert the COMMA where it is requisite.

EXAMPLES UNDER RULE X.—OF INFINITIVES.

"My desire is to live in peace." "The great difficulty was to compel them to pay their debts." "To strengthen our virtue God bids us trust in him." "I made no bargain with you to live always drudging." "To sum up all her tongue confessed the shrew." "To proceed my own adventure was still more laughable."

   "We come not with design of wasteful prey
    To drive the