Is it possible Disdain should die^, while she hath eet food to feed it as Signior Benedick? Courtesy

ust convert to disdain^, if you come in her presence. . Then is courtesy a turncoat. But it is certain I ed of all ladies, only you excepted: and I would I ind in my heart that I had not a hard heart; for, love none.

A dear happiness^ to women^: they would else een troubled with a PERNICIOUS^ suitor. I thank nd my cold blood, I am of your humor for that^; rather hear my dog bark at a crow^, than a man^ he loves^ me.

-. God keep your ladyship still in that^ mind! so entleman or other shall 'scape a predestinate scratched

- Scratching could not make it worse^, an 't were face as yours were.

Shakespeare, Much Ado about Nothing.

Sarcasm and Envy.

be read with abrupt stress, circumflex slides, and aspi

quality.

V

And this man

now become a god^, and Cassius is

wretched^ creature, and must bend his body^, Cæsar carelessly but nod^ on him.

e had a fever when he was in Spain,

nd, when the fit was on him, I did mark

ow he did shake^; 't is true, this god did shake^:

is coward lips` did from their color^ fly,

nd that same eye`, whose bend doth awe the world, id lose his luster. I did hear him groan^;

y, and that tongue of his, that bade the Romans [ark him, and write his speeches in their books, las! it cried, "Give me some drink^, Titinius,"

The proper blending of the sense and the measure,· hm of the verse.

irst and most important part-the right reading of se and spirit—we have 24ticipated in our general

ons.

MEASURE AND METER.

greeable variety of accented and unaccented syllables, er and shorter quantities, in our English speech, is 1 more pleasing to the ear in English verse by being 1 in some regular proportion, order, and recurrence. › regular proportion of one accented to one unaccented we have, as a unit of measure, the dissyllabic foot, a iambus, or a trochee, according as it is arranged in or the other of two regular orders.

First Order (iambic).

'Must wé | but blúsh? | our fá | thers bléd." Second Order (trochaic).

"Líves of greát men | áll re | mind us."

e regular proportion of one accented to two unaccented s we have, as a unit of measure, the trisyllabic foot, in anapest, or a dactyl, according as it is arranged in or the other of two regular orders.

First Order (anapestic).

s the clíme | of the east, | 'tis the land | of the sún.”

Second Order (dactylic).

éw the fair | gárlands where | slúmber the | déad.”

u syabies.

The meter is determined by the n respective lines; as five-foot,' four

'four-foot,' in the order given in the

measure.'

"There wás | a tíme | when méad | ow

The earth and év | ery cóm

PROSAIC READING AND

The two great faults in the reading reading, which aims to give the meanin for the music of verse, and scanning chops the lines into their metric parts, foot separately, with a monotonous m pause, which destroy both the sense a

To remedy the first fault, which tu the measure must be made the promin Musical lines, in which the thoughts an into and fill the meter, must be often taste learn to appreciate their metric ch

To remedy the fault of sing-song, meter, the sense must be especially er and the words grouped to give the me

meter.

But to remedy both of these extrem harmonizes the sense and the measure,

RHYTHM.

The foot and meter of verse may scanning it, but the rhythm can be hea whole is read.

Rhythm is the opposite of scannin analysis or cutting up of the lines int Rhythm is the synthesis, or flowing to

to such larger groups, and with such varying accent and red time, as give both the sense and melody of verse. ttle scanning is introduced here partly to show what not n reading, and partly to present more clearly, by conhe nature and use of rhythm.

Rhythmic Grouping, Accent, and Pauses.

mél | anchól | y dáys | have cóme, | the sád | dest óf | the year,

váiling winds, and naked woóds, and méadows brówn and sére."

scanning this first line of 'seven-foot' meter in the way, it is divided into seven groups, with seven uniform s and pauses.

the rhythmic reading, which accords with the sense, seven feet flow naturally into only two groups.

the seven monotonous accents also are changed to ignificant ones which give the meaning, and three untic ones merely metric, so light as not to mar the sense w, and yet distinct enough to preserve the meter; as

"The melancholy days have come,—
The saddest of the year."

e seven feet of the second line flow into three groups. how the sense so fills the measure in this line that the atic and metric accents agree in number.

"Of wailing winds and naked woods
And meadows brown and sere."

serve, also, that the 'seven-foot' meter of the lines just -d may as well be written and read as they are here bed, in the "common meter" of alternate four-foot' - three-foot' lines.

is shows that mere meter has less to do with natural ng than rhythmic grouping. The lines in Shakespeare early all of one measure and meter, and would sound alike in scanning. Yet what infinite variety of groupnd expression they demand in their perfect reading!