4. Both readily found what they sought; and both obstinately refused to see anything but what they sought.

5. In nations broken to the curb, in nations long accustomed to be transferred from one tyrant to another, a man without eminent qualities may easily gain supreme power.

6. Nobleman and commoner and slave and alien were mixed in one madly hurrying throng.

The following passages will show how climax aids in securing emphasis :

7. To dream of such a journey would be madness; to devise it, a thing incredible; to do it, a deed impossiBut Grant was capable of them all and equal to the

ble. work.

8. Your heart gives a great bound when you think what it is the regimental flag- and glancing along the front, you count fifteen of those colors that were borne at Pea Ridge, waved at Shiloh, glorified at Stone River, and riddled at Chickamauga.

The close of Edmund Burke's speech on the Impeachment of Warren Hastings furnishes an excellent example of the effect of climax :

9. Therefore, hath it been ordered by the Commons of Great Britain, that I impeach Warren Hastings of high crimes and misdemeanors. I impeach him in the name of the Commons House of Parliament, whose trust he has betrayed. I impeach him in the name of the English nation, whose ancient honor he has sullied. I impeach him in the name of the people of India, whose rights he has trodden under foot, and whose country he has turned into a desert. Lastly, in the name of human nature itself, in the name of both sexes, in the name of every age, in the name of every rank, I impeach the common enemy and oppressor of all.

98. Selection a Form of Emphasis. When a painter transfers a landscape to his canvas he does not put into the picture all of the actual scene which he is representing. In order that the painting may have the more elementary qualities, unity and coherence, he emphasizes certain details and suppresses others; and the value of his work will depend largely upon his judgment in deciding what details will contribute to the general effect and what would be inharmonious. The camera is faithful to fact; and because it can have no selective judgment, and can neither emphasize one detail nor suppress another, a photograph is not a work of art, and the lens can never take the place of the creative genius of the artist. It is true that the photograph is often very artistic; but that is because it reproduces, not nature, but something in the arrangement of which the selective judgment of the artist has been exercised. literary composition this principle is as valid as in the art of the pencil-and the brush. The writer must first make choice of those details that, from his point of view, are especially important, and important in such a way as to contribute to the general significance of the composition. In the selection of his material the writer places emphasis upon what he wishes to make significant in the mind of the reader, and the mere dwelling upon certain phases of the question to the exclusion of others. secures this result.

In

99. Force and Emphasis. Emphasis contributes to force, but differs from it in being a less constant feature

in a composition. The employment of a greater degree of force in one place than in another for the purpose of drawing particular attention to some special phase of the subject is known more specifically as emphasis. At the same time emphasis in the sentence, by whatever devices secured, is one of the elements of force. Force may be a large element in the style of a writer who employs very little emphasis, but in general the two are found together. Carlyle, for instance, is remarkable for a very high degree of force, and no less so for emphasis. The following sentence from "Heroes and Hero Worship" is typical of his method of securing force through emphasis.

No more immoral act can be done by a human creature; for it is the beginning of all immorality, or rather it is the impossibility henceforth of any morality whatsoever: the innermost moral soul is paralyzed thereby, cast into fatal magnetic sleep.

In this we have climax and repetition, for the second of the two clauses after the colon is but a repetition in more emphatic form of the one preceding it; and the clause just before the colon is also a repetition of the same sort. Observe that the final clause is the one of most significance, and note, too, that in the two final clauses after the colon, out of twelve words all but "the," "is," and "into" will naturally be stressed in reading. The increased force in these last clauses is in keeping with the climax resulting from the arrangement of clauses in the order of increasing importance.

EXERCISES.

1. What do you understand by rhythm? Do you think that the rhythm of prose affects the ease with which you read it? If so, how and why? Do children who speak pieces generally prefer prose or poetry? Why?

2. Comment on the rhythmic character of "The Steam Carriage," in Appendix C.

3. If you were to write an oration for some occasion, should you think it best to employ long or short rhythmic units? Why? What would be the result of crowding accented syllables together in unimportant words? and what the effect of a succession of seven or eight unimportant words?

4. Bring to class a newspaper clipping that seems to you deficient in rhythm, and point out its more glaring rhythmical faults.

5. What do you understand by tone-color? Do you understand that distinct effects of tone-color may result from a succession of like sounds or from a repetition of the same sound only? When might the employment of harsh sounds be justifiable?

6. In what kinds of composition should you expect to find tone-color the more pronounced? Should you think it well to give prose as distinct rhythm as poetry or not? Why? Do you think that the suggestion of rhyme in prose is pleasant or not?

7. Where in the sentence should you place words that you wish to make emphatic? Why?

8. How do you understand that we may secure emphasis by selection? Study the following passage, and say whether the author has followed the principle of selection, and if so say what she has made emphatic.

A wide plain, where the broadening Floss hurries on between its green banks to the sea, and the loving tide, rushing to meet it, checks its passage with an impetuous embrace. On this mighty tide, the black ships, laden with the freshly scented fir planks, with rounded sacks of oil-bearing seed,

or with the dark glitter of coal, are borne along to St. Ogg's. This town shows its aged, fluted, red roofs and the broad gables of its wharves, between the low-wooded hill and the river brink, tingeing the water with a soft purple hue under the transient glance of this February sun.

Far away, on each hand, stretch the rich pastures, and the patches of dark earth made ready for the seed of broadleaved green crops, or touched, already, with the tint of the tender-bladed autumn-sown grain. The distant ships seem to be lifting their masts and stretching their red-brown sails close among the branches of the spreading ash. Just by the red-roofed town, the tributary ripple flows, with a lively current, into the Floss.

GEORGE ELIOT: The Mill on the Floss.

In the same way study some of the illustrative paragraphs on pages 62 to 77.

Look over the magazines and books at hand, and bring to the class passages in which the principle is prominent.

Lohery

9. What is climax? How does it aid in securing Emphasis? Study the following passages, and note the examples of climax. Show how they affect the passage.

1. Since concord was lost, friendship was lost; fidelity was lost; liberty was lost, all was lost!

2. Here I stand for impeachment or trial! I dare accusation! I defy the honorable gentleman! I defy the government! I defy their whole phalanx!

3. We have complained; we have petitioned; we have supplicated; we have even prostrated ourselves at the foot of the throne, without moving royal clemency.

4. This makes the character complete. Whatsoever things are false, whatsoever things are dishonest, whatsoever things are unjust, whatsoever things are of evil report - if there be any vice, if there be any infamy, all these things we know were blended in Barère.

T. B. MACAULAY.

10. Bring to class some lines of poetry in which you find distinct tone-color, and say whether it is effective in heightening the impression which the author meant to give or not.