THE VICAR'S FAMILY USE ART
From "The Vicar of Wakefield"
1. Whatever might have been Sophia's sensations, the rest of the family was easily consoled for Mr. Burchell's absence by the company of our landlord, whose visits now became more frequent, and longer. Though he had been disappointed in procuring my daughters the amusements of the town, as he designed, he took every opportunity of supplying them with those little recreations which our retirement would admit of. He usually came in the morning; and while my son and I followed our occupations abroad, he sat with the family at home, and amused them by describing the town, with every part of which he was particularly acquainted. He could repeat all the observations that were retailed in the atmosphere of the play-houses, and had all the good things of the high wits by rote, long before they made their way into the jest-books. The intervals between conversation were employed in teaching my daughters piquet, or sometimes in setting my two little ones to box, to make them sharp, as he called it; but the hopes of having him for a son-in-law, in some measure blinded us to all his imperfections. It must be owned, that my wife laid a thousand schemes to entrap him; or, to speak it more tenderly, used every art to magnify the merit of her daughter. If the cakes at tea ate short and crisp, they were made by Olivia; if the gooseberry wine was well knit, the gooseberries were of her gathering; it was her fingers that gave the pickles their peculiar green; and in the composition of a pudding, it was her judgment that mixed the ingredients. Then the poor woman would sometimes tell the Squire that she thought him and Olivia extremely of a size, and would bid both stand up to see which was tallest. These instances of cunning, which she thought impenetrable, yet which everybody saw through, were very pleasing to our benefactor, who gave every day some new proofs of his passion, which, though they had not risen to proposals of marriage, yet we thought fell but little short of it; and his slowness was attributed sometimes to native bashfulness, and sometimes to his fear of offending his uncle. An occurrence, however, which happened soon after, put it beyond a doubt that he designed to become one of our family; my wife even regarded it as an absolute promise.
2. My wife and daughters happening to return a visit at neighbour Flamborough's, found that family had lately got their pictures drawn by a limner, who travelled the country, and took likenesses for fifteen shillings a head. As this family and ours had long a sort of rivalry in point of taste, our spirit took the alarm at this stolen march upon us; and notwithstanding all I could say, and I said much, it was resolved that we should have our pictures done too. Having, therefore, engaged the limner—for what could I do?—our next deliberation was to shew the superiority of our taste in the attitudes. As for our neighbour's family, there were seven of them, and they were drawn with seven oranges—a thing quite out of taste, no variety in life, no composition in the world. We desired to have something in a brighter style; and after many debates, at length came to an unanimous resolution of being drawn together, in one large historical family piece. This would be cheaper, since one frame would serve for all, and it would be infinitely more genteel; for all families of any taste were now drawn in the same manner. As we did not immediately recollect an historical subject to hit us, we were contented each with being drawn as independent historical figures. My wife desired to be represented as Venus, and the painter was desired not to be too frugal of his diamonds in her stomacher and hair. Her two little ones were to be as Cupids by her side; while I, in my gown and band, was to present her with my books on the Whistonian controversy. Olivia would be drawn as an Amazon, sitting upon a bank of flowers, dressed in a green joseph richly laced with gold, and a whip in her hand. Sophia was to be a shepherdess, with as many sheep as the painter could put in for nothing; and Moses was to be dressed out with an hat and white feather. Our taste so much pleased the Squire that he insisted on being put in as one of the family, in the character of Alexander the Great, at Olivia's feet. This was considered by us all as an indication of his desire to be introduced into the family, nor could we refuse his request. The painter was therefore set to work, and as he wrought with assiduity and expedition, in less than four days the whole was completed. The piece was large, and it must be owned he did not spare his colours; for which my wife gave him great encomiums. We were all perfectly satisfied with his performance; but an unfortunate circumstance which had not occurred till the picture was finished, now struck us with dismay. It was so very large that we had no place in the house to fix it. How we all came to disregard so material a point is inconceivable; but certain it is, we had been all greatly remiss. The picture, therefore, instead of gratifying our vanity, as we hoped, leaned, in a most mortifying manner, against the kitchen wall, where the canvas was stretched and painted, much too large to be got through any of the doors, and the jest of all our neighbours. One compared it to Robinson Crusoe's long-boat, too large to be removed; another thought it more resembled a reel in a bottle; some wondered how it could be got out. but still more were amazed how it ever got in.
3. But though it excited the ridicule of some, it effectually raised more malicious suggestions in many. The Squire's portrait being found united with ours, was an honour too great to escape envy. Scandalous whispers began to circulate at our expense, and our tranquillity was continually disturbed by persons, who came as friends, to tell us what was said of us by enemies. These reports we always resented with becoming spirit; but scandal ever improves by opposition.
4. We once again, therefore, entered into a consultation upon obviating the malice of our enemies, and at last came to a resolution which had too much cunning to give me entire satisfaction. It was this: as our principal object was to discover the honour of Mr. Thornhill's addresses, my wife undertook to sound him, by pretending to ask his advice in the choice of an husband for her eldest daughter. If this was not found sufficient to induce him to a declaration, it was then resolved to terrify him with a rival. To this last step, however, I would by no means give my consent, till Olivia gave me the most solemn assurances that she would marry the person provided to rival him upon this occasion, if he did not prevent it by taking her himself. Such was the scheme laid, which, though I did not strenuously oppose, I did not entirely approve.
5. The next time, therefore, that Mr. Thornhill came to see us, my girls took care to be out of the way, in order to give their mamma an opportunity of putting her scheme in execution; but they only retired to the next room, whence they could overhear the whole conversation. My wife artfully introduced it, by observing, that one of the Miss Flamboroughs was like to have a very good match of it in Mr. Spanker. To this the Squire assenting, she proceeded to remark, that they who had warm fortunes were always sure of getting good husbands: "But heaven help," continued she, "the girls that have none! What signifies beauty, Mr. Thornhill? or what signifies all the virtue, and all the qualifications in the world, in this age of self-interest? It is not, What is she? but, What has she? is all the cry."
6. "Madam," returned he, "I highly approve the justice, as well as the novelty, of your remarks, and if I were a king, it should be otherwise. It should then, indeed, be fine times for the girls without fortunes: our two young ladies should be the first for whom I would provide."
7. "Ah, sir," returned my wife, "you are pleased to be facetious: but I wish I were a queen, and then I know where my eldest daughter should look for an husband. But now that you have put it into my head, seriously, Mr. Thornhill, can't you recommend me a proper husband for her? She is now nineteen years old, well grown and well educated, and, in my humble opinion, does not want for parts."
8. "Madam," replied he, "if I were to choose, I would find out a person possessed of every accomplishment that can make an angel happy. One with prudence, fortune, taste, and sincerity; such, madam, would be, in my opinion, the proper husband."—"Ay, sir," said she, "but do you know of any such person?"—"No, Madam," returned he, "it is impossible to know any person that deserves to be her husband: she's too great a treasure for one man's possession: she's a goddess! Upon my soul, I speak what I think, she's an angel!"—"Ah, Mr. Thornhill, you only flatter my poor girl: but we have been thinking of marrying her to one of your tenants, whose mother is lately dead, and who wants a manager; you know whom I mean, Farmer Williams; a warm man, Mr. Thornhill, able to give her good bread; and who has several times made her proposals" (which was actually the case); "but, sir," concluded she, "I should be glad to have your approbation of our choice."—"How, Madam," replied he, "my approbation!—my approbation of such a choice! Never. What! Sacrifice so much beauty, and sense, and goodness, to a creature insensible of the blessing! Excuse me, I can never approve of such a piece of injustice. And I have my reasons."—"Indeed, sir," cried Deborah, "If you have your reasons, that's another affair; but I should be glad to know those reasons."—"Excuse me, Madam," returned he, "they lie too deep for discovery" (laying his hand upon his bosom); "they remain buried, rivetted here."
9. After he was gone, upon a general consultation, we could not tell what to make of these fine sentiments. Olivia considered them as instances of the most exalted passion; but I was not quite so sanguine; yet, whatever they might portend, it was resolved to prosecute the scheme of Farmer Williams, who, from my daughter's first appearance in the country, had paid her his addresses.
—Oliver Goldsmith
absolute, resolution, introduced, (Appendix, [A, 2].) visits, native, infinitely, Cupids, vanity, gratifying, mortifying, sanguine. (Appendix, [A, 8].) unfortunate, fortune, virtue. (Appendix, [A, 9].)
Show by numerous examples from this selection that the dependent clause of a sentence takes the rising Inflection—whilst the principal clause takes the falling. Which of the two has the heavier shading? (Introduction, p. [33].)
How are such parenthetical clauses as as he designed, in the second sentence, kept in the back-ground? (Introduction, pp. [24] and [27.]) Give similar examples from this selection.
What Inflection is placed on the rhetorical questions in par. v? (Introduction, p. [19].)
How is the effect of the climax in par. viii brought out? (Introduction, p. [31].)
THE SOLDIER'S DREAM
Our bugles sang truce—for the night-cloud had lowered And the sentinel stars set their watch in the sky; And thousands had sunk on the ground overpowered, The weary to sleep, and the wounded to die.
When reposing that night on my pallet of straw,5 By the wolf-scaring faggot that guarded the slain, At the dead of the night a sweet vision I saw, And thrice ere the morning I dreamt it again.
Methought from the battlefield's dreadful array, Far, far I had roamed on a desolate track;10 'Twas autumn—and sunshine arose on the way To the home of my fathers, that welcomed me back.
I flew to the pleasant fields traversed so oft In life's morning march, when my bosom was young; I heard my own mountain-goats bleating aloft,15 And knew the sweet strain that the corn-reapers sung.
Then pledged we the wine-cup, and fondly I swore From my home and my weeping friends never to part; My little ones kissed me a thousand times o'er, And my wife sobbed aloud in her fulness of heart.20
"Stay, stay with us—rest, thou art weary and worn;" And fain was their war-broken soldier to stay; But sorrow returned with the dawning of morn, And the voice in my dreaming ear melted away.
—Thomas Campbell
Preparatory.—Describe the picture suggested by this poem.
Compare the soldier's dream with the vision of The Private of the Buffs in the hour of danger, or with The Slave's Dream in Longfellow's poem.
Divide the poem into three distinct parts, giving to each a descriptive title.
Expand the thoughts contained in the last two lines of the poem, using, if possible, illustrations from literature or real life. What feelings do these lines arouse?
Observe the difficulties of Articulation in ll. 1, 2, 13 and 16. (Appendix [A, 6] and [3].)
How can each part of the poem be made to stand out by itself? (Introduction, p. [10].)
2. SENTINEL STARS. Select other phrases which call up mental images.
How does the process of mental imagery affect the Time? (Introduction, p. [12].)
3. How can it be shown that OVERPOWERED and GROUND are disconnected? (Introduction, p. [7].)
4. Why do we pause after WEARY and wounded? (Introduction, p. [10].)
6. Why is there no pause after FAGGOT? (Introduction, p. [11].)
What lines of stanza ii contain the leading thought? How does the voice indicate this? (Introduction, p. [33].)
9. How is the mind prepared for the description of the dream?
21. What feeling does the voice express? Does Imitation play any part here? (Introduction, pp. [5] and [6].)
22. Expand the thought of this line, and show how your thinking affects the Time. (Introduction, p. [14].) Compare with the Time of l. 21, and explain the difference.
VAN ELSEN
God spake three times and saved Van Elsen's soul; He spake by sickness first, and made him whole; Van Elsen heard him not, Or soon forgot.
God spake to him by wealth; the world outpoured5 Its treasures at his feet, and called him lord; Van Elsen's heart grew fat And proud thereat.
God spake the third time when the great world smiled, And in the sunshine slew his little child;10 Van Elsen like a tree Fell hopelessly.
Then in the darkness came a voice which said, "As thy heart bleedeth, so My heart hath bled; As I have need of thee15 Thou needest Me." That night Van Elsen kissed the baby feet, And kneeling by the narrow winding-sheet Praised him with fervent breath Who conquered death. 20
-Frederick George Scott (By permission)
By what means is the introductory line kept distinct from the rest of the poem? (Introduction, p. [10].)
How does the reader indicate the comparatively long space of time which elapses between the events of the first, second, and third stanzas respectively? (Introduction, p. [9].)
Show that each of the first three stanzas falls according to meaning, into two parts. How does the reader indicate this division?
Why should the last two stanzas, in this respect, be together treated as one of the preceding? Illustrate by means of Pause.
PIBROCH OF DONUIL DHU
Pibroch of Donuil Dhu, Pibroch of Donuil, Wake thy wild voice anew, Summon Clan Conuil. Come away, come away,5 Hark to the summons! Come in your war array, Gentles and commons.
Come from deep glen, and From mountains so rocky,10 The war-pipe and pennon Are at Inverlocky. Come every hill-plaid, and True heart that wears one, Come every steel blade, and15 Strong hand that bears one. Leave untended the herd, The flock without shelter; Leave the corpse uninterr'd The bride at the altar;20 Leave the deer, leave the steer, Leave nets and barges: Come with your fighting gear, Broadswords and targes.
Come as the winds come, when25 Forests are rended, Come as the waves come, when Navies are stranded; Faster come, faster come, Faster and faster,30 Chief, vassal, page and groom, Tenant and master.
Fast they come, fast they come; See how they gather! Wide waves the eagle plume,35 Blended with heather. Cast your plaids, draw your blades, Forward each man set! Pibroch of Donuil Dhu Knell for the onset!40
—Sir Walter Scott
HERD, UNINTERR'D. What sound has the vowel e? (Appendix [A, 1].)
Gentles and commons; nets and barges; fighting gear; Broadswords and targes; Forests are rended; Navies are stranded. (Appendix [A, 3] and [A, 6].)
For Pause read (Introduction, pp. [7] and [8].)
How is the gradually increasing excitement and energy indicated in Time, Pitch, and Force? (Introduction, pp. [13], [23], and [27].)