Stanza iv, l. 3. Hear. With what word should this be connected? How? (Introduction, p. [16].) Note the Shading.
6. Where are the Pauses in this line? Account for them.
8-9. In what Quality of voice are these lines read? (Introduction, p. [6].) Compare from this standpoint the last lines of Parts II, III, and IV.
Part II
Stanza i, ll. 3-5. Note the spontaneous imitation. (Introduction, pp. [5] and [6].)
And there the surly ... two and two. Note the three separate groups of passers-by. Which group has the most significance in its bearing on the rest of the poem? How does the voice indicate this relative significance? (Introduction, pp. [24] and [30].)
Stanza iii, l. 8. How is the transition made effective? (Introduction, pp. [8], [9], and [25].)
Stanza iv. For often ... Camelot. Observe the Shading. (Introduction, p. [33].)
Part III