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.]
