TABLE OF CONTENTS. xxxi ... 3. Abrupt consonants alternating with long vowels, 4. Alternation of a single consonant and single vowel. Complex ... 6. Alternation of emphatic and unemphatic, long and short, Objectionable sentence from Johnson, ... Examples from Browning, Thomson, Newman, Ruskin, Deviations from the metrical types, J. B. Mayor on the suitability of the Metres in 'Hamlet,' Effects not included in the foregoing classification of Qualities, The Sensations and their Ideas have an independent efficacy in Explanation of Beauty by reference to the exposition of the ... RHETORIC. THE EMOTIONAL QUALITIES are typified under the following designations :-Strength, Energy, Sublimity; Feeling or Pathos; Beauty; Ludicrous, Humour, Wit; Melody and Expressiveness in Sound. These are leading and comprehensive terms; they branch out into numerous varieties or species; and have many synonyms in the wide critical vocabulary. (See RHETORIC, PART FIRST, p. 233.) In the language of criticism, there are names for variations and combinations of these effects. Thus, Professor Nichol, speaking of Longfellow's Golden Legend,' says'It contains the highest flights of the author's imagination, his mellowest music, his richest humour, and some of his most impressive passages'. (AMERICAN LITERATURE, p. 202.) Campbell's estimate of Spenser's poetry exemplifies a considerable range of the critical vocabulary. "His command of imagery is wide, easy and luxuriant. He threw the soul of harmony into our verse, and made it more warmly, tenderly and magnificently descriptive than it ever was before, or, with a few exceptions, than it has ever been since. It must certainly be owned that in description he exhibits nothing of the brief strokes and robust power which characterise the very greatest poets; but we shall nowhere find more airy and expansive images of visionary things, a sweeter tone of sentiment or a finer flush in the colours of language, than in this Rubens of English poetry. His fancy teems exuberantly in minuteness of circumstance, like a fertile soil sending bloom and verdure through the utmost extremities of the foliage which it nourishes. On a comprehensive view of the whole work, we certainly miss the charm of strength, symmetry and rapid or interesting progress; for, though the plan which the poet designed is not completed, it is easy to see that no additional cantos could have rendered it less perplexed. But still there is a richness in his materials, even where their coherence is loose, and their disposition confused. The clouds of his allegory may seem to spread into shapeless forms, but they are still the clouds of a glowing atmosphere. Though his story grows desultory, the sweetness and grace of his manner still abide by him. He is like a speaker whose tones continue to be pleasing, though he may speak too long; or like a painter who makes us forget the defect of his design by the magic of his colouring. We always rise from perusing him with music in the mind's ear, and with pictures of romantic beauty impressed on the imagination." I give another exemplary quotation from Shairp. "Mr. Tennyson is, as all know, before all things an artist; and as such he has formed for himself a composite and richlywrought style, into the elaborate texture of which many elements, fetched from many lands and from many things, have entered. His selective mind has taken now something from Milton, now something from Shakespeare, besides pathetic cadences from the old ballads, stately wisdom from Greek tragedians, epic tones from Homer. And not only from the remote past, but from the present; the latest science and philosophy both lend themselves to his thought, and add metaphor and variety to his language. It is this elaboration of style, this subtle trail of association, this play of shooting colours, pervading the texture of his poetry, which has made him be called the English Virgil. But if it were asked, which of his immediate predecessors most influenced his nascent powers, it would seem that, while his early lyrics recall the delicate grace of Coleridge, and some of his idyls the plainness of Wordsworth, while the subtle music of Shelley has fascinated his ear, yet, more than any other poet, Keats, with his rich sensuous colouring, is the master whose style he has caught and prolonged. In part from Shelley, and still more from Keats, has proceeded that rich-melodied and highly-coloured style which has been regnant in English poetry for the last half-century." ARVAER CRIVERED ART EMOTIONS CLASSIFIED. 1. The Emotions of the human mind possess one or other of the three characteristics-Pleasure, Pain, Neutrality or Indifference. The great object of human endeavour is to secure pleasure and avoid pain. Every artist lends himself to that object, as the chief end of his art. This does not exclude the union of art with effects whose value is not measured by immediate pleasure. Although the securing of pleasure and the avoiding of pain is the final end of Literary, as of other Art, there are occasions when pain may be used as an instrument; being, however, duly guarded and limited so as to fulfil the primary end. Not only in Oratory, where pain as such may be an effective weapon, but also in Poetry, a temporary shock of pain may be the means of enhancing the pleasure; one notable instance being the regulated employment of the painful emotion of Fear. A value is attached likewise to Emotion as Indifference or Neutrality. By this is meant not merely absolute quiescence of mind, as in complete rest, but also modes of excitement, where the pain or the pleasure is either nothing at all, or but small, compared with the mental agitation. The best example is Surprise, which may be either pleasurable or painful; or it may be neither. Such neutral excitement is better than pain, and may be the means of displacing pain. It is a power over the attention, and can thereby control the feelings. 2. Our Pleasures and Pains are divided according to their mental origin, into two classes-the Sensations and the Emotions. The The artistic senses are Sight and Hearing. others have to be idealized, that is, represented in idea. In speaking of the Pleasures of Poetry and Fine Art, we employ the comprehensive designation "Emotional |