the murmurs of inward strife for truth and liberty swell high and yet more high.

NOTE. The first, fourth, fifth, and eighth; the second and third; the sixth and seventh; the ninth, eleventh, and thirteenth; and the tenth, the twelfth, and the last verses, respectively, are in rhyme, in this sonnet.

Construct the following into Trochaic stanzas of four tetrameter verses, the even verses catalectic, and the rhymes alternate:

The story of the Roncevalles' fight is sad and fearful; many a gallant knight perished on those fatal plains of glory.

There fell Durandarte; never verse named a nobler chieftain; before his lips closed in silence forever, he thus exclaimed:

"O Montesinos, my cousin, now by that firm and dear friendship which has lived between us from youth, hear my last petition!

"When my soul, forsaking these limbs, eager seeks a purer air, taking the cold heart from my breast, give it to Belerma's

care.

"Say, I named her possessor of my lands with my dying breath; say, I oped my lips to bless her ere they closed in death for aye."

Montesinos' heart was sad; he felt distress rend his bosom. "O Durandarte, my cousin, woe is me to view thy end!"

Construct the following into Trochaic catalectic tetrameters with successive rhymes:

Tell me on what holy ground domestic peace may be found. Halcyon daughter of the skies, she flies on fearful wing far from the pomp of sceptered state, from the rebel's noisy hate; she dwells in a cottaged vale, listening to the Sabbath bells.

Warrior, that now breathest at set of sun from won battle; woman, weeping o'er the lowly slain on his burial-plain; ye that triumph, ye that sigh, kindred by one holy tie, ye see alike heaven's first star; lift the heart and bend the knee.

Construct the following into dactylic stanzas of six verses; the first and second, and the fourth and fifth, being dimeters in successive rhymes, and the third and sixth verses tetrameters catalectic, in rhyme:

Blithesome and cumberless bird of the wilderness, sweet be thy matin o'er moorland and lea! Emblem of happiness, thy dwelling-place is blest; O to abide with thee in the desert.

Thy lay is wild and loud, far in the downy cloud; love gives it energy, love gave it birth. Where, where art thou journeying on thy dewy wing? Thy lay is in heaven, thy love is on earth.

Musical cherub, soar away, singing, o'er fell and fountain sheen, o'er moor and green mountain, o'er the red streamer that heralds the day, over the dim cloudlet, over the rainbow's rim.

Then, when the gloaming comes, thy welcome and bed of love, low in the heather blooms, will be sweet! Emblem of happiness, thy dwelling-place is blest. O to abide with. thee in the desert.

Construct the following into anapestic stanzas of four verses, the odd verses being hypercatalectic tetrameters in rhyme, and the even verses being full tetrameters, also in rhyme :

If the stock of our bliss is vested in stranger hands, the fund, ill-secured, oft ends in bankruptcy; but the heart issues bills which are never protested, when drawn on the firm of wife, children, and friends.

The soldiers, whose deeds live immortal in story, when duty sends to far distant latitudes, would with transport barter old ages of glory for one happy day with wife, children, and friends.

The day-spring of youth still unclouded by sorrow, depends on itself alone for enjoyment; but the twilight of age is drear, if it borrow no warmth from the smile of wife, children, and friends.

Let the breath of renown ever freshen and nourish the laurel which bends o'er the dead favorite; o'er me wave the willow, and long may it flourish, bedewed with the tears of wife, children, and friends.

Construct the following into anapestic stanzas of four verses, the odd verses being tetrameters without rhyme, and the even verses trimeters in rhyme.

NOTE. The iambus is admissible in place of the anapest, particularly in the first measure of the verses.

The young man cried, "Father William, you are old and life must be hastening away; you are cheerful and love to converse upon death; now, I pray, tell me the reason."

Father William replied, "Young man, I am cheerful; let the cause engage thy attention: I remembered my God in the days of my youth, and he hath not forgotten my age."

APPENDIX II.

PUNCTUATION.

§ 1. PUNCTUATION is the art of indicating to the reader of discourse, by the use of certain characters called points, something in regard to the nature or relations of the parts of a word or sentence.

§ 2. Punctuation is ETYMOLOGICAL, RHETORICAL, or FOR

REFERENCE.

§ 3. In ETYMOLOGICAL PUNCTUATION, points are used to indicate something in regard to the formation, use, or omission of words or parts of words.

§ 4. In RHETORICAL PUNCTUATION, points are used to indicate something in regard to the nature or relations of the thought.

§ 5. In PUNCTUATION FOR REFERENCE, points are used to refer the reader to some note, explanation, or other matter in the margin or bottom of a page or at the close of a chapter or book.

§ 6. Etymological points are used to indicate,

I. The omission of a letter or letters, for which the Apostrophe (') is used, as, 'Tis; John's; How o' th' ground?

Or in manuscript the correction of an error of omis

the

sion by the use of the Caret (A), as "Sweet is breath

II. The separation of contiguous vowels by the Diæresis (), as coöperate.

III. The Quantity of a syllable, or the long or short sound of a vowel, as ōvěr.

IV. The Accent, whether the Grave ('), the Acute ('), or the Circumflex (^), as in stringèd, áspect, wâr.

V. The union of simple words in a compound, by the Hyphen (-), as in sea-water, to-day, good-will, coordinate.

NOTE. The hyphen is to be used,

1. When there might be some doubt whether the word is to be regarded as a compound; as "glass-house" as a compound denotes a house where glass is made or kept, while "a glass house" denotes a house made of glass.

2. When the compound is not fully recognized in the language as a single word; as "fortune-telling gypsies."

3. When one simple ends with the letter with which the next begins; as pre-engaged, eel-like, high-handed, co-op

erate.

4. In case of ambiguity, to show that the connected words are to be taken together; as, "eating-car;" "still-hour's mate;" "gray-girdled eve;" "stone-rocked wagon;" "The New-York Directory;" which, but for the hyphen, might be confounded with "The new York Directory;'' 6 "stone wagon," etc.

5. Generally, direct qualities are expressed without the hyphen; while in expressing more remote and incidental relations, the hyphen is required; as, “sick-bed," "linendraper," "fat-dealer,' "wood-house."

VI. The division of syllables, by the Hyphen, as ben-e-fit.