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10. When his architect offered to build him a house in which he could screen all his acts from his neighbors, Drusus said, “Build me rather a dwelling wherein all my countrymen may witness all I do.”
11. When Plato heard that his enemies called him a bad man, he said that he should take care so to live that no one would believe them.
12. “See you yon light on the southern headland?” returned the pilot; "you may know it from the star near it by its sinking, at times, into the ocean. If we keep that light open from the hill, we shall do well—but, if not, we surely go to pieces.” *
13. To the lords of convention 't was Claverhouse spoke,
Ere the king's crown shall fall there are crowns to be broke;
14. “I have been thinking all day,” said gently the Puritan maiden, "Dreaming all night, and thinking all day, of the hedge-rows of
15. "Ah, how short are the days! How soon the night overtakes us !
In the old country the twilight is longer; but here in the forest
*NOTE.— It is not expected that the required substitution be made in the following stanzas without destroying the meter.
Thus spake Elizabeth Haddon at nightfall to Hannah the house
METHOD VI.- To transpose the parts of a sentence.
Every word in a sentence has its natural position, where it performs its office, but attracts no special attention. In this natural or grammatical order we have, (1) the subject with its modifiers; (2) the verb; (3) the object or complement; (4) the adverbial phrases or clauses. Now, for the sake of emphasis or adornment, the writer has frequent occasion to invert the grammatical order of parts in a sentence,- to put verbs before their subjects, objects and predicate adjectives before their verbs, or adverbial words and phrases at the beginning of the sentence. The mere fact that the word is in an unwonted place gives it distinction.
The inverted, or rhetorical order belongs peculiarly to poetry, where the utmost freedom is allowed for the sake of rhyme and meter. “The use of this order in prose is mainly for emphasis; and, being a feature more natural to impassioned style, it should be used sparingly, and only when there is a sufficient reason for the inversion.
To secure emphasis by means of inversion it should be borne in mind that
Emphatic words must stand in prominent positions; that is, for the most part, at the beginning of the sentence or at the end.
Example: Now is the accepted time.
The following are some of the principal poetical constructions:
1. The omission of the article ; as,
When ( ) day was gone.
Not fearing toil nor ( ) length of weary days. 2. The omission of conjunctive particles; as,
But ( ) soon as Luke could stand.
( ) Dear as the blood ye gave. 3. The antecedent is omitted; as,
Happy who walks with him.
4. The auxiliary verb “to do” is omitted in an interrogation; as,
Know ye aught of mercy ?
5. The verb precedes the nominative; as,
Then shook the hills, with thunder riven,
6. The object precedes the verb; as,
The doors wide open Aling.
7. The noun precedes the adjective; as,
Across the meadows bare and brown.
8. The adjective precedes the verb “to be”; as,
Sweet is the breath of vernal showers.
Bitter but unavailing were my regrets. 9. The pronoun is expressed in the imperative; as,
Be thou as lightning in the eyes of France.
10. Adjectives are used for adverbs; as,
So strode he back slow to the wounded King.
Swift fly the years, and rise the expected morn.
The winds and the waves of ocean,
For the deck, it was their field of fame. 12. Prepositions are suppressed; as,
He flies ( ) the event.
Despair and anguish fled ( ) the struggling soul. 13. Adverbial phrases are not placed beside the words to which they grammatically belong; as,
On through the camp the column trod.
The village smithy stands. 14. "Andmand" is used for both-and"; "or-or" for “either-or”; “nor-nor” for “neither—nor"; as,
Nor war's wild note nor glory's peal.
DIRECTION. - In the following passages are found both orders — the rhetorical and the natural. Transpose the passages in the rhetorical, or poetical, order to the natural, or prose, order, and those in the natural order to the rhetorical.*
1. Fancy then spread her magical pinion. 2. Gusty and raw was the morning. 3. They were moving slow in weeds of woe. 4. The sun is still shining behind the clouds. 5. Nature's darling was laid in thy green lap. 6. Thou art no boding maid of divine skill. 7. Prepare the rich repast. 8. From every face He wipes off every tear. 9. Far, vague, and dim, the mountains swim. 10. The waves had gone to sleep. 11. The spring greets my senses in vain.
12. Beneath her torn hat glowed the wealth
Of simple beauty and rustic health. 13. These delights if thou canst give,
Mirth, with thee I mean to live. 14. O, the root was evil, and the fruit was bitter, and the juice of the vintage that we trod was crimson. 15. Like lions leaping at a fold, when mad with hunger's pang, Right up against the English line the Irish exiles sprang. 16. No more on life's parade shall meet
That brave and fallen few.
Their silent tents are spread.
*NOTE.— In transposing poetical passages from the metrical to the prose order, all ellipses should be supplied, and the elements of each sentence should be arranged in natural order. This order may afterwards be modified in respect to the arrangement of the phrases and clauses, so as to make the sentence more graceful and harmonious.