Metres. See Measures, Feet. Milton, 27, 40, 43, 53, 55, 56, 80, Monotony in melody, 75, 115-120. Moral, in poetry, how can be repre- Morris, W., 154, 159, 170, 219, 234, 248, 249, 289. Mort d'Arthur, 146, 206, 215, 294. Müller, M., 9, 10, 176, 182. Music, 22-24, 95-125. See Melody. Nearer my God to Thee, 74. Napoleon, 14, 109. Negative effects, how represented, O Mary go and call, etc., 326. Orotund quality, elocutionary and O Sacred Head, etc., 79. Othello, 129, 137, 237 307 Palestine, Sketches of, 117 Paradise Lost, 27, 40, 43, 55, 56, Paradise Regained, 137, 145. Parish Register, 294. Pathos, how represented, 69, 72, 73, 114. Patten, G. W., 79. Patti, A., 126. Pause, source of verse, 25, 39, 40; 40. Pectoral quality in elocution and Percy, 223. Persistency, metre representing, 65- Peter Bell, 267. Phillis the Fair, 106. Philosophical, The, how made po- Phrases, source of verse, 25; ideas Pictures, in plain language, 210. Pitch, elocutionary, 33; what repre- Plain Language distingushed from Pleasures of Hope, 101, 116, 133. Poe, 9, 55, 70, 143, 168, 169. Poor Man's Wife, A, 163. Pope, 42, 44, 54, 55, 120, 121, 156, 157, 202, 239, 340, 341. Portrait, A, III. Portrait, The, 167. representing, 62-64, 71, 92. Presentation, distinguished from Present Crisis, 307. Progress in poetic form, 322. See Progress of Poesy, 144. Prose, how differing from poetry, 186, 208-212, 279-290, 339, 340. Psalm of Life, 31, 152, 229. Pure representation, 208-261; all Quality, el. 33-35; and poetic, what each kind represents, 126-149. Rapidity, how represented in elocu- Rapture, metre representing, 74. Reflective tendency, in character, Representation in conception of Rhapsody of Life's Progress, 159. Sailor Boy's Dream, 69. Satisfaction, how represented, 82, Saturday Review, 193. Schmidt, J. H. H., 22, 23, 29, 63, Scholar and Carpenter, 156. Seminole's Defiance, 79. 83, 91, 93, 107, 109, 117, 124, Shelley, 66, 76, 80, 85, 104, 105, 190. Sheridan's Ride, 9, 46. She was a Phantom of Delight, 190, 202. Shipwreck, 298. Simile, 199, 232; faults in, 200-203, Sing Heigh-Ho, 235. Slowness in elocution, 39; in poetry, Smith, Alex., 199, 230, 274, 275; Smooth force, elocutionary and po- etic, 82-88. Softness, how represented in poetry, Soldier's Dream, 87. Soul in expression, same as emotion, Sounds, how representing thought in Southey, 88, 124, 249, 250, 257, Spafford, H. E. P., 328. Spencer, H., 15, 17, 20, 22, 23, 191, 233. Spenser, E., 31, 40, 138, 140, 143, Star-Spangled Banner, 75. Still we wait for thine appearing, 119. Storrs, R. H., 299, 300. Strength, how represented in poetry, Stress, elocutionary and poetic, 57, St. Simeon Stylites, 82. Surprise, how represented, 128-149. Symbols, words not arbitrary, 174. Taming of the Shrew, 143. Tears of the Muses, 140. 291, 294, 313, 324, 332, 341, 344. Thackeray, 83. Thalaba 124, 250, 257. Thalassius, 102, 118, Thanatopsis, 343. Wedding, Ballad upon, 115. The Spacious Firmament on High, Wedgeworth, 145. Time. See Duration. Timon of Athens, 53. Tintern Abbey, 2, 178, 343, 346. Toccata of Galuppi's, 132. To-day and To-morrow, 53. To Labor is to Pray, 75. To Mr. Hobbes, 159. Tommy's dead, 84. Too Late, 222. Transposition of words, 154. Trench, 176, 178. Triumph, metre representing, 74. Troilus and Cressida, 140, 236. Tunes of Verse, 21, 27, 89-125. Twa Dogs, 144. Unbeloved, The, 159. Weight, how represented in poetry, Wilfulness, 14. Wilmot, 119. Wilson, 302. Wind and Stream, The, 334. Winstanley, 159, 166, 167. Woodworth, S., 69. Words, why Anglo-Saxon preferred 156, 178, 190, 202, 205, 267, 270, 337. Wreck of Grace of Sunderland, 163. A Life in Song. 16mo, cloth extra, gilt top $1.25 "An age-worn poet, dying amid strangers in a humble village home, leaves the record of his life in a pile of manuscript poems. These are claimed by a friend and comrade of the poet, but, at the request of the cottagers, he reads them over before taking them away. This simple but unique plan,. forms the outline of a remarkably fine study of the hopes, aspirations, and disappointments of... an American modern life. The volume will appeal to a large class of readers by reason of its clear, musical flexible verse, its fine thought, and its intense human interest."-Boston Transcript. "Mr. Raymond is a poet, with all that the name implies. He has the true firethere is no disputing that. There is thought of an elevated character, the diction is pure, the versification is true, the meter correct, and affords innumerable quotations to fortify and instruct one for the struggles of life."-Hartford Post. "Marked by a fertility and strength of imagination worthy of our first poets. 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