163. He has got a new pair of shoes. 164. I can't abear them people.

165. 'So,' says I, 'this is what it all comes to?' 166. Put it on to the table, and there let it lay. 167. What I say is, 'Every one to their taste.' 168. This is the hardest frost as I remember of. 169. This course of conduct is more preferable than the other. 170. A vagrant is a man what wanders about.

171. He had been engaged eight years upon a project for extracting sunbeams out of cucumbers, which were to

be put into phials hermetically sealed, and let out to warm the air in raw inclement summers.

172. Arguing in this way, it has been inferred by philologists that the Aryans were an agricultural people. 173. The largest circulation of any Liberal newspaper.

PROSE ORDER.

An examinee is frequently required to place poetical extracts in Prose Order. The following simple rules (which also relate to ordinary English Composition) will be of service :Rules

1. Long and involved poetical passages should be broken up into shorter and simpler ones.

2. Words should never be inserted except to supply poetical ellipses, or where the re-arrangement has destroyed poetical grouping.

3. Where possible foreign constructions should be
replaced by English ones.

4. The Subject should precede its Verb.
5. The Objective should follow its Verb.

6. The Dative should be placed before the Objective.
7. The Possessive Case, Nouns in Apposition, Adjectives
and Adjectival Clauses should be placed close to the
limited Noun.

Adjectives should precede, Adjective Clauses succeed, the Noun.

8. Adjectives used adverbially must sometimes be dismissed for their cognate Adverbs.

9. The Preposition should precede its Noun. 10. Adverbs and modifying Clauses should be placed near the modified word, but so as to avoid ambiguity. The Clauses should follow the Verb, etc. II. Interjections should precede, or be placed near to, the commencement of the sentence.

Examples.
I.

'Darkened so, yet shone

Above them all the archangel; but his face
Deep scars of thunder had intrenched.'

Prose Order

-Paradise Lost, Book I.

Yet, the archangel, so darkened, shone above them all; but deep scars of thunder had intrenched his face.

'The gilded car of day

Ilis glowing axle doth allay

In the steep Atlantic stream;

II.

Shoots against the dusky pole
Pacing towards the other goal.'
-Comus.

And the slope sun his upward beam

Prose Order

The gilded car of day doth allay his glowing axle in the Atlantic stream; and the sun, pacing towards the other goal, shoots his upward beam against the dusky pole.

III.

'The courtier's, soldier's, scholar's, eye, tongue, sword.'

Prose Order

-Hamlet, Act II. Scene 1.

The courtier's tongue, the scholar's eye, the soldier's sword.

IV.

'Whose turf, whose shade, whose flowers among
Wanders the hoary Thames along

His silver-winding way.'

Prose Order

-Ode to Eton College, Gray.

Among whose turf and shade and flowers, the hoary
Thames wanders, along his silver-winding way.

Short Exercises.

I. 'He like the world, his ready visit pays

Where Fortune smiles; the wretched he forsakes;
Swift on his downy pinion flies from woe.'

2. Thus was I, sleeping, by a brother's hand,
Of life, of crown, of queen at once despatched,
Cut off even in the blossoms of my sin,
Unhousel'd, disappointed, unanel'd.

3. Nor envies he the rich their happy store,

-Young.

-Hamlet.

Nor his own peace disturbs with pity for the poor;
He feeds on fruits, which, of their own accord,
The willing ground and laden trees afford.
From his loved home, no lucre can him draw;
The senate's mad decrees he never saw.

-Dryden's Georgics."
4. 'Where his vast neck just mingles with the spine,
Sheathed in his form the deadly weapon lies.
He stops he starts-disdaining to decline,
Slowly he falls amidst triumphant cries,
Without a groan, without a struggle dies.'

-Byron's Childe Harold'

PARAPHRASING.

Definition.-Paraphrasing is the minute rendering of the sense of a literary passage, by other words than were originally used. It is translating from Classic into ordinary English.

The general result of Paraphrasing is disappointing, and necessarily so. Although 'mine own it is a poor thing.' Given that the selected passage is choice English, written by a Standard Author, perhaps in poetic diction-how can an ordinary mortal, condemned to express another's ideas, fettered to common

place prose, and with a conventional vocabulary (the author having selfishly chosen the best expressions) be satisfied with his flat and feeble imitation?

The exercise is nevertheless a most valuable one; for although nothing in education can supply the lack of a second language, yet paraphrasing is not a bad substitute for translation, especially if it be combined with grammatical analysis.

Every translator is compelled to analyse and paraphrase, and this latter and efficient means of educational development is utilized by translation of English into English.

Our space will not permit us to give detailed rules, but we will describe the various methods and append a specimen.

Methods of Paraphrasing.

As diverse as men's minds are the different methods employed. There is

I. The rough-and-ready method, which writes down at once the general sense of the extract.

II. The dogged or prosaic method, which consists of para phrasing word by word, and sentence by sentence, through sheer force of dictionary and synonym. This modus operandi cannot be recommended. is responsible for convertingGod moves in a mysterious way into

His wonders to perform,' }

It

'The Lord goes about in a stealthy manner doing astonishing things.'

III. The cunning method (child of the prosaic), which, taking a view of the whole passage, by inverting sentences, substituting the Active Voice for the Passive Voice, the general for the particular, the Concrete for the Abstract, craftily, if mechanically, disguises how little has been effected.

IV. Best, is the artistic method, which consists in appreciating and reproducing under another guise, the spirit of the excerpt, bringing into the foreground all the essentials in their proper order and prominence, and judiciously subordinating the mere details. It deals with ideas more than words.

Generally this method is not so successful as the cunning one; nor as a rule is there sufficient time for its

In truth even the average examiner

will mistake the crafty for the artistic.

We append two specimens, one from prose, the other from poetry, which may be described as wrought-out by a mingling of the two last methods.

Specimens.
I.

A. Synonyms, e.g. (b), (c), (g), (h), (k), (1), (m), (n), (0), (2). B. Inversion of sentence at (f), (g), (h), (1).

C. Abandonment of Periphrasis (j).

a Plural for Singular (1).

B Passive for Active (d).

Active for Passive (z).

& General for typical particulars (p), (q), (r).

E. Expansion of idea (3), and strengthening words [really],

F. Change of figure (e), (v), (w), (x), (y), (z).