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Though I really can't say that he actually cried,
At least had a tear in his eye!
Ånd if he had said
What he'd got in his head, 'T would have been "Poor old Buffer! he's certainly deaa!! The morning dawn'd, - and the next, - and the next, And all the mansion were still perplex'd; No watch dog “bay'd a welcome home, as A watch dog should, to the “ Good Sir Thomas;"
No knocker fell
His approach to tell,
Without, all.was joy and harmony!
The one loved name- -shall yet be there;
These were hinted to me as
The very ideas
With Captain M’Bride,
Of course at her side,
An “idea,” in fact, had got into his head,
A lady slim and tall,
The Lord of Tapton* Hall. –
Half over Kent,
* The familiar abbreviation for Tappington Everard still in use among the tenant .- Vide Prefatory Introduction to the Ingoldsby Legends.
The groom, who's been over
To Folkstone år.d Dover,
- Here's a fortnight and more has gone by, and we've tried
Lost or mislaid,
Had he been above ground
He must have been found.
Then his Widow -aye! aye!
But, what will folks say ? —
When a man has decided,
As Captain M’Bride did,
Then his left arm he placed
Round her jimp, taper waist Ere she fix'd to repulse, or return his embrace, Up came running a man at a deuce of a pace, With that very peculiar expression of face Which always betokens dismay or disaster, Crying outT was the Gardener—“Oh, ma'm! we've found master !!” - Where? wh ?” scream'd the lady; and Echo scream'd“Where?"
The man couldn't say “ There!"
He had no breath to spare, Bat, gasping for air, he could only respond By pointing — he pointed, alas ! - TO THE PONDI -T was e'en so ! poor dear Knight! with his 'specs" and his hat He'd gone poking his nose into this and that ;
When, close to the side
Of the bank, he espied
He stooped ; -- and he thought her
he had caught her!
The Lady Jane was tall and slim,
The Lady Jane was fair
Alas, for Sir Thomas ! she grieved for him,
His body between them bear.
For of sorrow brimful was her cup;
If Captain MacBride
Had not been sy her side,
And managed to hold her up –
But, when she comes to,"
Sir Thomas's body,
It looked so odd — he
Was half eaten up by the eels!
Were all gnawed through and through ;
And out of each shoe
An eel they drew,
As well we may suppose ;
Good Father John *
And incense ignited,
But Lady Jane was tall and slim,
And Lady Jane was fair,
And she said, with a pensive air,
« Eels a many
I've ate; but any
. For some account of Father John Ingoldsby, to whose papers I 9A. 80 muer ** kolden, see Ingoldsby's Legends, first series, p. 216, (2d Edit) This was the ecclesiastical act of his long and valuable life.
They 're a fish, 850, of which I'm remarkably fond. –
? Poor dear!' - HE'LL CATCH US SOME MORE !!
All middle-aged gentlemen let me advise,
The rules of rhyme have now been presented, together with a full vocabulary, by which the appropriate rhyme to any word may be found. The use of appropriate epithets by which animated descriptions may be given, or the measure of the verse filled out, comes now to be considered. *
An epithet is an adjective, expressing some real quality of the subject to which it is applied, or an attributive, expressing some quality ascribed to it; as a verdant lawn, a brilliant appearance, a just man, an accurate description.
* See page 166, under Description, for some remarks and suggestions wild regard to epithets.
Epithets are of two kinds, simple and compound.
Simple epithets are single words, as, joyous youth, decrepie age, thoughtless infancy.
Compound epithets consist of compound words, and are frequently composed of nouns and other parts of speech, in connexion with adjectives, participles, &c., as, The meek-eyed morn, Tear-dropping April, The laughter-loving goddess, The dew-dropping morn, In world-rejoicing state it moves along, &c
The judicious application of epithets constitutes one of the greatest beauties of composition; and in poetry, especially, the melody of the verse, and the animation of the style is, in great measure, dependent
Figurative language (see page 111) presents a wide and extensive field for the supply of rich and expressive epithets; and the poet is indulged, by his peculiar license, in the formation of new and original compound epithets. (See page 166.)
Alliteration, also, (see page 151) if not profusely applied, and expressions in which the sound is adapted to the sense, when introduced with simple or compound epithets, contribute in a good degree to the beauty and harmony of verse. The following couplet, from Goldsmith's Deserted Village, presents an exemplification of this remark:
“ The white-washed wall, the nicely-sanded floor,
Example. The word anger is suggested for the application of epithets, and the following terms will be found respectively applicable to it:
Violent, impetuous, threatening, menacing, unbridled, untamed, mislaking, boiling, swelling, frantic, raging, flaming, burning, passionate, roaring, secret, waspish, impatient, red-looking, red-glaring, inflaming, bloody, blood-spilling, incensed, stormy, scarlet, blood-dyed, moody, choleric, wrathful, revengeful, vengeful, chafing, foaming, hot-headed, heating, sparkling, rash, blind, heady, head-strong, disordered, stern-visaged, giddy, flame-eyed, ghostly, distempered, transporting, tempestuous, blustering, fierce cruel. truculent. overseeing, frothy, implacable, pettish, bitter, rough, wild, stubborn, unruly, litigious, austere, dreadful, peace-destroying joy-killing, soul-troubling, blasting, death-dealing, fury-kindled, mortal hellish, heaven-rejected.
Chrystal, gushing, rustling, silver, gently-gliding, parting, pearly, weer mg, bubbling. gurgling, chiding, clear, grass-fringed, moss-fringed, pebble. paved. verdani, sacred, grass-margined, moss-margined, trickling, soft