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The following is an example of a trimeter couplet:

The oʻld | Anchi' | ses bea'r, || so fro'm | the wa'ves | of Ti'ber.

I. ii. 114.

Lines with four accents are not uncommon where there is an interruption. Messa' | la! (Mess. standing forth.) | What sa'ys | my ge'n | era ́l?

V. i. 70.

He's ta'en. (Shout.) | And, ha'rk! | they shou't | for jo'y.

V. iii. 32. Single lines with two or three accents are frequently found interspersed among the ordinary lines. Numerous examples will be found in Abbott's Shakespearian Grammar, to which the student is referred.

Rhyme is sparingly used by Shakespeare in his later plays, and when used it is always with a definite purpose. Thus it marks the close of a scene in I. ii., in V. iii., and V. v. In V. iii. 89 it marks the deliberateness with which Titinius puts an end to his own life; similarly, in V. v. 50, when Brutus dies. The use of rhyme, says Coleridge, "is unfrequent in proportion to the excellence of Shakespeare's plays."

Prose is used in comic scenes, I. i., III. iii.; in colloquial scenes, as in I. ii., where it indicates Casca's assumed bluntness; for letters, II. iii., and in the speech of Brutus, showing that he calmly and deliberately appeals to the reason of his hearers, thus affording a contrast to the speech of Antony, appealing to the emotions.

VARIANTS AND PROPOSED EMENDATIONS

A few only of the more important are given. Other readings will be found in the Clarendon Press edition, and in the Temple Shakespeare, to which we have occasionally referred.

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I. iii. 65.

Ff. Why old men, Fooles and children calculate; Blackstone,
Why old men fool, and children calculate.

I. iii. 129.

II. i. 40.
II. i. 59.
II. i. 83.

Ff. Is Fauos, like; Johnson, In Favour's like; Rowe, Is
feav'rous like; Capell, Is favour'd like.

Ides of March, Theobald's correction of Ff. first of March.
Fourteen, Theobald's correction of Ff. fifteen.

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Ff. 1, 3, 4, For if thy path thy .; F. 2, For if thou path, thy .; Pope, For if thou march, thy

III. i. 114, 116. i. 174.

III.

III. i. 262.

IV. 37.

Coleridge, For if thou put thy

Pope gives this speech to Casca.

.;

Ff. in strength of malice; Capell, no strength of malice;
Pope, exempt from malice; Badham, unstring their malice.
Ff. limbs; Johnson, lives; Craik, loins.

Ff. Objects, Arts; Staunton, abjects, orts; Theobald, abject
orts; Gould, objects, orts.

IV. i. 44. F. 1, our meanes stretcht; Ff. 2, 3, 4, and out best meanes stretcht out; Johnson, our best means stretcht; Malone, our means stretch'd to the utmost.

IV. ii. 50, 53. Craik suggests that Lucilius and Lucius should be trans

posed.

V. i. 53. Ff. three and thirty; Theobald, three and twenty.

THE FORUM AND ITS SURROUNDINGS

The Roman Forum is one of the most interesting spots in the world. One need be no classical scholar to feel a thrill of genuine emotion in gazing upon the mutilated fragments which crowd this small space—only about five acres that has been the scene of so much history and so much glory. The Forum was at once the market, the exchange, the tribunal, and the open-air place of meeting, where the destinies of the mighty Roman world were discussed and often decided. From it, roads led to the farthest limits of the empire. No description can convey to the mind an adequate idea of the attraction of this historic scene.

A spectator looking northward from the Temple of Castor and Pollux, at the southern extremity of the Forum, can see the following buildings and ruins:

Site of the Temple of Vesta. This was a circular building close under the Palatine Hill.

Probable site of Cæsar's house, at the foot of the Palatine and behind the Temple of Vesta as viewed from the Capitol.

The earlier Rostra Julia, built 44 B. C.

The Capitol, resting on the Tabularium.

The Curia Hostilia, or Senate-house. The site is now occupied by the Church of St. Adrian. It was approached from the Forum by a flight of steps.

Steps leading up to the Capitol.

The Basilica Julia, built by Julius Cæsar and named after his daughter Julia. It was the great court of appeal.

The Temple of Castor and Pollux. The columns are Corinthian, and form the most beautiful ruin in the Forum.

The Temple of Saturn, consisting now of eight Ionic columns.

The Temple of Vespasian.

The Via Sacra, a winding street leading from the top of the Palatine to the top of the Capitoline Hill. Along this street Antony would " run his course, "" and Cæsar would pass from his house to the senate. The arch of Septimius Severus, erected A. D. 205.

Site of the Temple Tomb of Cæsar, a tomb built to Julius Cæsar by the triumvirs. This may also be the site of the rostra from which Antony delivered his speech, and before which Cæsar's body was burnt.

The Tabularium, upon which the modern Capitol rests. It is one of the oldest architectural relics in Rome, and contained the tables of the laws.

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CAUTIONS AND HINTS FOR PARAPHRASING

1. Do not mistake the meaning of "to paraphrase." It is not to put into other words the words of a passage, but to put into your own words the meaning of that passage.

2. Read over several times the passage to be paraphrased, and be quite sure you have grasped the general sense before writing anything down.

3. Put nothing down that you do not know the meaning of. If you do -not understand what you write, you may be sure no one else will. 4. If you use a dictionary-to be avoided if possible-make sure that you understand the meaning selected for any given word, and that it "fits in" with your own composition.

5. It is better to write nothing than to put down unintelligible rubbish. 6. In paraphrasing poetry-or condensed prose, such as Bacon's-it is almost always necessary to amplify in order to bring out the full meaning of any given passage, i. e. your version ought generally to be longer than the original.

7. Do not turn into the third person what is expressed in the text in the first person, and especially do not change from the one to the other without good reason.

8. Change the order of words or sentences as much as you please so long as you preserve the meaning.

9. Maintain the spirit and general character of the composition as far as possible. If you know the context of the extract, that knowledge will help you to express yourself appropriately. If you do not know the context, imagine a setting for the extract; this will help you to make your meaning clear.

10. Do not use a greater number of words than are necessary to convey your meaning, and use the simplest words you can to express your thought.

EXAMPLE

1. Paraphrase of the passage commencing "But 'tis a common proof," II. i. 21:

It is a matter of common experience that when a man proposes to himself to scale the heights of ambition, he at first affects humility. So long as he sees before him new summits to ascend, he is grateful for the aid by

which he is enabled to advance. But once he has reached the highest point of his ambition, standing alone upon the lofty eminence of his vantage ground, seeming to tread the sky, he scorns the steps whereby he rose. So may it be in Cæsar's case, and therefore we must check him ere he climbs too high. And since neither his character nor his conduct has, up to the present, given us any good pretext for proceeding against him, let us reason thus: If he follows the usual course of such as have risen to great heights, being fortified in his greatness, he will pass to such and such extremes. We must, therefore, regard him as a serpent's egg, which, when hatched, will be venomous and dangerous to all, and we must therefore crush him while we may.

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