the amount of energy. How is the
difference between the two indicated vocally by the
Force? (Introduction, p. 26.)

What is the difference in nervous tension between the
last stanza and the preceding ones? What difference in
Pitch? (Introduction, p. 23.)

Account for the Time in which it is read. (Introduction,
p. 14.)

11. WINGED, with sails

15. TYNEMOUTH CASTLE used as a graveyard.

* * * * *

THE INDIGO BIRD

When I see,
High on the tip-top twig of a tree,
Something blue by the breezes stirred,
But so far up that the blue is blurred,
So far up no green leaf flies. 5
Twixt its blue and the blue of the skies,
Then I know, ere a note be heard,
That is naught but the Indigo bird.

Blue on the branch and blue in the sky,
And naught between but the breezes high, 10
And naught so blue by the breezes stirred
As the deep, deep blue of the Indigo bird.

When I hear
A song like a bird laugh, blithe and clear,
As though of some airy jest he had heard 15
The last and the most delightful word,
A laugh as fresh in the August haze
As it was in the full-voiced April days,
Then I know that my heart is stirred
By the laugh-like song of the Indigo bird. 20

Joy in the branch and joy in the sky,
And naught between but the breezes high;
And naught so glad on the breezes heard
As the gay, gay note of the Indigo bird.

--_Ethelwyn Wetherald_ (_By permission_)

PREPARATORY.--Suggest a picture which would serve as an
illustration for this poem.

How does the Imaging affect the Pitch in the first two
stanzas?

What feelings does the poem arouse? Where do these
feelings reach a Climax? What is the effect on the
Pitch?

What other Climax is found in the poem besides the
Climax of feeling?

FAR, LAUGH, BRANCH, GLAD. (Appendix A, 1.)

BREEZES STIRRED. (Appendix A, 6.)

What is the Inflection on ll. 1-6 of stanza i and iii?
(Introduction, p. 17.) How does the Pitch of these lines
differ from that of ll. 7 and 8 of these stanzas?
Account for the change. (Introduction, p. 23.)

What are the contrasting words in l. 6, stanza i?

Note the Grouping and Pause in ll. 3 and 4, stanza iii.

*