insensibly (8. 4), imperceptibly

insipid (85. 25), wanting life or spirit; lit. tasteless.

intermitting (29. 30), ceasing for a time.

inveigle (18. 4), entice.

irradiation (75. 25), illumination.

Kit (24. 10), a small fiddle.

Ligature (47. 11), bandage.

lutanist (12. 15), player on the lute.

Magazine (42. 21), storehouse, repository.

minuet (24. 11), an air to regulate the movements in the slow, graceful dance called by this name.

mode (17. 1), fashion.

modulation (12. 23), melody.

*morality (49. 13), moral philosophy.

mortality (42. 21), abstract for concrete, the dead; bill of mortality (1. 19), an abstract from a parish register showing the number of deaths in a parish during a certain period. Naturalized (17. 1), given the privileges of a native.

Obdurate (23. 34), hard.

oblige myself (32. 23), bind myself.

ordinary (17. 28), a regular meal at a fixed price.

Paradox (16. 9), a proposition contrary to received opinion; or one that seems at variance with common-sense, though on investigation it may prove to be true.

particular (28. 31), adj. minute, going into details; (85. 15), n. special point.

*particularity (60. 35), peculiarity.

particularize (50. 7), specify.

parts (12. 28), Lat. partes, intellectual qualities.

passing-bell (14. 7), formerly rung at the hour of death, to obtain the people's prayers for the departing soul; now rung after death.

periwig (43. 15), peruke, an artificial head of hair.

perjured (6. 26), forsworn, false to an oath.

perspicuity (81. 4), transparency; freedom from obscurity and ambiguity.

piece (64. 27), composition (cp. 'a piece of music ').

place (10. 4), great place.

pleasant upon, to be (57. 13), make good-humoured jokes at the

expense of.

polite (61. 16), cultivated.

politeness (43, 7), culture.

posthumous (23. 25), born after the death of the father.

*postulatum (65, 14), a proposition assumed as self-evident. A Latin word which Addison treats as English, giving it the plural sign of 's.'

prebendary (42. 16), cathedral dignitary.

prefer (75, 28), in the literal sense of 'put forward.'

prejudice (77. 30), used several times for harm.

premise (83. 5), speak or write beforehand, or as introductory to

the main subject.

presage (25. 30), v. forebode.

prolix (24. 21), lengthy, tedious.

promiscuous (10. 18), mixed, not assorted.

*pronounce (58, 31), deliver.

proper (3. 8), own.

purling (6, 22), softly murmuring.

Recitativo (37. 21), Italian, from which comes the English form recitative, language delivered in musical tones; used in opera to express some action or passion, or to relate a story or design.

repartee (13. 1), rejoinder, retort.

retired (49, 3), adj. secret (cp. 'a retired spot').

ring (12. 30), circular course for riding.

ruminate (6, 22), meditate; lit. chew the cud.'

Sack (17, 20), Fr. sec, seche, 'dry'; a dry wine, 'sherry' or 'Canary.'

་

scurrility (65. 18), abusive language, such as is used by buffoons

(Lat. scurra).

sensible (21. 34), aware; cp. 'insensibly.'

sensibly (94. 24), feelingly, keenly.

sophistry (65. 9), specious argument.

speculation (56, 10), meditation, train of thought.

speculative (27, 20), theoretical.

strappado (23. 2), Italian strappata, a form of torture which consisted in drawing the offender to the top of a beam and letting him fall.

Tabor (15. 9), a small drum; the modern French tambour.

taciturnity (28, 2), silent disposition.

theorbo (11. 16), Italian tiorba, an old musical instrument some

what like a large lute.

thorough-bass (37. 28), a musical accompaniment, played from figures representing chords, such figures being placed either over or under the notes of the instrumental base staff.

titular (30, 36), existing in title or name only.

transient (29. 30), quickly passing, fleeting.

trip (39, 1). n. a catch in wrestling; cp. 'to trip up.'

triumph (52. 25), triumphal procession.

trope (84. 14), from a Greek word meaning 'turning,' figure of speech, metaphor.

*Unvaluable (50. 13), invaluable, beyond price.

Valet de chambre (56. 26), servant in personal attendance on a gentleman.

vicissitudes (52. 6), alternations.

votaries (4. 14), worshippers, devotees.

*Wit (44. 11), a name assumed in Addison's time by those who prided themselves on their familiarity with polite letters and the most cultivated society.

QUESTIONS.

THESE Questions are not an examination paper. They are merely intended to suggest profitable lines of thought and study.

The Roman Numeral gives the number of the Essay to which the Question specially refers.

1. What is an Allegory? Give an example. What is the difference between an Allegory and a Parable?

2. Does "The Choice of Hercules" give the best reasons for a virtuous life? If not, can you give any better? (I.)

3. Give a sketch in your own words of the Allegory of "Jupiter and the Destinies." (II.)

4. What qualities in conversation did Addison admire and what faults did he censure? (III.)

5. Illustrate from these essays Addison's view of English national characteristics.

6. Describe Addison's personal character as you would infer it from his essays. (VI.)

7. Express in your own words Addison's aim in publishing the Spectator. How far was he successful? (VII.)

8. Of what play of Shakespeare are you reminded by the appearance of a lion upon the stage? (IX.)

9. Write out from memory the concluding paragraph of the "Reflections in Westminster Abbey." (X.)

10. What lessons did Addison draw from the contemplation of the Abbey monuments? (X.)

11. Mention some of the most famous friendships in literature, ancient or modern, and quote any notable sayings about friendship that you remember. (XII.)

12. What do we know of Addison's friendships? (XII.)

13. Write a short account of the "Vision of Mirza." How do you interpret the Allegory? (XVII.)

14. How does Addison define "good-breeding"? (XVIII.)

15. What qualities does Addison admire, and what does he dislike, in a critic? (XX.)

16. How does Addison define " sight"? How does he define "pleasures of imagination"? (XXII.)

17. Define so as to bring out the opposition in the contrasted pairs: "religion and hypocrisy, pedantry and learning, wit and vivacity, superstition and devotion, gravity and wisdom." (XXIII.)

18. Explain

(a) "A new friend is as new wine" (p. 50, 1. 27).

(b) "An ounce of mother is worth a pound of clergy" (p. 93, 1. 10).

19. Explain and account for the "odd phenomenon tioned p. 93, 1. 23. (XXIII.)

men

20. Express in more modern English, trying not to destroy the dignity of Addison's sentences in the process of turning them into your own:

(a) "I could heartily wish... masters," p. 59, 1. 16-21.

(b) "I might here observe... betrayed them," p. 64. 1. 11-23.

(c) "A man of polite... mankind,” p. 88, 1. 24-35.

Passages suggested as specially suitable for learning by heart: (a) "For my own part... together," p. 43, 1. 34-p. 44, 1. 18. (b) "Plutarch says... betrayed them," p. 64, 1. 5-23. (c) "Gladness grew sides of it," p. 70, 1. 21-p. 71, 1. 17.