39.  What are the principal kinds, or orders, of verse? 40.  What other orders are there? 41.  Does the composite order demand any uniformity? 42.  Do the simple orders admit any diversity? 43.  What is meant by scanning or scansion? 44.  What mean the technical words, catalectic, acatalectic, and hypermeter? 45.  In scansion, why are the principal feet to be preferred to the secondary? 46.  Can a single foot be a line? 47.  What are the several combinations that form dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, and octometer? 48.  What syllables have stress in a pure iambic line? 49.  What are the several measures of iambic verse? 50.  What syllables have stress in a pure trochaic line? 51.  Can it be right, to regard as hypermeter the long rhyming syllables of a line? 52.  Is the number of feet in a line to be generally counted by that of the long syllables? 53.  What are the several measures of trochaic verse?

LESSON XXI.—­OF VERSIFICATION.

54.  What syllables have stress in a pure anapestic line? 55.  What variation may occur in the first foot? 56.  Is this frequent? 57.  Is it ever uniform? 58.  What is the result of a uniform mixture? 59.  Is the anapest adapted to single rhyme? 60.  May a surplus ever make up for a deficiency? 61.  Why are the anapestic measures few? 62.  How many syllables are found in the longest? 63.  What are the several measures of anapestic verse? 64.  What syllables have stress in a pure dactylic line? 65.  With what does single-rhymed dactylic end? 66.  Is dactylic verse very common? 67.  What are the several measures of dactylic verse? 68.  What is composite verse? 69.  Must composites have rhythm? 70.  Are the kinds of composite verse numerous? 71.  Why have we no exact enumeration of the measures of this order? 72.  Does this work contain specimens of different kinds of composite verse?

[It may now be required of the pupil to determine, by reading and scansion, the metrical elements of any good English poetry which may be selected for the purpose—­the feet being marked by pauses, and the long syllables by stress of voice.  He may also correct orally the few Errors of Metre which are given in the Fifth Section of Chapter IV.]

CHAPTER VI.—­FOR WRITING.

EXERCISES IN PROSODY.

[Fist] [When the pupil can readily answer all the questions on Prosody, and apply the rules of punctuation to any composition in which the points are rightly inserted, he should write out the following exercises, supplying what is required, and correcting what is amiss.  Or, if any teacher choose to exercise his classes orally, by means of these examples, he can very well do it; because, to read words, is always easier than to write them, and even points or poetic feet may be quite as readily named as written.]