7. Epithets which have a pictorial effect: "delicious ninth month", "the rosy and elastic dawn", "the flashing sun", "the limpid spread of air cerulean", "sobbing dirge", "briny tear", and such alliterative forms as: "wild winds", "calm content", "summer sun", "dazzling days", "brawniest breed", etc.

8. Contracted forms: "the many-cylinder'd steam printing-press", "scalloped-edged waves", "Mast-hemm'd Manhattan", "thick-stemm'd pipes of steamboats", window-pierced facades", "timber-lined sides", "flagg'd walks", "winter-sown crops", "square-hew'd log", etc.

9. Rare, foreign and coined words: Rare are-harbinge, unshut, philosoph, etc. Foreign are-arriere, omnes, dolce, melange, affetuoso, etc. Coined words, whose meanings are at once apparent―admirant, imperturbe, libertad, heiressship, entretied, Mannahatta, veneralee, intertinged, Savantism, etc.

10. Pleonasms: "yellow gold", "white snows", "the whole of the rest of the earth".

"Whoever accepts me he or she shall be blest."

"To see no being, not God's nor any, but you may . . ."

11. Anaphora. What characterizes so many of Whitman's verses, more perhaps than anything else, is a certain sameness given to them by the use of the same word to begin successive verses and even half-lines. For example, in "Song of the Broad-Axe", in § 2, eleven consecutive verses begin with "Welcome" and four with "Lands"; in § 3, of the 69 verses all except 8 begin with "The"; in § 5, 19 consecutive verses begin with *Served"; in "With Antecedents", the first thirteen verses begin with the word "With"; in "Out of the Cradle Endlessly Rocking", the first fifteen verses begin with the prepositions "Out", "Over", "Down”, "Up", "From"; in "Thoughts" almost all the verses and half-lines begin with "How", "And how", "Of"; etc. Such words can be considered as forming the coordinate element of the verses, when rime is wanting.

12. Another characteristic is the long enumeration of objects through consecutive verses, as:

"Hut, tent, landing, survey,

Flail, plough, pick, crowbar, spade,

Shingle, rail, prop, wainscot, jamb, lath, panel, gable,
Citadel, ceiling, saloon, academy, organ, exhibition-house,

library,

Cornice, trellis, pilaster, balcony, window, turret, porch, Hoe, rake, pitchfork, pencil, waggon, staff, saw, jackplane, mallet, wedge, rounce", etc.

13. The verses furthermore, with a very few exceptions, are all end-stopt verses. Exceptions are:

"And each with musing soul retire to celebrate

Our dear commander's death."

Hush'd be the Camp To-day.

"Or from the sea of Time, collecting, vasting all, I bring A windrow-drift of weeds and shells."

As Consequent from Store of Summer Rains.

14. The poetical words that Whitman uses are:

Here should be included the correlatives "nor-nor" and "or-or"; and the expressions "are come" and "am become".

It is hardly necessary to say that the verses, with the exceptions already given, are unrimed. Occasionally a peculiarity in verse-ending occurs, as in "Turn O Libertad", where the verse endings are: over, world, past, past, caste, world, past, you, inure, face, past, you, giving the effect of both rime and assonance. Assonance seems to be intended as the coordinating element in a large portion of "When Lilacs last in the Dooryard

Bloom'd". cf. the consecutive verse endings: forth, crops, forests, storms, women, sail'd, labour, usages, there, rest, trail, death. Occasionally rime couplets are found as : "And do you wait a moment you husky-nois'd sea,

For somewhere I believe I heard my mate responding to me". (Out of the Cradle Endlessly Rocking.)

It often seems that Whitman tries to avoid rime. For example in the following poem, if the position of age and land were interchanged, the rhythm would remain the same and the rime would be: a b b c:

"This dust was once the man,

Gentle, plain, just and resolute, under whose cautious hand, Against the foulest crime in history known in any land or age, Was saved the union of these States".

That Whitman does not care for a mere form of rime and still recognizes the need of a tone-quality is well shown in the following stanza:

"As a strong bird on pinions free,

Joyous, the amplest spaces heavenward cleaving,
Such be the thought I'd think of thee, America,
Such be the recitative I'd bring for thee".

The sentiment and rhythm of these verses would justify rime. If then, in the third verse, "America" were omitted, the scheme would exhibit a most interesting case of combined assonance and rime as: pinions free, think of thee, bring for thee.

Lebenslauf.

Ich, Thomas Kile Smith, bin am 18. Februar 1880 in Quakertown im Staat Pennsylvanien als Sohn von Henry M. Smith und seiner Ehefrau Elizabeth Smith geb. Kile geboren und gehöre der evangelischen Konfession an. Von 1886 bis 1898 besuchte ich The Quakertown Public Schools, von 1898 bis 1899 Bethlehem Preparatory School, von 1899 bis 1904 Lehigh University. Von 1905 bis 1907 bekleidete ich das Amt eines Assistant Master, von 1907 bis 1911 das eines Master an der Bethlehem Preparatory School. Von Oktober 1911 bis Oktober 1912 war ich Austauschlehrer an dem Städtischen Realgymnasium und der Städtischen Oberrealschule zu Königsberg in Preußen. Seit Oktober 1911 widmete ich mich als Hospitant dem Studium des Englischen, der Philosophie und der Geographie an der AlbertusUniversität zu Königsberg in Preußen. Ich hörte die Vorlesungen der Herren Dozenten: Dunstan, Goedeckemeyer, Hahn, Kaluza, Meissner, Uhl. Die mündliche Doktorprüfung bestand ich am 26. Juli 1913. Zu ganz besonderem Danke bin ich Herrn Professor Kaluza verpflichtet, der mir die Anregung zu vorliegender Arbeit gegeben und mir jederzeit helfend zur Seite gestanden hat.