glided out of the gloom
And down the moon-white river. 55
She stole like a gray shark over the bar
Where the long surf seethes for ever.

She hove to under a high French hull,
And the red cross rose to her peak.
The French were looking for fight that night, 60
And they hadn't far to seek.

Blood and fire on the streaming decks,
And fire and blood below;
The heat of hell, and the reek of hell,
And the dead men laid a-row! 65

And when the stars paled out of heaven
And the red dawn-rays uprushed,
The oaths of battle, the crash of timbers,
The roar of the guns was hushed.

With one foe beaten under his bow, 70
The other far in flight,
The English captain turned to look
For his fellow in the fight.

The English captain turned and stared;--
For where the _Sally_ had been 75
Was a single spar upthrust from the sea
With the red cross flag serene!

A wind blew up from Pernambuco
(Yeo heave ho! the _Laughing Sally_!
Hi yeo, heave away!)
And boomed for the doom of the _Laughing Sally_!
Gone down at the break of day.

--_Charles G. D. Roberts_ (_By arrangement_)

PREPARATORY.--Divide the poem into sections giving to
each part a descriptive title. (Introduction, p. 10.)
How is each section made to stand out?

In what Time is the section which describes the flight
of the _Laughing Sally_ read? Give your reason.
(Introduction, pp. 5 and 13.)

Contrast the first and last stanzas from the standpoint
of feeling. How does the voice express the difference?

BLEW, KNEW, NEWS, KING'S SHIP, SEETHES, AND. (Appendix
A, 2, 3, 5, and 6.)

Distinguish the sound of _a_ in LAUGHING SALLY, CRAFT,
LAST, PASSED, WRATH, CHANCE, CRASH, DARK, FAR, DAWN.
(Appendix A, 1.)

8-9. Note the Grouping and Pause. (Introduction, p. 11.)

11-13. Observe the Grouping. Which phrases have the
heaviest Shading? (Introduction, p. 33.)

16. Where is the Pause? Why?

18. LAND ON THE PORT BOW. What change is made in Pitch
and Force? Account for it. (Introduction, pp. 22 and
25.)

24. What is the Inflection on this line?

30-37. Observe the Grouping and Shading throughout these
stanzas.

38-45. What sense is appealed to in these stanzas? How