Chapter 7

Stanza i, ll. 3-5. Note the spontaneous imitation. (Introduction, pp. 5 and 6.)

AND THERE THE SURLY ... TWO AND TWO. Note the three separate groups of passers-by. Which group has the most significance in its bearing on the rest of the poem? How does the voice indicate this relative significance? (Introduction, pp. 24 and 30.)

Stanza iii, l. 8. How is the transition made effective? (Introduction, pp. 8, 9, and 25.)

Stanza iv. FOR OFTEN ... CAMELOT. Observe the Shading. (Introduction, p. 33.)