Merchant of Venice.

To Christian intercessors. Follow not;
I'll have no speaking; I will have my bond.

Shakespeare.

exist simultan

All modes are consistent with each other and eously, for each has a distinct meaning of its own. It is by their harmonious combination that vocal expression gains its power to reveal successive changes.

While modes of revealing transitions depend upon harmonious relation to the spirit of the speech, poem, story, part, or play, still it is very important for the student to make isolated studies of special parts where various kinds of changes occur. All great painters make studies of every limb and leaf, of every rock, of the transient effect of light upon the water, of the vibration and texture of the surface of a human limb, and of every shade of color; so the student of vocal expression must exercise himself upon the rendering of specific lines and transitions, and as a painter's study is a more literal reproduction, is more exaggerated than his picture, so the rendering of these special extracts should be an accentuation of a specific truth to give the mind a firm grasp of the means of expression. These should be blended later into a harmonious rendering of a whole poem, story, oration, or representation as the painter uses his studies. It is only by accenting essential elements that power can be secured in any form of art.

"MAKE way for Liberty," he cried :

Made way for Liberty, and died !

O LARKS! sing out to the thrushes, and thrushes, sing as you soar !
I think when another spring blushes I can tell you a great deal more.

I COULD not love thee, dear, so much, loved I not honour more.

O BEAUTEOUS birds ! methinks ye measure
Your movements to some heavenly tune!
O beauteous birds! 't is such a pleasure
To see you move above the moon.

So stately her bearing, so proud her array,
The main she will traverse for ever and aye.

Many ports will exult at the gleam of her mast!

Hush! hush! thou vain dreamer, this hour is her last!

O'ER the deep! O'er the deep!

Where the whale, and the shark, and the sword-fish sleep,
Outflying the blast and the driving rain,

The Petrel telleth her tale in vain ;
For the mariner curseth the warning bird
Who bringeth him news of the storm unheard!
Ah! thus does the prophet, of good or ill,

Meet hate from the creatures he serveth still:
So, Petrel, spring

Yet he ne'er falters:

Once more o'er the waves on thy stormy wing!

Up the dale and down the bourne, o'er the meadows swift we fly; Now we sing, and now we mourn, now we whistle, now we sigh. Summer Wind.

THERE groups of merry children played;
There youths and maidens, dreaming, strayed.
O precious hours! O golden prime,

And affluence of love and time !

Even as a miser counts his gold,

Those hours the ancient time-piece told :

Darley.

To shut me out! Pour on; I will endure.

In such a night as this! O Regan, Goneril!

Your old kind father, whose frank heart gave all, —

O, that way madness lies; let me shun that;
No more of that.

HARK! distant voices, that lightly ripple the silence deep!

-

No; the swans that, circling nightly, through the silver waters sweep.
See I not, there, a white shimmer? Something with pale silken shrine '
No; it is the column's glimmer, 'gainst the gloomy hedge of pine.

"Ho! why dost thou shiver and shake, Gaffer Gray?

And why does thy nose look so blue?"

""T is the weather that's cold, 't is I'm grown very old,

And my doublet is not very new, well-a-day !”

"LOOK, Katie ! look, Katie! when Lettice came here to be wed

Halcroft,

She stood where that sunbeam drops down, and all white was her gown;

And she stepped upon flowers they strewed for her." Then quoth small Seven, "Shall I wear a white gown, and have flowers to walk upon ever?"

All doubtful: "It takes a long time to grow up," quoth Eleven ;
"You're so little, you know, and the church is so old, it can never
Last on till you 're tall."

THE MAID OF ISLA.

OH, Maid of Isla, from the cliff that looks on troubled wave and sky,
Dost thou not see yon little skiff contend with ocean gallantly?
Now beating 'gainst the breeze and surge, and steep'd her leeward deck in foam,
Why does she war unequal urge? Oh, Isla's maid, she seeks her home.

Oh, Isla's maid, yon sea-bird mark, her white wing gleams thro' mist and spray, Against the storm-cloud, lowering dark, as to the rock she wheels away ; Where clouds are dark and billows rave, why to the shelter should she come Of cliff, exposed to wind and wave? Oh, Maid of Isla, 't is her home!

As breeze and tide to yonder skiff, thou 'rt adverse to the suit I bring,
And cold as is yon wintry cliff, where sea-birds close their wearied wing.
Yet cold as rock, unkind as wave, still, Isla's maid, to thee I come;
For in thy love, or in his grave, must Allan Vourich find his home.

Scott.

THE CHURCHYARD STILE.

I LEFT thee young and gay, Mary, when last the thorn was white;
I went upon my way, Mary, and all the world seemed bright;
For though my love had ne'er been told, yet, yet I saw thy form
Beside me, in the midnight watch; above me, in the storm.
And many a blissful dream I had, that brought thy gentle smile,
Just as it came when last we leaned upon the Churchyard Stile.

I'm here to seek thee now, Mary, as all I love the best;
To fondly tell thee how, Mary, I've hid thee in my breast.
I came to yield thee up my heart, with hope, and truth, and joy,
And crown with Manhood's honest faith the feelings of the Boy.
I breathed thy name, but every pulse grew still and cold the while,
For I was told thou wert asleep just by the Churchyard Stile.

My messmates deemed me brave, Mary, upon the sinking ship;
But flowers o'er thy grave, Mary, have power to blanch my lip.
I felt no throb of quailing fear amid the wrecking surf;
But pale and weak I tremble here, upon the osiered turf.
I came to meet thy happy face, and woo thy gleesome smile,
And only find thy resting-place close by the Churchyard Stile.
Oh! years may pass away, Mary, and sorrow lose its sting;
For Time is kind, they say, Mary, and flies with healing wing;
The world may make me old and wise, and Hope may have new birth;
And other joys and other ties may link me to the earth;

But Memory, living to the last, shall treasure up thy smile,

That called me back to find thy grave close to the Churchyard Stile.

ONE WAY OF LOVE.

ALL June I bound the rose in sheaves..
Now, rose by rose, I strip the leaves
And strow them where Pauline may pass.
She will not turn aside? Alas!

Let them lie. Suppose they die?

The chance was they might take her eye.

How many a month I strove to suit
These stubborn fingers to the lute !
To-day I venture all I know.

She will not hear my music? So!
Break the string; fold the music's wing:
Suppose Pauline had bade me sing!

My whole life long I learn'd to love.
This hour my utmost art I prove

And speak my passion - heaven or hell?
She will not give me heaven? 'Tis well!
Lose who may I still can say,

Those who win heaven, bless'd are they!

DAYBREAK.

A WIND came up out of the sea,

And said, "O mists, make room for me!"
It hailed the ships, and cried, "Sail on,
Ye mariners, the night is gone!"
And hurried landward far away,
Crying, "Awake! it is the day!"
It said unto the forest, "Shout!
Hang all your leafy banners out!"

Eliza Cook.

Browning.

It touched the wood-bird's folded wing,
And said, "O bird, awake and sing!"
And o'er the farms, "O chanticleer,
Your clarion blow! the day is near!"
It whispered to the fields of corn,
"Bow down, and hail the coming morn!"
It shouted through the belfry-tower,
"Awake, O bell! proclaim the hour!”
It crossed the church-yard with a sigh,
And said, "NOT YET! IN QUIET LIE!"

Longfellow.

XLIII. MOVEMENT.

FORCE in Nature acts rhythmically; it acts and reacts. It does not move in a uniform stream, but by alternate pulsations and relaxations.

Rhythm has been defined as proportion in time." This is its artistic use in music. Rhythm in Nature is the pulsation due to harmonious action between a force and that which resists it. Wherever there is a unity of forces acting upon a unity of resistances, rhythm will be the result. Where a confusion of forces acts upon a chaos of resistances, rhythm is destroyed.

The only place where a violation of rhythm occurs is in man. The reason is that he can do things mechanically as well as naturally; that is, he can directly apply his will in such a way as to interfere with the spontaneous propulsion of the natural forces of his nature.

Rhythm always results from free manifestation of force.. Storms move rhythmically; so do the waves of the sea and the waters of Niagara. The mysterious co-ordination of forces everywhere in Nature is thus revealed. The earth and all the planets move in rhythmic orbits; and the smallest vine circles rhythmically to find the support by which it can climb. Nothing in Nature moves without rhythmic alternation.

Again, rhythm is a characteristic of life. The heart beats rhythmically. The acts of respiration and digestion are performed rhythmically. There can be

The mind acts rhythmically in all its processes.