2. The trumpet's loud clangor And mortal alarms. The double, double, double beat Cries, "Hark! the foes come; Charge, charge! 'tis too late to retreat!" "Song for Saint Cecilia's Day." JOHN DRYDEN. 3. How sweet the moonlight sleeps upon this bank! Sit, Jessica. Look how the floor of heaven There's not the smallest orb which thou behold'st Still quiring to the young-eyed cherubims; But whilst this muddy vesture of decay Doth grossly close it in, we can not hear it. "Merchant of Venice." WILLIAM SHAKESPEARE. 4. The waves were white and red the morn, As welcom'd to life the ocean-child! I've lived since then, in calm and strife, Full fifty summers a sailor's life, With wealth to spend and a power to range, But never have sought nor sigh'd for change; "The Sailor's Song." B. W. PROCTER. 5. The curfew tolls the knell of parting day, The lowing herd winds slowly o'er the lea, Now fades the glimmering landscape on the sight, Save where the beetle wheels his droning flight, Save that from yonder ivy-mantled tower, The moping owl does to the moon complain 6. She walks in beauty, like the night THOMAS GRAY. One shade the more, one ray the less, The smiles that win, the tints that glow, A mind at peace with all below, A heart whose love is innocent! "She Walks in Beauty." LORD BYRON. SEVENTEENTH LESSON PART 1. DRILL 1. Physical Culture. Bend the hands quickly at the wrists, first at the sides, then at the horizontal position at the sides and front, and finally overhead. 2. Deep Breathing. Inhale a deep breath quickly and silently through the nostrils. Hold the breath a moment, then exhale quickly and silently through the mouth. 3. Voice Exercise. To overcome the common fault of nasality, first close the nostrils with the thumb and forefinger, and pronounce with great nasality the words "I go, so fare thee well!" While still holding the nostrils closed, repeat the words in pure, clear tone. This exercise will give intelligent control of pure musical quality of voice. 4. Articulation. First give separately and vigorously the sounds underlined, then the combination as a whole, after which pronounce the word which follows, bringing out the combination very clearly: PART 2. EXPRESSION FERVOR The reader is concerned in expressing not only thought but feeling. If the student is habitually undemonstrative, he will find this lesson of particular value in developing his resources of feeling. Every person has more or less emotion, but it must be controlled before it can be intelligently and effectively used in speech. Plato calls the passions the wings of the soul. In the proper expression of the emotions three things are involved, viz.: the tones of the voice, the appearance of the face, and the gestures or action. The language of the passions, as written by the hand of Nature, is a study by itself. The passages hereunder are first to be analyzed closely, with the object of finding out the underlying feeling in each, and then of interpreting that feeling in reading aloud. EXAMPLES FOR PRACTISE 1. Without our hopes, without our fears, Without the home that plighted love endears, 2. Sharp violins proclaim THOMAS CAMPBELL. Their jealous pangs and desperation, Depth of pains and height of passion For the fair, disdainful dame. "Song for Saint Cecilia's Day." JOHN DRYDEN. 3. The morn is up again, the dewy morn, With breath all incense, and with cheek all bloom, And living as if earth contained no tomb, "Childe Harold." LORD BYRON. 4. The cataract strong then plunges along, "The Cataract of Lodore." ROBERT SOUTHEY. 5. Sound the loud timbrel o'er Egypt's dark sea! Sing for the pride of the tyrant is broken, Praise to the Conqueror, praise to the Lord! Of those she sent forth in the power of her pride? For the Lord hath looked out from His pillar of glory, And all her brave thousands are dashed in the tide. Sound the loud timbrel o'er Egypt's dark sea! Jehovah hath triumphed-His people are free. "Miriam's Song." THOMAS MOORE. |