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The pupil will carefully note the short analysis of the expression of each passion, and the marginal directions as to tone and time due to each particular passage.
THE PASSIONS-AN ODE.-COLLINS.
INTRODUCTION, OR PRELUDE.
The tone and
varied to ex. press the diffe. rent emotions described.
DIRECTIONS. When Music, heavenly maid, was young
The Passions oft, to hear her shell,
Throng'd around her magic cell;
Possess'd beyond the Muse s painting,
'tis said, when all were fir'd,
Filipa with fury, rapt, inspir’d,
Sweet lessons of her forceful art,
This must be
ex press the sud.
Fear deprives the voice of its power; the tone becomes thin and feeble, and the utterance (when the
passion is highly-wrought) tremulous, indistinct, and broken.
Slowly, & with First Fear, his hand, its skill to try,
Amid the chords bewilder'd laid ;
Anger is high in pitch, loud, and quick in the time of its utterance; and the words do not flow, but burst out in sudden starts, indicative of the rashness of passion.
This is distinct from the expression of dignified anger, just severity, and reproof, which is solemn and measured in its delivery, and low in pitch.
Loudly & hur riedly, with impetuous bursts of sound.
A allo, con fuoco.
In lightnings ownd his secret stings;
And swept with hurried hand the strings.
Despair vents itself in a low, moaning tone ; till it reaches its wildest paroxysm, when it is cracked and shrieking. Both shades of expression are beautifully and distinctly individualized by the poet in the descriptive verses.
In a "low, sul. len tone ;-) mo. notonous, with deep pitch.
largo e maestoso, B
Low sullen sounds, his grief beguild;
presto. f. a
The expression of Hope is in direct contrast with that of Despair; lively, animated, joyous ; in rather a high pitch of voice, but at the same time sweet and flowing.
Mark the transition from the preceding pas. sion by change of tone & time; and as the feel. ing grows, let the voice swell and increase in volume.
A allo. con spirito.
What was thy delighted measure?
Still it whisper'd promis'd pleasure,
And from the rocks, the woods, the vale,
And Hope enchanted, smild, and wav'd her
5. REVENGE.-6. PITY.
The features of Revenge are of the same family as Anger; but bolder, stronger, and more highly colored.
The tone must be fiercer, harsher, and more concentrated than mere Anger. Revenge, when most intense, speaks between the set teeth ; and utters its denunciations in a hoarse, guttural voice; and with fitful bursts of passion.
Pity, on the contrary, speaks in a low, soft, and gentle tone of voice; but full and flowing, as from the exuberance of a warm heart.
from the calm
fierce excitement of Revenge, must be
The transition And longer had she sung-but, with a frown,
He threw his blood-stain'd sword in thunder marked by the assumption of
The war denouncing trumpet took ;
And ever and anon, he beat
The doubling drum with furious heat ; Mark the And though sometimes, each dreary pause change to the gentle & tender tone of Pity.
between, Dejected Pity, at his side, affo. legato, dol.
Her soul-subduing voice applied,
A presto.. Return to the
Yet still he kept his wild unalter'd mien, ment & fierce While each strained båll of sight- seem'd Revenge.
bursting from his head !
Jealousy has a changeful tone, varying as it yields to love or hate; sometimes indulging in the tenderness of affection, at others venting itself in all the harshness and bitterness of revenge. The poet has well distinguished these two different phases of the passion.
Ma largo p.
presto. m. f.
tone, & slowly; | B maestoso.
Begin in a low Thy numbers, Jealousy, to nought were fix’d, changing, according to the Sad proof of thy distressful state
presto, m. f. feeling descri. bed.
Of differing themes, the veering song was mix'd,
called on Hate!
The voice of Melancholy is low in tone, soft, mel"low, and slow in utterance.
B largo p.
Mark the gen.
With eyes up-rais'd, as one inspir'd, tleness of the passion by a
Pale Melancholy sat retird
In notes by distance made more sweet,
A allo. dolce. m.
And dashing soft from rocks around,