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B maestoso.

and slow, flow.

Change back ( Through glades and glooms the mingled measure to deep tone,

stole, ing utterance.

Or o'er some haunted stream with fond delay

Round" a holy calm diffusing,

Love of peace and lowly musing,
În hollow murmurs died away.

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9. CHEERFULNESS.

Cheerfulness—which is the direct contrast of the last passion-speaks in a high pitch, briskly and “ trippingly on the tongue.” The expression is of the same order, but less active or passionate than

10. Joy;

whose tone is richer and fuller, and utterance still more lively and animated. Under the influence of joy, the words bound and gush from the lips, and the delivery becomes excited and enthusiastic.

The distinction between these two affections of the mind, is, that Cheerfulness is a state or enduring condition of the mind, and therefore has a certain repose of expression; while Joy is an active emotion or passion, temporarily exciting and agitating the mind, and accordingly its expression is of a higher character, and must be more powerfully delineated.

Joy usually subsides into the happy tranquillity of cheerfulness; unless it be dashed by grief, in which case it sometimes changes into the darkest despair.

In the present instance, the passion receives additional force and impulse from its union with

11. LOVE, AND 12. MIRTH;

the expression proper to which, (forming, as does the combination of Love, Joy, and Mirth, the most exquisite of all earthly felicity,--that is, the perfect enjoyment of happy love,) must be of the most animated, spiritual, and enthusiastic kind : it must be all soul !

A allo. m.;

Indicate the Butoh ! how altered was its sprightlier tone, transition from Melancholy to Cheerfulness, When Cheerfulness, a nyinph of healthiest hue, by a higher pitch and a

Her bow across her shoulder flung,
brisker utter-
ance.

Her buskins gemm’d with morning dew,
Blew an inspiring air that dale and thicket

rung:
The hunter's call, to Faun and Dryad known.
The oak-crowned sisters and their chaste-eyed

Queen,
Satyrs and sylvan boys were seen,

Peeping from forth their allies green ;-Express the briskness of the Brown Exercise rejoic’d to hear, & Exercise by And Sport leáp?d up and seiz'd his beechen and a stronger

spear. | Heighten the expression of Last came Joy's ecstatic trial, to a fuller and He, with viny crown advancing, ly and enthusi First to the lively pipe his hand addressid,

utterance.

allocon anima-dolce.

Cheerfulness

, even more live.

legato.

ance

on the scene must be

astic delivery,

con spirito f. increasing, as

But soon he saw the brisk, awak’ning viol, the descriptive verses glow, & the picture is Whose sweet entrancing voice he lov'd the best. heightened colouring and effect by the They would have thought, who heard the strain, introduction of Loveund Mirth, They saw in Tempe's vale her native maids, whose appear.

Amidst the festal-sounding shades,
marked by still
greater expres. To some unwearied minstrel dancing,
sion of tone.

While as his flying fingers kiss'd the strings,
Love fram'd with Mirth a gay fantastic round;
Loose were her tresses seen, her zone unbound,
And he, amidst his frolic play,
As if he would the charming air repay,
Shook thousand odors from his dewy wings!

presto f.

dolce.

con fuoco,

ENERGETIC EXPRESSION.—THREATENING.

(See ANGER, REVENCE.)

HENRY V. BEFORE THE GATES OF HARFLEUR.

SHAKS.

How yet resolves the Governor of the town ?-
This is the latest parle we will admit;
Therefore to our best mercy give yourselves,
Or like to men, proud of destruction,
Defy us to the worst ! for, as I am a soldier,
(A name that in my thoughts becomes me best)
If I begin the battery once again,
I will not leave the half-achiev'd Harfleur

Till in her ashes she lie buried !
The gates of mercy shall be all shut up;
And the flush'd soldier, rough and hard of heart,
In liberty of bloody hand shall range,
Mowing like grass
Your fresh, fair virgins, and your flow'ring infants !
Therefore, ye men of Harfleur,
Take pity of your town, and of your people,
Whiles yet my soldiers are in my command !
If not, why in a moment look to see
The blind and bloody soldier with foul hand
Defile the locks of your shrill-shrieking daughters :
Your fathers taken by the silver beards,
And their most reverend heads dashed to the walls !
Your naked infants spitted upon pikes :
Whiles the mad mothers with their howls confused
Do break the clouds ;-as did the wives of Jewry
At Herod’s bloody-hunting slaughtermen !-
How say you ? will you yield, and this avoid ?

THE DYING GLADIATOR.–BYRON.

This concluding extract from Childe Harold, affords an opportunity, in a short space, for great variety and quick transition of tone, in accordance with the change of Expression from Pity to Indignation, mounting to Revenge. The pupil will find the key to the correct expression of these changing feelings in the remarks on Collins's Ode to the Passions --which I design as a key to Expression in general.

In the present instance, I have also marked the pauses which are necessary to be observed; they add much to the effect of the passage.

Commence in a deep tone, and slowly.

B adagio p.

f.

P.

retard.

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I see before me the Gladiator lie: 1 He leans upon his hand, - his manly brow Consents to death, but conquers agony, And his droop'd head- sinks“ gradually low,“ And through his side the last drops, ebbing slow From the red gash, 4 fall heavy one by one, Like the first of a thunder shower; and now The arena swims around him ;- he is gone, Ere ceas'd the inhuman shout" which hail'd the wretch

who won. andante He heard it, but he heeded not-his eyes Were with his heart, and that was far away; He reckd not of the life he lost, or prize, But where his rude hut by the Danube lay," There were his young barbarians, all at play, There was their Dacian mother-he their sire f. fx. Butcher'd" to make a Roman holiday! | All this rush'd with his blood Shall he expire, And unaveng'd?1 Ärise! ye Goths! and glut your ire !

dol,

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con. (n.

legato n.

pr. ato f.

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