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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

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varied to ex. press the diffe. rent emotions described.

DIRECTIONS. When Music, heavenly maid, was young
Begin calmly,
smoothly, and Ere yet in early Greece she sung,
in moderate
time, and mid.
dle pitch.

The Passions oft, to hear her shell,

Throng'd around her magic cell;
time must here Exulting, trembling, raging, fainting,
change, and be

Possess'd beyond the Muse s painting,
By turns they felt the glowing mind,
Disturb'd, delighted, raised, refined;
once,

'tis said, when all were fir'd,

Filipa with fury, rapt, inspir’d,
rapid, to From the supporting myrtles round,
denness of the (They seized her instruments of sound,
In ordinary [ And, as they oft had heard apart,

Sweet lessons of her forceful art,
Each,--for madness ruld the hour-
Would prove his own expressive power.

Till

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time.

dolce.

wildly fz.

a

mod.

1. FEAR.

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.

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Slowly, & with First Fear, his hand, its skill to try,
hesitation.

Amid the chords bewilder'd laid ;
And back fecoild, —he knew not why,–

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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.
Next Anger rush’d, - his eyes on fire,

In lightnings ownd his secret stings;
In one rude clash-he struck the lyre,

And swept with hurried hand the strings.

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3. DESPAIR.

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
With woful measures wan Despair-

Low sullen sounds, his grief beguild;
A solemn, strange, and mingled air,

presto. f. a
'Twas sad by fits, by starts 'twas wild !

P. B

Contrast.....

4. HOPE.

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.

legato.

A allo. con spirito.
But thou, O Hope, with eyes so fair,

What was thy delighted measure?

Still it whisper'd promis'd pleasure,
And bade the lovely scenes at distance hail!
Still would her touch the strain prolong,

And from the rocks, the woods, the vale,
She call'd on Echo still- through all the song;
And where her sweetest theme she chose,
A soft responsive voice was heard at every

dolce.

close ;

con animr.

And Hope enchanted, smild, and wav'd her

golden hair!

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.

presto

from the calm

B fz.

fierce excitement of Revenge, must be

utterance.

f.

B retard.

maestoso,

80stenuto,

presto.

staccato F.

The transition And longer had she sung-but, with a frown,
joyousness of
Hope, to the Revenge impatient rose;

allo.fi <

He threw his blood-stain'd sword in thunder marked by the assumption of

down,
a deeper and a
Louder tone,an't
an impetuous And, with a withering look,

The war denouncing trumpet took ;
And blew a blast so loud and dread,
Were ne'er prophetic sounds so full of woe,

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 !

B retard.

largo maestoso.

utterance

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7. JEALOUSY.

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.

alternation of

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,
fa p. retard

affo. dolce,
And now it courted Love,

,now
raving

called on Hate!

8. MELANCHOLY.

The voice of Melancholy is low in tone, soft, mel"low, and slow in utterance.

B largo p.

tone.

Mark the gen.

With eyes up-rais'd, as one inspir'd, tleness of the passion by a

Pale Melancholy sat retird
smooth, flow.
ing delivery,
and rather deep And from her wild, sequester'd seat

In notes by distance made more sweet,
Pour'd through the mellow horn her pensive soul:

A allo. dolce. m.
A lighter tone

And dashing soft from rocks around,
Bubbling runnels join'd the sound;

& movement.

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