Tub. One of them showed me a ring that he had of your daughter for a monkey.

Shy. Out upon her! Thou torturest me, Tubal: it was my turquoise; I had it of Leah when I was a bachelor: I would not have given it for a wilderness of monkeys.

Tub. But Antonio is certainly undone.

Shy. Nay, that's true, that's very true. Go, Tubal, fee me an officer; bespeak him a fortnight before. I will have the heart of him, if he forfeit; for, were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue; go, good Tubal; at our synagogue, Tubal. [Exeunt.

(6) Vocal culture of Intervals.

a. Sing ā, ä, ō up and down the musical scale by the Intervals do, mi, sol, do.

b. Speak the sounds ā, ē, ī, ō, ū up and down alternately in slides of the Semitone; then in Seconds, Thirds, Fifths, and Octaves respectively.

c. Do the same with the words all, arm, isle, our, roll.

Selection used to illustrate all the Intervals.

NOTE. The great variety of sentiment and passion in the following scene gives ample opportunity for the study and application of the five Intervals of Pitch. To summarize, keep in mind that the Semitone is the pathetic Interval; the Second, the solemn Interval; the Third, the conversational Interval; the Fifth, the joyous Interval; and the Octave, the exclamatory Interval.

PROTESTATIONS OF LOVE FROM "MUCH ADO ABOUT NOTHING"

WILLIAM SHAKESPEARE

Messina. The Inside of a Church. Lady Hero is falsely accused
Enter BENEDICK and BEATRICE

Benedick. Lady Beatrice, have you wept all this while?
Beatrice. Yea, and I will weep awhile longer.

Bene. I will not desire that.

Beat. You have no reason; I do it freely.

Bene. Surely I do believe your fair cousin is wronged.

Beat. Ah, how much might the man deserve of me that would right her!

Bene. Is there any way to show such friendship?

Beat. A very even way, but no such friend.

Bene. May a man do it?

Beat. It is a man's office, but not yours.

Bene. I do love nothing in the world so well as you: is not that strange?

Beat. As strange as the thing I know not. It were as possible for me to say I loved nothing so well as you: but believe me not; and yet I lie not; I confess nothing, nor I deny nothing. I am sorry for my cousin.

Bene. By my sword, Beatrice, thou lovest me.

Beat. Do not swear by it, and eat it.

Bene. I will swear by it that you love me; and I will make him eat it that says I love not you.

Beat. Will you not eat your word?

Bene. With no sauce that can be devised to it. I protest I love thee.

Beat. Why, then, God forgive me!

Bene. What offence, sweet Beatrice?

Beat. You have stayed me in a happy hour: I was about to protest I loved you.

Bene. And do it with all thy heart.

Beat. I love you with so much of my heart that none is left

to protest.

Bene. Come, bid me do any thing for thee.

Beat. Kill Claudio.

Bene. Ha! not for the wide world.

Beat. You kill me to deny it. Farewell.

Bene. Tarry, sweet Beatrice.

Beat. I am gone, though I am here: there is no love in you:

nay, I pray you, let me go.

Bene. Beatrice,

Beat. In faith, I will go.

Bene. We'll be friends first.

Beat. You dare easier be friends with me than fight with mine enemy.

Bene. Is Claudio thine enemy?

Beat. Is he not approved in the height a villain, that hath slandered, scorned, dishonoured my kinswoman? O that I were a man! What, bear her in hand until they come to take hands; and then, with public accusation, uncovered slander, unmitigated rancour, O God, that I were a man! I would eat his heart in the market-place.

Beat. Talk with a man out at a window! A proper saying! Bene. Nay, but, Beatrice,

Beat. Sweet Hero! She is wronged, she is slandered, she is undone.

Bene. Beat

Beat. Princes and counties! Surely, a princely testimony, a goodly count, Count Confect; a sweet gallant, surely! O that I were a man for his sake! or that I had any friend would be a man for my sake! But manhood is melted into courtesies, valour into compliment, and men are only turned into tongue, and trim ones too: he is now as valiant as Hercules that only tells a lie, and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.

Bene. Tarry, good Beatrice. By this hand I love thee.

Beat. Use it for my love some other way than swearing by it. Bene. Think you in your soul the Count Claudio hath wronged Hero?

Beat. Yea, as sure as I have a thought or a soul.

Bene. Enough, I am engaged; I will challenge him. I will kiss your hand, and so leave you. By this hand, Claudio shall render me a dear account. As you hear of me, so think of me. Go, comfort your cousin: I must say she is dead: and so, farewell.

[Exeunt.

SECTION III. MELODY

Melody is the succession or trend of speech notes on the scale of Pitch. Spoken Melody does not necessarily signify a pleasing succession of tones as in music; but it is the vital, vocal placing of notes of various Qualities, Forms, Degrees of Force, Stresses, Changes of Pitch, and rates of Time in harsh. as well as pleasing succession. The speaker composes and delivers his melody at the same time, and he should have as many varieties in Melody as he has emotions. The difficulty with many speakers and readers is that they have so few Melodies in which to express themselves. It behooves the student to so train his voice in Melody that his delivery will not be monotonous.

Melody is composed of two parts, - (1) Current, and (2) Cadence, which may be likened to the current of a stream, and its fall into a lake when it ceases to be a stream. Every complete sentence we utter has a current of speech notes and a cadence of plunging down in Pitch to close the sense.

1. Current Melody is the succession of notes in the body of the sentence. If any considerable number of successive speech notes are begun on the same Degree of Pitch, however they may be inflected, a monotone is produced such as is heard in counting, calling a list of names, in the perfunctory reading of some legal document, or in the utterance of some supposed supernatural being, such as the ghost in the play of Hamlet or Julius Cæsar. If the range of Melody is too limited for the thoughts expressed, the utterance becomes monotonous, and monotony is the bête noir of the reader or speaker. If, on the other hand, the notes are varied too much for a given sentiment, an unstable, flippant effect is produced. For example, if we read the sublime words of the Psalmist, "The earth is the Lord's and the fulness thereof," with wide intervals and sweeping inflections, the dignity and sublimity of the passage is destroyed.

There are three kinds of Current Melody corresponding to man's triune nature, and expressive of his entire range of thought and feeling, — (1) Chromatic, (2) Diatonic, and (3) Broken. Their relation to the triune nature is shown as follows:

Current

Chromatic
Diatonic

Melody Broken

Emotive
Mental Man
Vital

(1) Chromatic Melody is made up of inflections and waves which run through Semitonic and other minor intervals of the musical scale. It is largely composed of Semitones and minor Thirds and may occur on any degree of Pitch. We have seen that Semitones respond to the Emotive nature of man; hence Chromatic Melody, composed so largely of Semitones, belongs to the Emotive division and is the medium of expression for sad emotions, plaintiveness, tenderness, pity, sorrow, and wailing.

(2) Diatonic Melody is composed of inflections and waves made through Intervals of Seconds and Thirds, and represents the Mental nature already explained. It is used to express the ordinary and lively thoughts such as conversation, didactic thought, gladness, delight, grandeur, and oratorical fervor.

(3) Broken Melody is composed of inflections and waves of wider slides and more broken changes of Pitch through the Intervals of Fifths and Octaves. As it manifests great vitality and energy, it clearly represents the Vital nature of man and is used to express his more dramatic and impassioned conditions, such as ecstatic joy, triumph, oratorical invective, amazement, alarm, and rage.

Selection illustrating Current Melody.

NOTE. In reading the following selection the student should strive for a pleasing variety in the arrangement of speech notes. As monotony shows lack of interest on the part of the speaker and destroys interest on the part of the audience, every effort should be made to acquire spirit and sprightliness of Current Melody.