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end with the partial close, each being a separate statement, or the first line may rise; and being understood before the second line. The sixth line should also end with the partial close, the seventh and ninth lines being given with the bend. The seventh, eighth and ninth should rise by grades, in pitch. If it can be avoided, never emphasize in the same place in two successive lines.
Even as he spoke, his frame renewed
Complete in all a warrior's guise. Give this stanza with great force; “ renewed in eloquence of attitude" in the first and the second lines, is slightly parenthetical; it should be given with the bend. The partial close should end the third, fifth, and seventh lines, or, if preferred, the seventh may be given with the bend, and the emphasis on “ aside” omitted.
A moment—there was awful pause,–
The other shouted, “ Nay, not so,
That frown upon the tyrant foe;
There is a time to fight and pray !" Berkley's cry should be louder, and higher in pitch; the pastor's answer, lower; the repetition of “cease” shows increasing excitement. Emphasis may fall also on “temple” in the third line. In the sixth, "ours" should be strongly emphasized, “ holiest” slightly, or not at all. It is proper to let emphasis fall on “frown" in the eighth line, but better to defer it to “foe.” In the tenth line it may be suppressed on “fight” and “pray,” “and” being emphasized instead. “Cease, traitor ! cease ! God's temple,” etc., second and
third lines, is the equivalent of the chursh is no place for war, and you are in it.
And now before the
Its long reverberating blow
The great bell swung as ne'er before:
Was, War! War! War! The second line is parenthetical, and should be lower in pitch. Stress should come on Rang” in the fourth line; here it is an intransitive verb; you cannot say-rang a blow. In the seventh line, give the color of death in the tone; there is strong emphasis on "living” in the ninth line. Give the eleventh line in a soft tone. Prolong “great” in the twelfth ; "as ne'er before,” should be lower in pitch, and almost in monotone. “ War! War! War !" in the last line is an example of onomatopæia; prolong the r in each.
“Who dares !"—this was the patriot's cry,
“Come out with me, in Freedom's name,
A hundred voices answered, I. Strong emphasis falls on "dares” in the first, on “me” and “Freedom” in the third line. The last part of the first and all of the second line are parenthetical, and lower in pitch. The fourth line contains a distinct antithesis-either to live for her, or to die for her. Strong emphasis should fall on “hundred” in the fifth, and on“ voices” in the sixth line. “I” should be very strongly emphasized, and higher in pitch.
MIDNIGHT MASS FOR THE DYING YEAR.
BY HENRY W. LONGFELLOW.
Yes, the year is growing old,
And his eye is pale and bleared ;
Sorely, --sorely. Throughout the poem use pure and simple tones. The inflections are the same as in conversation, but the tone-color is given in passing through the poet's mind. Give the first line with tenderness, with elastic tone. It is proper to emphasize “beard” in the fourth line, but better to keep the voice up on a level in order to come down strongly on “sorely.” The last line descends in pitch with each word. Give them both with full tones. Repeat "sorely” with deep feeling, giving in both voice and face the expression of sore
The leaves are fulling, falling
Solemnly and slow;
A sound of woe! The first line is a mere statement, but should be given in a tender tone. The second “falling" should rise in pitch. “Caw, caw,” in the third line, is an example of onomatopeia; it should be given in monotone, high pitch, the second “caw" on a level with the first, both very hard and unintellectual. It is proper to rise or fall in pitch with the second “caw," but better to keep the voice on a level. The crow sound should be imitated as closely as possible. Whichever tone (intellectual or the opposite) is chosen for the first “caw," must be repeated with the second. The fourth line rises, the fifth descends, in pitch. Prolong “woe” in both lines. Suggest the sighing and wailing of the wind. Human sympathy now comes in. The first “woe” should be given with the wave, the second with the perfect close.
Through woods and mountain-passes,
The winds like anthems roll:
Begin low. The three last lines should be given in a solemn tone. In the fourth and fifth lines each "pray" should descend in pitch. Give each clause after “singing" with the waving slide. Roll out like an organ.
The hooded clouds, like friars,
Tell their beads in drops of rain,
All in vain. The partial close (because of strong emphasis) comes on "friars” in the first, and on prayers” in the third line. In the fourth line, "all in vain ” is given with the wave; the perfect close comes on vain” in the fifth line. Both lines should be given with feeling.
There he stands in the foul weather,
The foolish, fond Old Year,
A king,-a king! Throw out the voice. Give the stanza slowly, but with snap. The fourth line ends with the partial close (on account of strong emphasis). Give the first “king” in the fifth line with the bend; the perfect close comes on the second. Both should be given with force.
Then comes the summer-like day,
Bids the old man rejoice !
Gentle and low. Use soft tones all through the stanza. The partial close comes on " rejoice” in the second and on “joy” in the third line; the perfect close on “last” in the third line. Give the same inflection to “soft”. in the fourth, and to "gentle" and "low" in the fifth line.
To the crimson woods he saith,-.
And the voice gentle and low
Do not laugh at me!"
The fourth and fifth lines should be given with the rising slide (to express pathos). Rise in pitch in the fourth and again in the fifth line. Imitate the querulous tones of an old man.
And now the sweet day is dead;
Cold in his arms it lies;
No mist or stain !
Prolong “cold" in the second line; the whole line should be given in monotone.
Then, too, the Old Year dieth,
And the forests utter a moan,
“ Vex not his ghost !”
Prolong “moan,” but do not emphasize it, as this would interfere with the suggestion of the moaning of the wind. Prolong “alone" in the fourth, and “Vex” in the fifth line. Make the last line windy and mysterious, a moan, not a loud cry, all in monotone, either in high or low pitch, as preferred.
Then comes, with an awful roar,
Gathering and sounding on,
The storm-wind !
Give this stanza with great force; increasing rapidity and intensity through the first three lines, rising in pitch with each. Descend in pitch with the last two, the last line very low. Prolong “stormwind” in the last line. The first three lines are given with the bend; the fourth ends with the partial, the fifth with the perfect close.
Howl! howl ! and from the forest
Sweep the red leaves away!
And be swept away!