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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
In eloquence of attitude,
Rose, as it seemed, a shoulder higher;
Then swept his kindling glance of fire
From startled pew to breathless choir ;
When suddenly-his mantle wide
His hands impatient flung aside,
And, lo! he met their wondering eyes

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,–
When Berkley cried, “ Cease, traitor ! cease !
God's temple is the house of peace !''

The other shouted, “ Nay, not so,
When God is with our righteous cause,
His holiest places then are ours,
His temples are our forts and towers,

That frown upon the tyrant foe;
In this, the dawn of Freedom's day,

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

open

door-
The warrior priest had ordered so-
The enlisting trumpet's sudden roar
Rang through the chapel, o'er and o'er;

Its long reverberating blow
So loud and clear, it seemed the ear
Of dusty death must wake and hear.
And there the startling drum and fife
Fired the living with fiercer life ;
While overhead, with wild increase,
Forgetting its ancient toll of peace,

The great bell swung as ne'er before:
It seemed as it would never cease;
And every word its ardor flung
From off its jubilant iron tongue

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,
As striding from the desk he came,-

“Come out with me, in Freedom's name,
For her to live, for her to die?
A hundred hands flung up reply,

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 ;
Deuth with frosty hand and cold,
Plucks the old man by the beard,

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

ness.

The leaves are fulling, falling

Solemnly and slow;
Caw, caw! the rooks are calling,
It is a sound of woe,

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:
They are chanting solemn masses,
Singing, Pray for this poor soul !

Pray,--pray!

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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,
And patter their doleful prayers;
But their prayers are all in vain,

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,
Crowned with wild flowers and with heather,
Like weak, despised Lear,

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 !
His joy! his last! Oh the old man gray
Loveth her ever soft voice,

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
Of the soft air, like a daughter's breath,-
Pray do not mock me so!

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 stain from its breath is spread
Over the glassy skies,

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,
Like the voice of one who crieth
In the wilderness alone,

“ 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 from Labrador,
The wind Euroclydon,

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!
Would the sins that thou abhorrest,
O soul! could thus decay,

And be swept away!

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