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Give the first “howl” in as low pitch as possible, the second, a little higher (both with very strong emphasis). Any interjection expressing greater feeling should rise in pitch. The rest of the line should be lower in pitch. Give the second line with great fervor, the third, fourth and fifth lines with pathos, in a softer tone. Rise in pitch with the last two lines. End the second line with the perfect close; give the last two with the rising slide, expressing pathos.
For there shall come a mightier blast;
There shall be a darker day;
Christe, Eleyson ! Give the first four lines with great force. Make the second line lower, the third higher, and the fourth again lower in pitch. Rise in pitch with the fifth, and still higher with the sixth line. End the second line with the partial, the fourth line with the perfect, close. Give the last two lines with the rising slide, and in a pleading tone. The wind takes the words up like an organ. They are a prayer also, and express the natural voice of humanity.
“Kyrie, Eleyson,” Lord, have mercy! "Christe, Eleyson,” Christ, have mercy. Pronounce, Kērēā Elīson, Christā Elīson.
BY JOIN DRYDEN.
'Twas at the royal feast, for Persia won
Aloft, in awful state,
The godlike hero sat
His valiant peers were placed around,
So should desert in arms be crowned.
Happy, happy, happy pair !
None but the brave,
There is a slight emphasis on “royal feast,” a stronger one on "Persia,” in the first line. Begin to go straight down from “ Aloft” in the third, to “throne" in the fifth line. Partial close comes on “throne,” because this sentence really forms with the next a loose sentence. Partial close also on bound” in the seventh, on “bride" (because of the strong emphasis) in the tenth, and on “brave” (strongly emphasized) in the thirteenth line. In the eleventh line, "pride” is slightly emphasized. Give the last four lines in a tone of exultation. In the twelfth line, rise in pitch with the second “happy," descend with the third. In the next two lines, rise; in the last, descend in pitch.
Timotheus, placed on high
Amid the tuneful choir,
With flying fingers touched the lyre.
And heavenly joys inspire.
When he to fair Olympia pressed,
With ravished ears
Affects to nod,
emphasis on “Jove" in the sixth and on "love" in the eighth line, stress on “Such,” slight emphasis on “ dragon,” strong emphasis on “belied” in the ninth line, and on “A present deity” in the fourteenth and fifteenth lines. The first “ A present deity” is loud, the second is softer, like an echo. They shout around,” in the fourteenth line, is merely a circumstance. There is a slight emphasis on “roofs” in the fifteenth, and on "god" in the eighteenth line.
The praise of Bacchus, then, the sweet musician sung,
The jolly god in triumph comes !
Bacchus, ever fair and young,
Bacchus' blessings are a treasure ;
Sweet the pleasure ;
Sweet is pleasure after pain. “Then” in the first line is merely a circumstance. In the seventh line, give the first “Comes” in higher, and the second in still higher pitch. There should be a short pause after “sweet” and after “is” in the last line; give the line in a soft tone.
Soothed with the sound, the king grew vain,
Fought all his battles o'er again;
The master saw the madness rise,
Ilis glowing cheeks, his ardent eyes; And while he heaven and earth defied, Changed his hand, and checked his pride,
He chose a mournful muse
Soft pity to infuse.
By too severe a fate,
Fallen from his high estate,
Deserted at his utmost need
With downcast look the joyless victor sat,
The sixth to the ninth lines form really a compact sentence, both the sixth and seventh given with the bend. If a semicolon instead of a comma, is preferred after “pride” in the seventh line, then should be understood before "changed,” and both “changed” and “checked” emphasized slightly. Beginning with the tenth line, descend in pitch by grades through the two following lines, the voice growing softer. With the fifth “fallen” rise a little in pitch, and connect it with what follows. Give the eighteenth line in a very soft tone. In the twenty-first line “below” should be a little more strongly emphasized than " chance.”
The mighty master smiled, to see
Softly sweet in Lydian measures,
is toil and trouble ; Honor, but an empty bubble ; Never ending, still beginning, Fighting still, and still destroying.
If the world be worth thy winning, Think, oh! think it worth enjoying !
Lovely Thais sits beside thee;
Tuke the good the gods provide thee.
The prince, unable to conceal his pain,
And sighed and looked; sighed and looked ;
Sighed and looked ; and sighed again ;
The vanquished victor sunk upon her breast. “ Smiled” in the first line would take the bend if it were not too closely connected with what follows; it is very slightly emphasized. The third line is given with the bend because the related sequel follows. There is strong emphasis on "love" in the second, slight on "love" in the fourth line. From the fifth to the tenth line, vary the pitch. The clauses—“ Never ending, still beginning, Fighting still, and still destroying " form a series ; deser emphasis to the last. Each of the first three is given with a slight bend. The eleventh and twelfth lines form a compact sentence, then being understood before “Think.” In the sixteenth line, defer emphasis from “won” to “cause.” In the seventeenth, defer the bend from prince” to
pain" (end of descriptive clause). If“ prince” had been strongly emphasized, the bend would not have been deferred. In the twentieth and twenty-first lines, give each “sighed and looked” with the bend.
Now strike the golden lyre again ;
Hark! hark! the horrid sound
And amazed he stares around.
See the snakes that they rear,
How they hiss in their hair,
Behold a ghastly band,
Each torch in his hand !
And unburied, remain,