Not a minute more to wait!

"Steer us in, then, small and great!

Take the helm, lead the line, save the squadron !" cried its chief. Captains, give the sailor place!

He is admiral, in brief."

Still the North wind, by God's grace,

See the noble fellow's face

As the big ship, with a bound,

Clears the entry like a hound,

Keeps the passage as its inch of way were the wide sea's profound.

There was, is understood before "Not a minute" in the first line. In the first, sixth, seventh, eighth, ninth and tenth lines, it is the poet himself who speaks; in the second, third, fourth and fifth, it is Damfreville. Though allowable, it is better to have no emphasis on "helm," line," or "squadron," since Hervé Riel had already said that he would take the helm and lead the line, and "most and least" implies the squadron. Prolong "save" in the third line. The tone in the fourth and first part of the fifth line should be louder, as if giving the word of command. Make this phrase a little lower in pitch, and the sixth line still lower. Give the seventh with spirit; raise the voice to challenge attention and arouse enthusiasm. In the last line, give strong emphasis to "inch," less strong to "sea's ;"" wide sea's profound" should be lower in pitch. Make the whole of the tenth line strong.

See, safe through shoal and rock,

How they follow in a flock.

were the

Not a ship that misbehaves, not a keel that grates the ground,

Not a spar that comes to grief!

The peril, see, is past,

All are harbored to the last,

And just as Hervé Riel hollas, "Anchor !"-sure as fate,
Up the English come, too late.

Give the first line fast. The second line expresses: See how they follow, flocking after. In line third, the emphasizing "not," both times, implies just as he said. In the fourth line, "spar" is emphasized, as it has rot been mentioned before; "to the last," "sure as fate," "too late," in the last three lines are lower in pitch. "An

chor," in the seventh line, is higher. The seventh line is too much like prose; it can be scanned only in this way: "And just as Hervé Riel hollas' Anchor !'"

So the storm subsides to calm;

They see the green trees wave

On the heights o'erlooking Grève ;
Hearts that bled are stanched with balm.
"Just our rapture to enhance,

Let the English rake the bay,
Gnash their teeth and glare askance
As they cannonade away!

'Neath rampired Solidor pleasant riding on the Rance!"
Now hope succeeds despair on each captain's countenance !

The fourth line should be given in a soft tone, and in lower pitch, the fifth to the eighth lines should be higher and louder. In the ninth line, after "pleasant riding," of a vessel at anchor is understood.

Out burst all with one accord,

"This is Paradise for hell!

Let France, let France's king,

Thank the man that did the thing!"

What a shout, and all one word,

"Hervé Riel!"

As he stepped in front once more,
Not a symptom of surprise

In the frank blue Breton eyes,
Just the same man as before.

In the fifth line, "what a shout" should be lower in pitch. In the sixth line, suggest the shouting of many voices at a distance. The seventh line should be given with the bend, because it depends on what follows. There was, is understood before "Not a symptom," etc. (eighth line).

Then said Damfreville, "My friend,

I must speak out at the end,

Though I find the speaking hard;

Praise is deeper than the lips;
You have saved the king his ships,

You must name your own reward.

'Faith, our sun was near eclipse!
Demand whate'er you will,

France remains your debtor still.

Ask to heart's content and have! or my name's not Damfreville."

In the second line, "at the end" means at last. The partial close should come on “hard,” “lips” and “eclipse” in the third, fourth and seventh lines. "Ships" and "will," in the fifth and eighth lines, should be given with the bend. The fifth line should express intense feeling. The sixth line should be lower in pitch, the seventh higher and louder, the ninth lower. The first two clauses in the tenth line should be louder and higher, the last lower in pitch. The eighth and ninth lines express: Whatever you ask, you can't ask enough.

Then a beam of fun outbroke

On the bearded mouth that spoke,
As the honest heart laughed through
Those frank eyes of Breton blue:
"Since I needs must say my say,

Since on board the duty's done,

And from Malo Roads to Croisic Point, what is it but a run ?— Since 'tis ask and have, I may—

Since the others go ashore

Come! A good whole holiday!

Leave to go and see my wife, whom I call the Belle Aurore!" That he asked, and that he got-nothing more.

Give Hervé Riel's answer in the tone of an old sailor. The partial close should come on "blue," "holiday," "Belle Aurore" and "got" in the fourth, tenth, eleventh and twelfth lines. "Say," “done,” “run," "may," "ashore" in the fifth, sixth, seventh, eighth and ninth lines, and "asked" in the twelfth line, are given with the bend. The seventh line is lower in pitch. "What is it but a run" means Oh, it's not much, only a run. In the twelfth line, "and that he got" should be lower in pitch; still lower.

Name and deed alike are lost;

Not a pillar nor a post

nothing more,"

In his Croisic keeps alive the feat as it befell;

Not a head in white and black

On a single fishing-smack,

In memory of the man but for whom had gone to wrack

All that France saved from the fight whence England bore the

bell.

In the first line, emphasis may be deferred from "name" and "deed" to "alike." In the third line, “as it befell" should be lower in pitch. In the last line, "bore the bell" means gained the victory. There should be no emphasis here on “France,” because she is (so to speak) one of the principal personages in the poem, and is kept in view throughout.

Go to Paris; rank on rank

Search the heroes flung pell-mell

On the Louvre, face and flank;

You shall look long enough ere you come to Hervé Riel.
So, for better and for worse,

Hervé Riel, accept my verse!

In my verse, Hervé Riel, do thou once more

Save the squadron, honor France, love thy wife, the Belle Aurore! Emphasis may be deferred from "heroes" in the second line to "Louvre" in the next, or not, as preferred. In the third line, "face and flank" should be lower in pitch. The fifth line should be given in a soft tone, the sixth should be lower in pitch, the seventh stronger in tone; either emphasis or stress may fall on once more," but the latter is better. The last two lines mean again and again repeat this noble act. The idea is clear enough, but not its expression. In the last line, "Save the squadron" should be lower, "honor France" higher, "love thy wife" lower, "the Belle Aurore" still lower in pitch. It is better to let the emphasis fall on "wife" rather than defer it to "Belle Aurore," and to bring in the latter as an after thought following a long ellipsis.

APPENDIX II.