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III. Slow. 1. Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlàsting, thou art Gòd.
2. O ye loud waves! and 0 ye forests high!
And 0 ye clouds that far above me soared !
Yea, everything that is and will be free!
3. I would invoke those who fill the seats of jústice, and all who minister at her àltar, that they execute the wholesome and necessary severity of the làw. I invoke the ministers of our religion, that they proclaim its denunciation of these crimes, and add its solemn sanctions to the authority of hùman laws. If the pulpit be sílent, whenever or whèrever there may be a sinner, bloody with this guilt, within the hearing of its voice, the pulpit is false to its trust.
4. Slow, slow! toll it low,
As the sèa-waves break and flow;
IV. Very Slow.
All space doth óccupy, all motion guide;
Thou only God! There is no God beside.
2. Wide as the world is His command,
Vast as eternity His love;
When rolling years shall cease to mòve.
3. Here, then, is a support which will never fàil; here is a foundation which can never be mòved,—the everlasting Creator of countless worlds, “the high and lofty One that inhabiteth etèr. nity.” What a sublime conception! He inhabits eternity, óccupies this inconceivable duration, pervades and fills throughòut this boundless dwelling.
FORCE. НЕ degree of force or loudness required in reading depends
upon the space to be filled by the reader's voice or the distance it must reach; upon the number of persons presumed to be addressed, and upon the emotion expressed.
What is wanted in every-day use of the voice, in the schoolroom or elsewhere, is a clear tone and easy, natural utterance. The practice of loud and sustained tones is an excellent means of improving the voice, but is to be the exception, not the rule, in ordinary reading. Yet the softest tone must be elastic and full of life. To be natural it is not necessary to be dull.
Falls from the wings of Night,
From an eagle in his flight.
2. “How sweetly,” said the trembling maid,
Of her own gentle voice afraid-
To-night upon yon leafy isle!"
3. I delighted to loll over the quarter-railing, or climb to the main-top, of a calm day, and muse for hours together on the tranquil bosom of a summer's sea; or to gaze upon the piles of golden clòuds just peering above the horizon, fancy them some fairy realms, and people them with a creation of my own; or to watch the gentle undulating bìllows rolling their silver volumes, as if to die away on those happy shores.
4. How still the morning of the hallowed dày!
Mute is the voice of rural labor, hushed
5. See how beneath the moonbeam's smile
Yon little billow heaves its breast,
And murmuring then subsides to rest.
Thus màn, the sport of bliss and care,
Rises on tíme's eventful sea,
Thus melts into eternity.
II. Moderate Force. 1. If we look to what the wáters produce, shoals of the fry of fish frequent the margins of rívers, of lákes, and of the sea itself. These are so happy that they know not what to do with themselves. Their attitudes, their vivacity, their leaps out of the water, their frolics in it, all conduce to show their excess of spìrits, and are simply the effects of that excess.
2. People talk of liberty as if it meant the liberty of doing what a man likes. The only liberty that a man worthy the name of a man ought to ask for, is to have all restrictions, inward and outward, removed, to prevent his doing what he òught.
3. Once inore: speak clearly, if you speak at all;
Carve every word before you let it fàll;
4. Exert your tàlents and distinguish yourself, and don't think of retiring from the world until the world will be sorry that you retire. I hàte a fellow whom pride, or cowardice, or laziness, drives into a corner, and who does nothing when he is there but sit and growl. Let him come òut as į do, and bàrk.
5. Do not look for wrong and evil
You will find them if you dó;
He will measure back to you.
Look for goodness, look for gladness,
You will meet them all the while;
To the gláss, you meet a smile.
It is done!
How the bèlfries rock and réel !
How the great gùns, peal on peal,
2. The storm is out; the land is ròused;
Where is the coward who sits well hòused ?
Forth in the vàn,
Man by màn!
3. Hò, trumpets, sound a wàr-note!
Hò, lictors, clear the way!
Along the streets to-day.
IV. Very Loud.
Let the portcullis fall!
2. Call the watch! call the watch !
“Hò! the starboard watch ahoy!”
3. Forward, the light brigade!
Charge for the gùns !
4. They strike! hurràh! the fort has surrendered !
Shòut! shout! my warrior boy,
Is the shout.
PITCH, OR MODULATION.
The proper modulation of the voice is one of the most im
portant elements of expression. In nothing is a reader's good taste more manifest than in his adaptation of pitch and quality of tone to every different shade of thought and emotion. There can be no expressive reading without such variation. The most musical voice becomes monotonous when continued in one unvarying pitch.
Nothing but an appreciation of the sentiment can be a correct guide to the application of these tones. But the broader distinctions may be indicated as follows:
A high pitch is used in the expression of light and joyous