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emotions; in pity, tenderness, and sorrow; and in acute pain, grief and fear.
The middle pitch is that of ordinary conversation, and is required in unemotional reading.
The pitch becomes lower in proportion to the gravity or solem. nity of a passage.
I. High Pitch.
Saying, “Now for a frölic! now for a lèap !
2. Iò, they còme, they còme,
Garlands for every shrine,
Bring ròses, pour ye wine!
Swell, swell the Dorian fùte
Through the blue triumphal sky,
The sons of vìctory!
3. Oh! then, I see Queen Màb hath been with you.
4. On, son of Cimon, bravely on, and Aristides just! Your names have made the field your own, your foes are
in the dust!
5. Hurrah for the sèa! the all-glorious sèa!
Its might is so wondrous, its spirit so free!
II. Middle Pitch. 1. A blind man would know that one was a gentleman and the other a clown by the tones of their voices.
2. A cobbler at Leyden, who used to attend the public disputations held at the academy, was once asked if he understood Làtin. “Nò,” replied the mechanic, “but I know who is wrong in the argument." "How?" inquired his friend. "Why, by seeing who is angry first.”
3. There is a tide in the affairs of men,
Which, taken at its flood, leads on to fòrtune;
4. I should say sincèrity, a deep, great, genuine sincerity, is the first characteristic of all men in any way herdic. Not the sincerity that călls itself sincere; ah! nd, that is a very poor matter indèed; a shallow, bràggart, conscious sincerity; oftenest self-conceit mainly. The Great Man’s sincerity is of the kind he cannot speak of, is not conscious of.
5. Friend, if some actor murder Hamlet's part,
No line supplies the Histrio's want of árt,
6. This is the forest primèval! The murmuring pines and the
hemlock, Bearded with moss, and in garments green, indistinct in the
twilight, Stand like Druids of eld with voices sad and prophètic, Stand like hàrpers hoar, with beards that rest on their
bòsoms. Loud from its rocky caverns the deep-voiced neighboring
òcean Speaks, and in accents disconsolate answers the wail of the
III. Low Pitch. 1. “Of old hast Thou laid the foundation of the earth; and the heavens are the work of Thy hands. They shall pérish, but Thou shalt endure; yea, all of them shall wax old like a gàrment; as a vèsture shalt Thou change them, and they shall be chànged: but Thou art the same; and Thy years shall have no end."
2. When all thy mercies, O my God,
My rising soul surveys,
In wonder, love and pràise.
3. The stars shall fade away, the sun himself
Grow dim with age, and Nature sink in yèars;
4. So live, that when thy summons comes to join
The innumerable caravan, that moves
IV. Very Low. 1. Hear the tolling of the bèlls
Iron bells ! What a world of solemn thought their monody compels !
In the silence of the night
How we shiver with affrìght
For every sound that floats
Is a groan.
2. 'Tis midnight's holy hour, and silence now
Is brooding, like a gentle spirit, o'er
3. Night, sable goddess ! from her ebon throne,
In rayless majesty, now stretches forth
4. Hùsh! the dèad-march wails in the people's ears,
The dark crowd moves, and there are sobs and tèars;
Ashes to ashes, dust to dust;
5. Still night ;-and the old church bell hath tolled,
With its swinging peal, the passing hòur,-
And it seems to say,
As it dies away,-
Solemnly sighs the far-spent knell.
TRANSITION. THE following exercises will be found useful in breaking up
monotony of style, and in giving a ready command of the voice. The pupil should acquire facility in making the changes of intonation indicated at the margin. The exercise is not withont use if practiced merely mechanically; but the true way, in this case as in all others, is for the reader to throw himself in sympathy with the sentiment expressed, that he may spontaneously give the requisite variety of vocal effect independently of the specific directions. 1. Soft.
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother nùmbers flows; Loud. But when loud surges sh ne sounding shore,
The hoarse rough verse should like the tòrrent ròar,
2. Slow. When Ajax strives some rock's vast weight to throw,
The line, too, làbors, and the words move slow; Quick. Not sò, when swift Camilla scours the plain, Flies o'er the unbending corn and skims along the
The combat dèepens. On, ye brave,
And charge with all thy chivalry!
Ah! few shall part where many mèet !
Shall be a soldier's sèpulcher.
4. Aspi- Lo, dim in the starlight their white tènts appear! rated. Ride sòftly! ride slowly! the ònset is near!
Mòre slowly! mòre softly! the sentry may hèar! Loud. Now fall on the foe like a tempest of fame!
Strike dòwn the false banner whose triumph were
shame! Strìke, strike for the true flàg, for freedom and fàme!