Timotheus,* placed on high, Amid the tuneful choir, With flying fingers, touched the lyre: The trembling notes ascend the sky, And heavenly joys inspire. The praise of Bacchus,† then the sweet musician sung,- Soothed with the sound, the king grew vain; Increase. Fought all his battles o'er again; And thrice he routed all his foes, and thrice he slew the slain! Narrative. The master saw the madness rise; Increase His glowing cheeks, his ardent eyes; And, while he heaven and earth defied, Ti-mo'the-us, one of the most celebrated lyric poets and musicians of antiquity. He flourished, both at the court of Philip, and of his son Alexander. ¡Bac'chus, in Greek mythology, the god of wine. t Haut boys, (ho boys,) wind instruments somewhat resembling the flute. With downcast look the joyous victor sat, The various turns of fate below; And, now and then, a sigh he stole, Narrative. The mighty master smiled, to see Soft and smooth. Softly sweet, in Lydian measures, Quick. Now strike the golden lyre again! Da-ri'us, the name or title of several Persian kinga. Loud. A louder yet, and yet a louder strain! Break his bands of sleep asunder, And rouse him, like a rattling peal of thunder Soft and full. Hark! hark! the horrid sound Has raised up his head, As awaked from the dead; And amazed, he stares around. Loud and quick. Revenge! revenge! Timotheus cries, — See the furies arise! See the snakes that they rear, How they hiss in their hair, And the sparkles that flash from their eyes! Slow and grave. Behold a ghastly band, Each a torch in his hand! These are Grecian ghosts, that in battle were slain, And, unburied, remain Inglorious on the plain. Loud and quick. Give the vengeance due To the valiant crew! Dignified. Behold, how they toss their torches on high! Thus, long ago, Narrative. Ere heaving bellows learned to blow, While organs yet were mute, Timotheus, to his breathing flute And sounding lyre, Could swell the soul to rage, or kindle soft desire. SECTION III. PERSONATION. PERSONATION implies those changes or variations of the voice necessary to represent two or more individuals as speaking. Personation is employed in reading dialogues, and other collo. quial compositions. These writings derive much of their force and beauty from the skillful application of this principle. The pupil, therefore, should exercise his ingenuity and discrimination in studying the characters of the speakers, from their language and other circumstances, in the same manner as he would if they were actually before him. RULE. Consider the condition, the feelings, and the temperament of the characters to be represented, and vary the voice in such a manner as best to per sonate them. EXERCISE. SCENE FROM "VIRGINIUS."-J. S. KNOWLES. [Virginia was the daughter of Lucius Virginius, a Roman centurion, and was betrothed to Lucius Icilius, one of the tribunes. Appius Claudius, a Roman decemvir, smitten by her beauty, employed Marcus Clau QUESTIONS. What is personation? In what kind of reading is personation employed? How may the characters of the speakers be studied? What is the rule for personation? dius to seize her as a slave, and deliver her over to him. Virginius, her father, being unable to recover her, seized a butcher's knife, and plunged it to her heart, exclaiming, "This is the only way, my child, to keep thee free and unstained!"] Lucius. Virginius! you are wanted In Rome. Virginius. On what account? Luc. On your arrival You'll learn. Vir. How is it something can't be told At once? Speak out, boy! Ha! your looks are loaded Luc. He is both safe and well. Vir. What then? What then?-tell me the matter, Lucius. Luc. I have said It shall be told you. Vir. Shall! I stay not for That "shall," unless it be so close at hand It stop me not a moment, - 't is too long Virginius; hear me with patience! I am patient. Luc. Your Virginia Vir. Stop, my Lucius! I'm cold in every member of my frame! If 't is prophetic, Lucius, of thy news, Give me such token as her tomb would, Lucius, I'll bear it better.- Silence. Luc. You are still |