MISCELLANEOUS READINGS IN POETRY. To assist students in the attainment of Expression,-(the proper management of the voice and of the organs of speech, in combination with articulative distinctness, being familiarized by the first part of the Introduction, pages 18 to 78,)-marginal directions are inserted to suggest the proper spirit with which the various passages should be read. The poetical extracts are placed first; because experience has proved that the initiatory study of rhythmical reading has a most beneficial effect in imparting melody and variety to the irregular structure of the prosaic form. The mode of printing these introductory poetical extracts will be found useful in tending to destroy that measured monotony and unmeaning chant with which the unskilful reader associates the delivery of verse. A large portion of the poetry is, however, printed in the ordinary mode. I.-A PLEA FOR MERCY.-Shakspeare. ARGUMENTATIVE MANNER-MIDDLE TONE-EARNESTNESS-SLOW. THE quality of mercy is not strained; it droppeth, Exhortation. as the gentle rain from heaven upon the place beneath. It is twice bless'd; it blesseth him that Pleasure. gives, and him that takes: 'tis mightiest in the mightiest; it becomes the throned monarch better than his crown; his sceptre shows the force of temporal power, the attribute to awe and majesty, wherein doth sit the dread and fear of kings: but, mercy is above this sceptred sway; it is enthroned in the hearts of kings, it is an attribute to God him- Reverence. self; and earthly power doth then show likest God's, when mercy seasons justice. Therefore, Man, though Earnest advice. justice be thy plea, consider this,-that, in the course tion. of justice, none of us should see salvation. We do Solemn refleopray for mercy; and that same prayer doth teach us all to render the deeds of mercy. II. THE SEVEN AGES.-Shakspeare. NARRATIVE MANNER-IMITATIVE. rative. ALL the world's a stage, and all the men and women Serious narmerely players: they have their exits and their entrances; and one man, in his time, plays many Slight mimicry. 1Sulkily. Animation. parts; his acts being-Seven Ages. At first, the Infant, mewling and puking in the nurse's arms. And then, the whining School-boy, with his satchel and shining morning face; 'creeping, like snail, unwil2Languishingly. lingly to school. And then, the Lover, sighing like furnace, with a woful ballad made to his mistress' eyebrow. Then, a Soldier, full of strange oaths, and bearded like the pard; jealous in honour, sudden and quick in quarrel; seeking the bubble, reputation, even in the cannon's mouth. And then, the Justice, Mock gravity. in fair round belly with good capon lined, with eyes severe and beard of formal cut, full of wise saws and modern instances;-and so he plays his part. The sixth age shifts into the lean and slippered Pantaloon, with spectacles on nose and pouch on side; his youthful hose, well saved, a world too wide for his Slightly imita shrunk shank; and his big, manly voice, turning again to childish treble, pipes and whistles in the sound. Last scene of all, that ends this strange, eventful history, is-second childishness and mere oblivion; sans teeth, sans eyes, sans taste,--sans every thing! Seriously. tive. Solemnity. Reproach. Contempt. Upbraiding. Admiration. Reproach. Contempt. III.-SPEECH OF MARULLUS TO THE ROMAN MOB. Shakspeare. VEHEMENT EXPRESSION-LOUD-QUICK. WHEREFORE rejoice? That Cæsar comes in tri- his way that comes in triumph over Pompey's blood? IV.-HAMLET'S SOLILOQUY ON DEATH.-Shakspeare. ARGUMENTATIVE MANNER-LOW-MIDDLE TIME. 1 Anxiety. 2 Doubt. ness with an.. ness. To be?- -or not to be ?-that is the question:whether 'tis nobler, in the mind, to suffer the slings Affliction. and arrows of outrageous fortune-or, to take arms Courage. against a siege of troubles, and, by opposing, end them?To die?-to sleep-no more:-and, by a Thoughtfulsleep, to say we end the heart-ache, and the thousand mation. natural shocks that flesh is heir to-'tis a consum- Joy. mation devoutly to be wished! -To die-to sleep; Thoughtfulto sleep?-perchance to dream!-ay, there's the rub! Sad conviction for, in that sleep of death, what dreams may come, Apprehension. when we have shuffled off this mortal coil, must give us pause! There's the respect that makes calamity Conviction. of so long life! For, who would bear the whips and 4Indignation. scorns of time, the oppressor's wrong, the proud man's contumely, the pangs of despised love, the law's 5Anguish. delay, the insolence of office, and the spurns that patient merit of the unworthy takes-when he, himself, might his quietus make, with a bare bodkin? Who Contempt. would fardels bear, to groan and sweat under a weary life?—but that the dread of something after Deaththat undiscovered country, from whose bourn no traveller returns!-puzzles the will; and makes us Resignation. rather bear those ills we have, than fly to others Awe. that we know not of. Thus, Conscience does make Instruction. cowards of us all: and thus, the native hue of Resolution is sicklied o'er with the pale cast of Thought; and enterprises of great pith and moment,-with Solemnity. this regard,—their currents turn awry, and lose the name of action ! Fear. V.-SPEECH OF SATAN TO HIS LEGIONS.-Milton. VEHEMENT EXPRESSION-HIGH-LOUD-QUICK. PRINCES, potentates, warriors! the flower of heaven, Authority. once yours; now lost, if such astonishment as this can seize eternal spirits: or, have ye chosen this Irony. Anger. Warning. Reproach. Energy. place after the toil of battle to repose your wearied virtue, for the ease you find to slumber here as in the vales of heaven? Or, in this abject posture, have ye sworn to adore the Conqueror ?—who now beholds Cherub and Seraph rolling in the flood, with scattered arms and ensigns; till anon his swift pursuers from heaven-gates discern the advantage, and, descending, tread us down thus drooping; or, with linked thunderbolts, transfix us to the bottom of this gulf. Awake! arise! or be for ever fallen! Sorrowful narrative. Pity. Regretful remembrance Sorrow. Dislike. Pity. Joy. Narrative. Anxiety. Animation. Pleasure. Kind pity. Sorrow. VI. THE LAST MINSTREL.-PATRIOTISM.-Scott. NARRATIVE MANNER-PLAINTIVE EXPRESSION-MIDDLE TONE. THE way was long, the wind was cold, the Minstrel was infirm and old; his withered cheek, and tresses gray, seemed to have known a better day: the harp, his sole-remaining joy, was carried by an orphan boy: the last of all the bards was he, who sung of Border chivalry. For, well-a-day! their date was fled, his tuneful brethren all were dead; and he, neglected and oppressed, wished to be with them, and at rest. No more, on prancing palfrey borne, he carolled, light as lark at morn; no longer, courted and caressed, high-placed in hall, a welcome guest, he poured, to lord and lady gay, the unpremeditated lay; old times were changed-old manners gone a stranger filled the Stuarts' throne. The bigots of the iron time had called his harmless art— a crime: a wandering harper, scorned and he poor, begged his bread from door to door; and tuned, to please a peasant's ear, the harp, a king had loved to hear. He passed, where Newark's stately tower looks out from Yarrow's birchen bower: the Minstrel gazed with wishful eye-no humbler resting-place was nigh. With hesitating step, at last, the embattled portal-arch he passed; whose ponderous grate and massy bar had oft rolled back the tide of war, but never closed the iron door against the desolate and poor. The Duchess marked his weary pace, his timid mien, and reverend face; and bade her page the menials tell, that they should tend the old man well; for she had known adversity, though born in such a high degree; in pride of power, in beauty's bloom, had wept o'er Monmouth's bloody tomb. narrative. When kindness had his wants supplied, and the Pled old man was gratified, began to rise his minstrel pride; and he began to talk, anon, of good Earl Exultation. Francis, dead and gone; and of Earl Walter-rest him God!—a braver, ne'er to battle rode: and how full many a tale he knew of the old warriors of Buccleugh; and, would the noble Duchess deign to Confident listen to an old man's strain, though stiff his hand, his voice though weak, he thought, even yet,-the sooth to speak, that, if she loved the harp to hear, he could make music to her ear. en treaty. Pity. Joy The humble boon was soon obtained; the aged Kindness. Minstrel audience gained: but, when he reached the Perplexity. room of state, where she, with all her ladies, sat, perchance he wished his boon denied; for, when to tune his harp he tried, his trembling hand had lost Pity. the ease which marks security to please; and scenes, long past, of joy and pain, came wildering o'er his Vacancy. aged brain; he tried to tune his harp, in vain. Amid the strings his fingers strayed, and an Hesitation. uncertain warbling made; and, oft, he shook his hoary head. But when he caught the measure wild, the old man raised his face, and smiled; and lighted up his faded eye, with all a poet's ecstacy! increasing In varying cadence, soft or strong, he swept the sounding chords along; the present scene, the future lot, his toils, his wants, were all forgot; cold diffidence, and age's frost, in the full tide of soul were lost; each blank in faithless memory's void, Rapture. the poet's glowing thought supplied; and, while his harp responsive rung, 'twas thus the latest Minstrel sung: EARNESTNESS-LOUD TONE-TIME QUICKER. to BREATHES there the man, with soul so dead, who never Indignation. to himself hath said, This is my own, my native land!—whose heart hath ne'er within him burned, as Rapture. home his footsteps he hath turned from wandering on a foreign strand? If such there breathe, go-mark Contempt. him well; for him, no minstrel-raptures swell: high though his titles, proud his name, boundless his |