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bates to an incurable resentment the minds of your enemies, to overrun them with the sordid sons of rapine and of plunder, devoting them and their possessions to the rapacity of hireling cruelty. If I were an American, as I am an Englishman, while a foreign troop was landed in my country, I NEVER would lay down my arms! never! never! never !”
Pro. In order to acquire strength in the middle sones, it is well to practice the voice in passages like the preceding, and some from Cicero's speeches, preserving all the energy of which we are capable in the middle range, but not suffering the voice to rise to a very high pitch. Here is something in a different vein; but, in the delivery, the voice should be in the middle pitch, and have an orotund smoothness and purity of tone:
“ I care not, Fortune, what you me deny;
You can not rob me of free Nature's grace;
The woods and lawns, by living stream, at eve.
And I their toys to the great children leave : Of fancy, reason, virtue, naught can me bereave!” Byron's Apostrophe to the Ocean affords a good xercise in orotund delivery. Select, now, a passage to suit your own taste.
Stu. I will read Job's noble description of the war. horse, – taking Noyes's translation:
“ Hast thou given the horse strength ?
The flaming spear, and the lance.
The thunder of the captains, and the war-shout.” Pro. The reply of Grattan to Corry furnishes the following impassioned example:
“The right honorable gentleman has called me an unimpeached traitor.' I ask, why not traitor,' unqualified by any epithet? I will tell him : it was because he dare not! It was the act of a coward, who raises his arm to strike, but has not courage to give the blow! I will not call him villain, because it would be unpar. liamentary, and he is a privy councilor. I will not call him fool, because he happens to be Chancellor of the Exchequer. But I say he is one who has abused the privilege of Parliament, and the freedom of debate, to the uttering language which, if spoken out of this House, I should answer only with a blow! I care not how high his situation, how low his character, how contemptible his speech ; whether a privy councilor or a parasite, - my answer would be a blow!"
Portia's celebrated address, from Shakspeare's Merchant of Venice, affords one of the most beautiful exercises in the language for a pure orotund delivery, in middle pitch, unbroken by passion. It can not be too often and carefully practiced:
* The quality of mercy is not strained;
It droppeth as the gentle rain from heaven
When mercy seasons justice : therefore, Jew,
The deeds of mercy.” But we have now to consider the question of low pitch. “There are few voices,” says Walker, “so perfect as to combine the three ranges, or, in other words, a full compass of voice; those which have a good lower range often wanting an upper range, and those which have a good upper range often wanting a lower range. Care should be taken to improve that part of the voice which is most deficient." The following beautiful passage, from Coleridge's translation of Schiller's “ Wallenstein,” presents an example for practice. It begins in quite a low pitch, in the tone — almost a whisperof tearful anguish and despondency; but at the eighteenth line the voice rises; and the twentieth and twenty-first lines should be delivered in the high pitch of abandonment to an overmastering sentiment of enthusiasm and regret:
“ He is gone - is dust!
He, the more fortunate! yea, he hath finished !
This anguish will be wearied down, I know ;-
For, O! he stood beside me, like my youth,-
The beautiful is vanished — and returns not.” Stu. There is a well-known poem, by James Shirley, which seems to me to afford an example of low pitch:
“ The glories of our blood and state
Are shadows, not substantial things ;
Must tumble down,
With the poor crook'ed scythe and spade.” Pro. The closing sentences from the address of the young and gifted Robert Emmett, who was hung, in 1803, in Dublin, having been convicted of high treason against the British crown, afford another appropriate example of low pitch:
“I am going to my cold and silent grave. My lamp of life is nearly extinguished. My race is run. The grave opens to receive me, and I sink into its bosom! I have but one request to ask, at my departure, from this world ; — it is the charity of its silence. Let no man write my epitaph; for, as no man who knows my motives dare now vindicate them, let not prejudice or ignorance asperse them. Let them and me repose in obscurity and peace, and my tomb remain uninscribed, until other times and other men can do justice to my character. When my country takes her place among the nations of the earth,- then, and not till then, — let my epitaph be written! I have done.”
Stu. Thomas Moore's lines, on the death of the same Robert Emmett, are in a like subdued strain:
“O! breathe not his name ; let it sleep in the shade,
But the night-dew that falls, though in silence it weeps
Shall long keep his memory green in our souls.”
" Night, sable goddess ! from her ěbon throne,
An awful pause, prophetic of her end."
Pro. A monotone is intonation without change of pitch; that is, a fullness of tone without ascent or descent on the scale. The following passage, from Milton, exemplifies the tone:
“ High on a throne of royal state, which far
Outshone the wealth of Ormus or of Ind, -
Satan exalted sat." The tone is often appropriate in solemn and sublime descriptions; and there are many passages in the Book of Job in which it may be employed with suitable effect; as in the following:
“ Fear came upon me, and trembling,