Feminine Grief and Sorrow.

("Pure tone:" "Subdued" force: "Median stress:" "High pitch:' "Semitone," throughout, and occasional "chromatic third."

[DEATH OF A CHILD AT SEA.]—Anonymous.

My boy refused his food, forgot to play,
And sickened on the water, day by day;

He smiled more seldom on his mother's smile;
He prattled less, in accents void of guile,
Of that wild land, beyond the golden wave,
Where I, not he, was doomed to be a slave;
Cold o'er his limbs the listless languor grew;
Paleness came o'er his eye of placid blue,
Pale mourned the lily where the rose had died;
And timid, trembling, came he to my side.
He was my all on earth. Oh! who can speak
The anxious mother's too prophetic woe,

Who sees death feeding on her dear child's cheek,
And strives, in vain, to think it is not so?
Ah! many a sad and sleepless night I passed,
O'er his couch, listening in the pausing blast,
While on his brow, more sad from hour to hour,
Drooped wan dejection like a fading flower!"

Manly Grief and Sadness.

("Effusive orotund:" "Subdued" force: "Median stress:" "Low pitch :" "Semitone" prevalent, with occasional "chromatic third.") [THE EXILE OF THE "FOREST SANCTUARY," RECALLING HIS WIFE'S VESPER HYMN AT SEA.]-Mrs. Hemans.

"Thy sad, sweet hymn, at eve, the seas along,

Oh! the deep soul it breathed! - the love, the woe,
The fervor, poured in that full gush of song,

As it went floating through the fiery glow

Of the rich sunset ! — bringing thoughts of Spain,
With all her vesper voices, o'er the main,

Which seemed responsive in its murmuring flow.

'Ave sanctissima!'- how oft that lay

Hath melted from my heart the martyr strength away!

'Ora pro nobis, mater!' -What a spell

Was in those notes, with day's last glory dying

On the flushed waters! - seemed they not to swell
From the far dust wherein my sires were lying,
With crucifix and sword?-Oh! yet how clear
Comes their reproachful sweetness to mine ear!

'Ora!'-with all the purple waves replying,
All my youth's visions rising in the strain ;-
And I had thought it much to bear the rack and chain!

Regret, Penitence, Contrition.

("Pure tone:" "Subdued" force: "Vanishing" stress: "Low pitch :" "Semitone," throughout, with occasional "chromatic third.")

[REFLECTIONS AND RESOLVE OF THE PRODIGAL SON.]

"How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants!"

Complaint.

("Aspirated pectoral quality:" "Impassioned" force: "Vanishing stress:" "Low pitch :" "Semitone" throughout, with occasional "chromatic third" and "fifth.")

[LAMENTATION OF JOB.]

"And now my soul is poured out upon me; the days of affliction have taken hold upon me. My bones are pierced in me, in the night season and my sinews take no rest. -He hath cast me into the mire; and I am become like dust and ashes. I cry unto thee, and thou dost not hear me: I stand up, and thou regardest me not. Thou art become cruel to me: with thy strong hand thou opposest thyself against me. Thou liftest me up to the wind; thou causest me to ride upon it, and dissolvest my substance. For I know that thou wilt bring me to death, and to the house appointed for all living!"

Condolence.

("Pure tone:" "Subdued" force: Gentle "vanishing stress :" "Middle pitch:" "Semitone," throughout, with occasional "chromatic third" and "fifth."

[CROMWELL, TO WOLSEY ON HIS DOWNFALL.]-Shakspeare.

“O my lord,

Must I then leave you? must I needs forego

So good, so noble, and so true a master?
Bear witness, all that have not hearts of iron,
With what a sorrow Cromwell leaves his lord. ·
The king shall have my service; but
my prayers
Forever and forever shall be yours!

Pathetic Supplication and Intercession.

("Effusive orotund:" "Subdued" force: "Median stress :" "Low pitch :" "Semitone," throughout, with occasional "chromatic third.") 1.- [KING HENRY VI. AT THE DEATH-BED OF CARDINAL BEAUFORT.]— Shakspeare.

"O Thou eternal mover of the heavens,
Look with a gentle eye upon this wretch !
Oh! beat away the busy, meddling fiend,
That lays strong siege unto this wretch's soul;
And from his bosom purge this black despair!"

Penitential Supplication and Entreaty.

"Pure tone, pectoral quality :" "Subdued" force: Soft, but earnest "vanishing stress:" "Very low pitch:" "Semitone," throughout, with occasional "chromatic third" and "fifth.")

[THE PSALMIST'S SELF-HUMILIATION AND CONTRITION.]

"Have mercy upon me, O God, according to thy loving kindness: according unto the multitude of thy tender mercies, blot out my transgressions! Wash me thoroughly from mine iniquity and cleanse me from my sin. For I acknowledge my transgressions; and my sin is ever before me. Against thee, thee only, have I sinned, and done this evil in thy sight. Hide thy face from my sins, and blot out all mine iniquities! Deliver me from blood-guiltiness, O God, thou God of my salvation!"

CULTIVATION OF PURE TONE.

[Our desire to render this manual conducive, as far as possible, to a perfect development of the voice, induced us to solicit the aid arising from the perfect discipline to which the organs are subjected, in the elementary practice of the art of music. Professor G. J. Webb, of the Boston Academy of Music, has, in compliance with our request, furnished the following directions for the cultivation of per

fect purity of tone, the want of which, in elocution, is a prevalent fault, both in public speaking and private reading.]

It is important that the pupil, at the very outset of vocal study, should have the ability of appreciating purity of tone. Unless he has some distinct perception of it; in other words, unless a model of pure tone has been formed in his own mind, all merely physical effort to acquire it will be likely to fail.

The practice of the scale in swelling tones, is chiefly relied upon by teachers of vocal music, for developing the voice, and for acquiring purity, mellowness, flexibility, and an adequate breadth of tone.

Immediately before singing each sound, breath should be taken so as completely to inflate the lungs; and after pausing an instant with the chest well expanded, the sound should commence with firmness, but with great softness, then gradually augmented to the loudest degree, succeeded by being as gradually diminished to the degree of force with which it began. Each tone should be prolonged from eighteen to twenty seconds.

This exercise, as a general rule, should be continued for about two months; singing the scale daily about four times.

In the delivery of the tones of the "chest register," the air ought to escape without touching the surfaces of the mouth; the tones of the "medium register," are best acquired by directing the air a little above the upper front teeth: in those of the "head register," the air is directed vertically

To adapt the above exercise to the Contralto and Bass voice, it must be transposed a third or fourth lower.

This mark

f

is designed to indicate the swelling

pp

-pp

tone; the double comma before each note, the place for breathing.

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