for its motto, +no such miserable interrogatory as,+What is all this worth?' +nor those other words Nof delusion and folly,+Liberty first, and Union afterwards': but êverywhere, spread all ôver, +/in characters of living light, 3, +/blazing on all its ample fôlds, --as it floats over the sea, and over the land, +-and in every wind under the whole heaven, 3, Athat other sentiment, dear to every true American heart, 3, + Liberty ând Union, now and forêver, -ône -and inseparable!

The vital principle involved in the true rendering of the two sentences above, is the strong contrast of positive against negative, of the things prayed for against the things deprecated. The negatives are correlated, and at the same time contrasted with the positives, by throwing them all into the melody. The positives all terminate with the assertive intonation of falling concretes, completing one of the three contours, ^, ^, ^,—according to the length of the group, the position of the dominant word, and its capabilities in the way of quantity and volume.

The referential clauses, 'now known and honored throughout the earth,' and 'dear to every true American heart,' have the outline, but there is no danger of their being mistaken

for negatives.

The opening clause should have a slowly, smoothly, gently, rising sweep, the accents monotone waves. The negative melodies of this sentence, as far as the second semicolon, should be clearly marked, but the last two clauses may be smoother and graver; the last word, 'blood,' inflected ̃, but not sharply, nor sharply stressed.

'Let their last feeble and lingering glance,' either alternate melody or strict monotone, the accents all waves of the second and on the same level.

'Rather' is the keynote of the positive intonations.

'Behold the gorgeous ensign of the Republic still full high advanced,' should be a climax contour, culminating on

'advanced'; the movement becoming animated, with quick, expulsive median stress and crescendo force and volume. The interruptive reference, 'now known,' etc., should be abated, but glowing with feeling; so strengthening, not impairing, the main clause. I have marked the next clause to rise higher to and at its close; but it may well be rendered on a lower range than that of the first clause, provided it is not suffered to lapse into feebleness, through lack of energy and volume. Emphasize both words of the phrase 'original luster', with falling-wave intonations, the adjective predominant.

The negatives following, should be read as an ascending series, ending at higher and higher pitch, and increasing gradually in force and volume, the terminal accents wellmarked. 'Bearing for its motto' is not negative, but introductory to all that follows, and so receives the simple rising sweep.

'Everywhere' resumes the positive melody. 'Ev-' is not the most accommodating syllable in the language for wide waves, but we must do the best we can with refractory material; the rest of the word should vanish downward. The three directly following phrases are amplification and emphatic repetition; and as nearly as possible should repeat the contour of 'everywhere', but successively higher and with growing energy. 'In characters if living light' gives opportunity for changing to distinctively bright vowel color and a transiently brisker movement.

heaven,' is

The circumstance, 'as it floats-whole best read, I think, as a series of monotone groups, rising successively a tone, and gathering force and volume as they rise. So read, the clause has a melody and impressiveness of its own, and does not disturb the unity of the interrupted series.

It is a matter of taste and judgment, and perhaps no less a matter of vocal capital, whether, beginning with the first

3, and running through the series, 3, 3, 3, to the end of the last 3, we increase in force and rise in pitch, or subside in both. The latter treatment is the more in harmony with the opening of the paragraph.

13. FROM THE QUARREL SCENE, JULIUS Caesar.

In the great Quarrel Scene, IV., iii., verbal form and motive are frequently at odds, and the reading must embody the motive; sometimes the motive itself is complex: so the Scene presents numerous occasions for the employment of opposed intonations.

So far as I have heard, Cassius's 'I an itching palm!' line 12, is read usually as a common question, with strong rising inflections and melody; but the reading does not convince. A better treatment, I think, would consist of a strong falling sweep, with falling inflections,-constituting the words a contemptuous denial. I prefer, however, to make the words deny and question in the same breath, by using the V contour; the first three words being a strong falling sweep, with falling inflections, and 'palm' completing the contour with a thorough-stress unequal rising wave.

'Chastisement!' line 17, involving the same mental and emotional motives, I read with the same outline, the first two syllables falling strongly, and the last sharply rising.

In Brutus's long, indignant question, beginning at the middle of line 21, I read 'supporting' with a sharp ▲ outline, interrupting the rising drift, to give the word a pointedly discriminating or even exclamatory value: Cæsar did not himself rob, but he supported,-i. e. countenanced-tolerated encouraged, robbers. In line 26, I read 'trash as may be grasped' as a strong falling sweep, with falling inflections, to express Brutus's utter disdain and condemnation of graft. 'Thus' rises sharply, to correlate the last clause with the interrogative drift.

'I am!' line 33, is usually read as a dogged affirmative, 'am' receiving a falling slide or wave. Lawrence Barrett, the best Cassius of the recent stage, gave 'I' an unemphatic falling concrete, and 'am' a strong thorough-stress unequal rising wave, the terminal rise being a full octave, at the same time advancing a menacing step, with threatening hands: so that the two words, 'I am!' were a clear prelude to his next speech,-'Urge me no more,' etc. He made it one of the finest speeches in the whole play.

'Is it possible?' line 38, is not an inquiry, but an exclamation of amazement and utter disbelief. It should accordingly be spoken as a wide falling sweep, with wide falling inflections on the accents. Force very much suppressed.

'Must I endure all this?' line 41, is rebellious repudiation and denial, and requires a wide falling sweep,-until the last word is reached, which should receive a strong rising slide or wave, expressive of Cassius's involuntary bending to Brutus's austere moral superiority. The whole line is notated on page 474, 'Opposed Intonations.'

In the interrogative series of Brutus's next speech, F read the first two clauses as rising sweeps, the pronoun: bearing the chief emphasis, and the second sweep stronger in force and volume and extending higher in pitch. 'I" of the third clause is the climax of force and pitch, its strong falling slide starting a falling sweep, that extends to and through 'testy', followed by a keen rise on 'humor.' So read, the last question gives vehement denial, vocally, to all three questions.

'Is it come to this?' line 50, is very like, and very unlike, 'Must I endure all this?' above. It should be read with falling sweep and inflections, and subdued force. 'This' completes the sweep, with an emphatic falling inflection. The question is Cassius's despairing recognition of the wreck of friendship.

'I durst not!' line 60, and 'What, durst not tempt him!' line 62, are alike in intention. Inquiry, with denial, is their interpretation. 'Durst,' in both cases, should be a strong falling slide, with impassioned radical stress. Be careful not to make the first 'durst' so strong that you cannot make the second stronger. In line 60, 'not' should have both rising skip and rising concrete, completing the rising-wave contour. In line 62, 'not' should have a falling inflection, completing the falling constituent of the rising-wave outline; and 'tempt him', with rising skip and rising sweep, forms the rising constituent. 'Durst' is vehement in force both times, but even violent in the repetition.

14.

BLENDED ASSERTION AND INQUIRY. I., Scene ii.

Horatio. Season your admiration for a while, With an attent ear, till I may deliver,

Upon the witness of these gentlemen,

Hamlet, Act

This marvel to you.

Hamlet.

For God's love, let me hear.

Horatio. Two nights together had these gentlemen, Marcellus and Bernardo, on their watch,

In the dead vast and middle of the night,

Been thus encountered. A figure like your father,
Arméd at point exactly, cap-a-pe,

Appears before them, and with solemn march

Goes slow and stately by them; thrice he walked
By their oppressed and fear-surprised eyes,

Within his truncheon's length; whilst they, distilled
Almost to jelly with the act of fear,
Stand dumb, and speak not to him.
In dreadful secrecy impart they did;

This to me

And I with them the third night kept the watch;
Where, as they had delivered, both in time,

Form of the thing, each word made true and good,
The apparition comes. I knew your father;
These hands are not more like.