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Thou wast not born for death, immortal bird,–*
No hungry generations tread thee down;
In ancient days by emperor and clown':
Through the sad heart of Ruth, when, sick for home,
The same that ofttimes hath
1. Hasten. 2. Shore. 3. Money. (To p. 67.)
1. With no centre for his thoughts and feelings but himself. 2. Lose. 3. In prose, Sir Walter Scott would have written sprang. 4. It would be. 5. Cry of pain. 6. Steward a man of means who dispenses his wealth as being held by him in trust for God. (To p. 68.)
1. Agricultural labourer. 2. Alien-foreign. 3. Window casements in lands where magicians and magic are at home. 4. Deserted by ordinary human folk. (To p. 69.)
* This stanza is from Keats's Ode to a Nightingale; and in the poem he imagines that the nightingale never dies, but has power-through her power of song-to live for ever.
INTERJECTIONAL OR EXCLAMATORY STATEMENTS.
THESE statements are still more impassioned, and in a more excited key, than the questions of appeal. The "rising inflection” is therefore predominant; and the main point to be observed the chief difficulty to be got over-is to settle on what word this inflection ought to culminate. An indiscriminate raising of the voice becomes mere “spouting," which destroys all right feeling in the listener, and therefore defeats its own object. The reader must try never to forget that he is addressing an object; but he must and ought at the same time to forget the presence of any listeners in the room-he must have his mind full of the object he is supposed to be speaking to. 1. “Come back! come back!” he cried in grief,
“ Across this stormy water?;
My daughter!-O my daughter!"
Art thou not Rustum ? Speak! art thou not he? 3.
Farewell, happy fields,
Infernal world ! 3 4.
Awake! arise! or be for ever fallen ! 4 5. How beautiful upon the mountains are the feet of him that
bringeth good tidings ! 5 6.
I abjure all roofs !* 7.
O sacred rest! Sweet pleasing sleep! of all the powers the best! * This is said by King Lear, when his madness is beginning. He thinks that under some roof or other, one of his undutiful daughters may be found.
INTERJECTIONAL OR EXCLAMATORY STATEMENTS.
O peace of mind! repairer of decay,
Which love makes for thee!
The wild bird joys your opening bloom to see,
Let me chase thy waving lines;
Darkness and light!
For rest the night;
Slumber sweet Thy mercy send us,
TO THE RAINBOW. 14.
How glorious is thy girdle cast
CAMPBELL. A SUMMER EVENING. 15. How fine has the day been, how bright was the sun,
How lovely and joyful the course that he run,
the fair traveller's come to the west,
DR. WATTS. RAIN IN SUMMER. 16.
How beautiful is the rain !
1. The loch, or arm of the sea which the two runaways were crossing. 2. Of heaven. 3. These lines are uttered by Satan, after he has been cast down. 4. This is the last line of Satan's address to the fallen angels. 5. News. 6. Anxiety produces sleeplessness. 7. Spoken to the daisy. 8. Secure-used here in the old sense of free from care. 9. The stars and planets, which were believed to make celestial music. 10. Spoken to the flowers. (To p. 70 and 71.)
This kind of statement might have been classed under the head of Level Affirmative. But the books on "elocution” all agree in stating that a simile ought to be read in a lower tone, and at a quicker pace, than the rest of the statement. This direction, if mechanically and unthinkingly obeyed, might produce bad reading. The right direction to be given here is, that the pupil should have a due sense of the proportion which the simile bears to the chief statement; and, as the simile can never be equal to the chief statement, that proportion must be fractional or inferior. (No. 9 is an exception to this general view.)
Before reading these sentences aloud, would be well to have the similes explained and questioned upon. 1.
Blue were her eyes as the fairy flax,
Her cheeks like the dawn of day,
That ope in the month of May." 2.
Thy dress was like the lilies,
And thy heart as pure as they;
Did walk with me that day.
As those move easiest who have learnt to dance. 4. The illusion that great men and great events came oftener in early times than now, is partly due to historical perspective. As in a range of equi-distant columns, the farthest off look the closest;
the conspicuous objects of the past seem more thickly clustered the more remote they are.