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"Tell me not, in mournful numbers.”
The cæsura here comes after "not":
“Tell me not || in mournful numbers.”
Notice how the sense would be changed by putting the cæsura after 6 me."
1. Regularity, necessities, scanning, melody, harmony, require, rhythm, cæsura, imaginary, harmonious, rhetorical.
2. Did Ella read the stanza right? Write it, mark the pauses and the words you would emphasize if it were 'prose, and read it aloud. If you wished to tell what were ringing, which word would you emphasize in the first line? If you wished to call attention to the kind of bells, which word would you emphasize? If you wished to tell what the bells were doing, which word would you emphasize? Did you ever notice that the music sometimes is not suited to bring out the beauty of the stanza sung? Which of the following measures is better adapted to the words?
VIII. THE LION-KILLER.
1. The older people of Tunis, in Africa, often talk of the wonderful exploits of a lion-killer who was famous there forty years ago. The story is this, and it is said to be entirely true :
2. The lion-killer was called the Sicilian because his native country was Sicily, and, as the people of Tunis were mostly Mohammedans, he was known as the Christian. He was also called Herakles, on account of his strength. He was not built like Herakles, however; he was tall and finely proportioned, but nothing in his figure betrayed his powerful muscles. He performed prodigies of strength with such ease as to astonish all who saw them.
3. His part of the business, in connection with a traveling show company that visited Tunis, was not simply to perform feats that would show his great strength, but also to represent scenes by pantomime so that they would appear to the audience as if the real scenes were being performed before their
very eyes. In one of these scenes he showed the people how he had encountered and killed a lion with a wooden club in the country of Damascus. This is the manner in which he did it.
4. After a flourish of trumpets the Sicilian came upon the stage, which was arranged to represent an arena and had palm trees in the middle. He was
handsomely dressed in a costume of black velvet, trimmed with silver braid, and, as he looked around upon the audience with a grave but gentle expression, and went through with the Arabian salutation (which was to carry his right hand to his heart, mouth, and forehead), there was perfect silence—so charmed were the people with his beauty and dignity.
5. Then an interpreter said, “ The Christian will show
you how, with his club, he killed a lion in the country of Damascus.”
6. Immediately following this there came another flourish of trumpets and a striking of cymbals, as if to announce the entrance of the lion. Quickly the Sicilian sprang behind one of the three palms, whence to watch his enemy. With an attentive and resolute eye, leaning his body first to the right and then to the left of the tree, he kept his gaze on the terrible beast, following all its movements with the graceful movements of his own body so naturally and suitably as to captivate the attention of the spectators.
7. “ The lion surely is there !" they whispered. “We do not see him ; but he sees him! How he watches his least motion! How resolute he is! He will not allow himself to be surprised !"
8. Suddenly the Sicilian leaps; with a bound he has crossed from one palm tree to another, and with
a second spring has climbed half-way up the tree, still holding his massive club in his hand. One understands by his movements that the lion has followed him, and, crouched and angry, stops at the foot of the tree.
9. The Sicilian, leaning over, notes the slightest change of posture; then, like a flash of lightning, he leaps to the ground behind the trunk of the tree. The terrible club makes a whistling sound as it swings through the air, and the lion falls to the ground.
10. The scene was so well played that the wildest applause came from all parts of the audience. Then the interpreter came in, and, throwing at the feet of the Herakles a magnificent lion's skin, cried, “Behold the skin of the lion that the Christian killed in the country of Damascus !"
11. The fame of the Sicilian at length reached the ears of the Bey of Tunis. The royal dignity of the reigning prince would not allow him to be present at exhibitions given to the common people, but finally, having heard so much of the handsome and strong Sicilian, he became curious to see him, and said,
12. “ If this Christian has killed one lion with a club, he can kill another. Tell him that if he will knock down my grand lion with it, I will give him a thousand ducats”-a large sum in those days, the
ducat being about equal in value to the American dollar. 13. At this time the Bey had several young
lions that ran freely about in the courtyard, or garden of his palace; and in a great pit entirely surrounded by a high terrace a superb Atlas lion was kept in royal captivity. It was this lion that the Bey wished the Sicilian to meet in combat. The sition was accepted without hesitation and without boasting
14. The contest was to take place a week from that time, and the announcement of a duel between the Sicilian and the grand lion spread even to the borders of the desert. Every one, old and young, desired to be present, and the people were to be freely admitted to the garden of the Bey, where they could witness the combat from the top of the terrace,—the Bey himself looking on from the window of his palace.
15. During the week that intervened, the Sicilian performed every day in the show instead of two days a week as had been his custom. Never had he been more calm, graceful, and fascinating in his performances. The evening before the eventful day, he repeated his pantomime of victory over the lion near Damascus with so much precision as to elicit round after round of enthusiastic cheers. Every one who had seen him pretend to kill a lion was