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And all the men and women merely players :
They have their éxits and their entrances;
And one man in his time plays many parts,
His ácts being seven àges. At first, the Infant,
Mewling and puking in the nurse's arms.

And then, the whining School-boy, with his satchel,
And shining morning fáce, creeping like snail
Unwillingly to school. And then, the Lòver,
Sighing like furnace, with a woful ballad
Made to his mistress' eyebrow. Then a Soldier,
Full of strange daths, and bearded like the pàrd,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation

Even in the cannon's mouth. And then, the Justice,
With eyes sevère, and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part. The sixth age shifts
Into the lean and slippered Pantaloon,
With spectacles on nóse, and pouch on side;
His youthful hóse, well sáved, a world too wide.
For his shrunk shank; and his big manly voice,
Turning again toward childish tréble, pipes
And whistles in his sound. Last scene of áll,
That ends this strange eventful history,

Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans túste, sans èverything.

SHAKESPEARE.

8. BURIAL OF SIR JOHN MOORE.

Not a drum was heard, not a funeral nòte,
As his corse to the rampart | we hurried;
Not a soldier | discharged his farewell shòt
O'er the grave | where our hero | we buried.

We buried him darkly, at dead of night,
The sods with our bayonets turning;
By the struggling moonbeam's misty light,
And the lantern | dimly burning.

No useless cóffin | inclosed his breast,

Not in sheet | nor in shroud | we wound him;
But he lay | like a warrior taking his rèst |
With his martial clòak | around him.

Féw and short | were the prayers we said,
And we spoke not a word of sorrow,
But we steadfastly gazed on the face of the dead,
And we bitterly thought of the mòrrow.

We thought, as we hollowed his narrow béd,

And smoothed down his lonely pillow,

That the foe and the stranger | would tread o'er his head, And wé far away on the billow!

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Lightly they'll talk of the spirit that's gone,
And o'er his cold ashes | upbráid him,—

But nothing he'll reck, if they let him sleep on |
In the grave where a Briton | has laid him.

But half of our heavy task | was done |

When the clock | struck the hour for retiring; And we heard the distant and random gún | That the foe was sullenly firing.

Slowly and sadly | we laid him down,

From the field of his fame | fresh and góry; We carved not a line, and we raised not a stone, But left him alone with his glory.

CHAPTER II.

FORCE AND STRESS.

SECTION I.

FORCE OF VOICE.

1. Force of utterance relates to the degree of loudness or intensity of voice.

2. The three main divisions of force are soft, moderate, and loud. These, for convenience, may be subdivided as follows: (1) Very soft (corresponding to pianissimo in music). (2) Soft (piano). (3) Moderate (mezzo-forte). (4) Loud (forte). (5) Very loud (fortissimo).

3. The general rule of force is, to read with an intensity appropriate to the thoughts or emotion to be expressed, and with a power or strength of voice sufficient to fill the room, so that every person in it may hear distinctly every word that is uttered.

4. Force of voice must be stronger in the schoolroom than in the parlor, and louder in the lecture-hall than in the school-room. If read to an assemblage of a thousand people, the most didactic and unimpassioned. document must be read with considerable force.

5. Pupils should be cautioned against attempting any degree of force beyond the compass of their voices, and also against the conventional school-tone of loudness, which consists in raising the voice to so high a pitch. that it grates on the ear like the filing of a saw.

6. "The command of all degrees of force of voice," says Prof. Russell, "must evidently be essential to true.

and natural expression, whether in reading or speaking. Appropriate utterance ranges through all stages of vocal sound, from the whisper of fear and the murmur of repose, to the boldest swell of vehement declamation, and the shout of triumphant courage. But to give forth any one of these or the intermediate tones, with just and impressive effect, the organs must be disciplined by appropriate exercise and frequent practice. For every day's observation proves to us, that mere natural instinct and animal health, with all the aids of informing intellect, and inspiring emotion, and exciting circumstances, are not sufficient to produce the effects of eloquence, or even of adequate utterance.

7. "The overwhelming power of undisciplined feeling may not only impede but actually prevent the right action of the instruments of speech; and the novice who has fondly dreamed, in his closet, that nothing more is required for effective expression than a genuine feeling, finds, to his discomfiture, that it is perhaps the very intensity of his feeling that hinders his utterance; and it is not till experience and practice have done their work, that he learns the primary lesson, that force of emotion needs a practiced force of will to balance and regulate it, and a disciplined control over the organs to give it appropriate utterance.

8. "The want of due training for the exercise of public reading or speaking is evinced in the habitual undue loudness of some speakers, and the inadequate force of others the former subjecting their hearers to unnecessary pain, and the latter to disappointment and uneasiness.

9. "Force of utterance, however, has other claims on the attention of students of elocution, besides those which are involved in correct expression. It is, in its various gradations, the chief means of imparting strength to the vocal organs, and power to the voice itself. The due

practice of exercises in force of utterance, does for the voice what athletic exercise does for the muscles of the body it imparts the two great conditions of powervigor and pliancy."

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CAUTION.

10. In drill upon the following exercises, bear in mind. the following direction from Prof. Monroe: "Seek to make the sounds always smooth and musical; and never lose sight of the fact that what is wanted in every-day use of the voice, in the school-room or elsewhere, is a pleasant and natural intonation. The practice of loud and sustained tones is an excellent means of improving the voice; but is to be the exception, not the rule, in ordinary reading. Still less should a shouting tone be used in conducting a recitation, or in the ordinary discipline of a class. Yet the softest tone must be elastic and full of life, not dull and leaden.”

CONCERT DRILL ON FORCE.

1. Repeat, three times, the long vocals, ā, ē, ī, ō, ū, (1) with soft force; (2) with moderate force; (3) with loud force.

2. Count from one to twenty with very soft force; with soft force; with moderate force; with loud force; with very loud force.

3. Repeat, five times, the word "all," beginning with very soft force, and increasing the degree of force with each successive repetition of the word.

4. Repeat the following with increased force on each successive repetition: "loud, louder, LOUDEST."

5. Repeat, three times, ē, ā, ä, a, ō, o, (1) with soft force; (2) moderate force; (3) loud force.

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