Were ne'er prophetic founds fo full of woe; !!! The doubling drum with furious heat: Her foul-fubduing-voice applied, t The two last lines in a foft gentle voice, which you immediately alter when you come to the next. Yet ftill he kept his wild unalter'd mien, from his head. The laft line with peculiar force and energy. Thy numbers, Jealousy, to nought were fix'd, \\ If you pronounce the laft line pathetically, and with a gentle fake of the head, you will find the proper effect will be given. Of differing themes the veering fong was mix'd, And now it courted love, now raving call'd on hate. The beginning of the last line soft and tender, the latter part of it bold and forcible. With-eyes uprais'd, as-one-inspir'd, \! Melancholy with a heavy, drawling tone, if we may fo express ourselves. And-from-her-wild-fequefter'd-feat, In notes by distance made more sweet, || Slow, and in a manner expreffive of the utmost penfivenefs and melancholy. And dafhing foft from rocks around, Bubbling runnels join'd the found; Thro' glades and glooms the mingled measure stole, Love of peace and lonely mufing, All these lines must be spoken fo as to give the hearer a true picture of the paffion of which they treat.You must display, through the whole of them, in tone, look, and manner, a kind of languid melancholy, and the last line you must speak slowly, and let the words, as it were, fall dying from your lips, which method forms a fine contraft to the next verfe that follows. But O, how alter'd was its sprightlier tone! Here alter your look, tone, manner, and whole appear ance. When Cheerfulnefs, a nymph of healthiest hue,\\ Her bow across her shoulder flung, Her bufkins gemm'd with morning dew, The The words marked to be spoken as if they were placed between a parenthesis. Blew an infpiring air, that dale and thicket rung, Satyrs and fylvan boys were seen, Brown Exercise rejoic'd to hear, ¡¡¡ And Sport leapt up and feiz'd his beechen-fpear. Your whole manner must keep pace with this beautiful perfonification of Cheerfulness, and take care that you do not permit your expreffion to flag in fprightliness, but keep it up, with unabated spirit, to the end of the verfe. Laft came Joy's ecstatic trial, f He with viny crown advancing, First to the lively pipe his hand address'd, \\\ Whose sweet entrancing voice he lov'd the best. To fome unwearied minstrel dancing, || Love fram'd with mirtha gay fantástic round, And he amid his frolic play, As if he would the charming air repay, il In the last line make a motion with your hand, as if expreffing the act defcribed. Mind, while you are repeating thefe lines, to keep yourself in unifon with the paffion depicted. Let there be a glow of joyful expreffion throughout the whole. We fhall leave out the remainder of the poem, as it affords no opportunity in which a reader can exercise his talents. We cannot recommend to the scholar a piece of poetry better adapted to the practice of reading than the foregoing. If read with propriety, it will foon correct the monotonist of that fameness of tone, which fo difgufts in most common readers, and with which no perfon can ever reasonably expect to give pleasure to those who are fo unfortunate as to be his hearers. WILLIAM AND MARGARET, By: MALLET. THE following poem will try the practifer's voice in the pathetic. You must begin it with peculiar folemnity. 'Twas 'Twas at the filent folemn hour, Her face was like an April morn, And clay-cold was her lily hand, Give fomething more of the pathetic in the third line of the last verse, than in the preceding lines. The next verfe is a kind of reflection, and may be delivered with lefs of the pathetic. So fhall the faireft face appear, When youth and years are flown: Here comes again the defcriptive part. Her bloom was like the springing flower, That fips the filver dew; The rofe was budded in her cheek, In the next verfe you re-enter into the pathetic. But love had, like the canker-worm, If you pause a little after "love," keeping up the voice, we think it will affift the line. |