If when thou hear'st of thousands massacred,
Thou say'st I am a 5 KING, and fit it is
That these should perish for me;' if thy realm
Should, through the counsels of thy government,
Be fill'd with woe, and in thy streets be heard
The voice of mourning and the feeble cry
Of asking hunger; if at such a time
Thou dost behold thy plenty-cover'd board,
And shroud thee in thy robes of Royalty,
And say that all is well,-

Oh, gracious God!
Be merciful to such a monstrous man,

When the spirits of the murder'd innocent
Cry at thy throne of justice.

King of France!

Protect the lowly, feed the hungry ones,
And be the Orphan's father; thus shalt thou
Become the Representative of Heaven,

And Gratitude and Love establish thus

Thy reign. Believe me, King, that hireling guards
Tho' flesh'd in slaughter, would be weak to save
A tyrant on the blood-cemented throne

That totters underneath him."

SOUTHEY.

g To be uttered with an air of Majesty; the right hand may at the same time be pressed on the left breast. King" requires a strong rising Inflection, with a considerable suspension of the voice.

h The strongest expression of disdainful Haughtiness should be here assumed.

Most solemn and impressive manner.

The tone and manner should

be preserved with a feeling apparently bordering on Disgust. The Speaker may here suddenly rise and deliver this prayer with elevated hands. The tone of voice should be low but full, and the manner

most earnest.

The most solemn and impressive manner should be here resumed, with a degree of Earnestness, approaching at the conclusion towards Vehemence.

THE DYING SOLDIER.

(PLAINTIVE EXPRESSION.)

The principal Rhetorical Figures are the Ecphonesis, and the Prosopopeia.

a

Bravely done
Wounded

and like a Briton!

still he'll charge again :

b Oh! that spear his fate has written!

See! he sinks on heaps of slain !

The trumpet sounds- -the fight grows bolder,
See! they close around the dead :-

d Heaven shield thee gallant soldier!

e

Quickly be thy spirit sped

Pale, bloodless death stalks grimly round thee-
Friends and foes promiscuous fall :-
Midst the thousands that surround thee,
None attends thy dying call.

Now, the conflict wider spreads--
Frenchmen fly and we pursue:
Comrade! 'tis a friend that treads-
'Tis his hand dispels the dew.

g Sink not brother! lo! where beaming,
Charged with life the limpid wave:
Drink-but see! our banners streaming-
h Victory attends the brave!

a Exulting tone and manner, with a long pause at "again." The eye should be intent on the supposed object, and the right hand be extended towards it.

b Here is a transition to a strong expression of Sympathy, bordering on Distress, requiring a most plaintive tone.

The delivery becomes more rapid, the manner hasty, and the tone of voice elevated.

d Earnest Prayer, both hands being directed upwards.

e The voice again assumes a plaintive expression, with much feeling. f The delivery again becomes rapid, and the tone of voice elevated. This address requires a sympathizing, cheering tone, with a consider able degree of h Enthusiasm.

"Victory! and have we conquer'd ?
k Happy hour! now let me die!
Yet, once again, ere 'tis debarr'd,
1 For England! and for victory!"

m Down dropp'd his arm, his cheek grew pale,
Dim glory fix'd his eye :-

His soul exulting on the gale,

n

Prolong'd the victory.

The manner of the dying soldier may be naturally imagined to be languid, altho' most anxious.

kHe here becomes tranquil and resigned.

1 With an expiring effort he rouses all his energies to shout "Victory." m Great degree of Solemnity. Lengthened utterance.

n

LOYALTY IN CHAINS.

Sir Roger L'Estrange, the supposed writer of this piece, was imprisoned on account of his adherence to the cause of Charles I. Having obtained a Commission from Charles for reducing Lynn, in Norfolk, then in possession of the parliament, his design was discovered, he was seized, tried by a court martial, and condemned to die, He was subbut was reprieved, and confined in Newgate for a considerable time. sequently released, and served in the parliament of James 11.

(SOLEMN AND DIGNIFIED MANNER.)

The principal Rhetorical Figures are the Metaphor, and the Simile.

a Beat on, proud billows! Boreas, blow! Swell curled waves high as Jove's roof!

Your incivility doth shew

That innocence is tempest proof.

с

Though surly Nereus frown, my soul is calm,
Then strike Affliction! for thy wounds are balm.

That which the world miscalls a jail,

A private closet is to me;

a Calm manner, with a philosophical indifference. By "Billows" he refers to the waves, and by "Boreas" to the blasts of fortune.

b An expression of Scorn.

c Much Dignity of manner.

d Resumes a philosophical indifference.

e

Whilst a good Conscience is my bail,

And innocence my liberty.

Locks, bars, and solitude together met,
Make me no prisoner but an Anchoret.
f I, whilst I wish'd to be retired,

Into this private room am turn'd;
As if their wisdoms had conspired,
The Salamander should be burn'd,
Or like those sophists that would drown a fish,
I am constrain'd to suffer what I wish.

8 The Cynic loves his poverty,

The Pelican her wilderness;

And 'tis the Indian's pride to be
Naked on frozen Caucasus.

Stoics, we see

Contentment cannot smart.
Make torments easy to their apathy.

h These manacles upon my arm,

I, as my mistress' favours wear;
i And for to keep my ancles warm,
k I have some iron shackles there.
1 These walls are but my garrison: this cell,
Which men call jail-doth prove my citadel.
m I'm in the cabinet lock'd up

Like some high prized margarite;
Or, like the great Mogul, or Pope,

Am cloister'd up from public sight.
Retiredness is a piece of majesty,

And thus-proud SULTAN-I'm as great as THEE !

n When once, my Prince affliction hath,
Prosperity doth treason seem;
And to make smooth so rough a path,
I can learn patience from him.

e The Speaker may cast a look round him with a sneer of Contempt. f This verse requires to be uttered with a strong expression of Scorn. Again he resumes a philosophical indifference.

h Extend the hands and point to the ancles with a k half-laugh of Contempt.

1 Cast a glance round the supposed dungeon.

m Here he assumes much self-importance.

n The manner becomes calm and sedate.

Now not to suffer shews no loyal heart,
When Kings want ease-

-Subjects must bear a part.

What, though I cannot see my King,
Neither in person nor in coin;
Yet Contemplation is a thing

Which maketh what I have not mine.

My King from me what adamant can part,
Whom I do wear engraven on my heart!

P Have I not seen the nightingale
Prisoner-like, coopt in a cage?

How doth she chaunt her wonted tale,
In that her narrow hermitage!

Even then her charming melody doth prove,
That all her bars are trees-her cage a grove.

I am that bird! whom they combine
Thus to deprive of liberty;

Yet though they do my corps confine,

Yet maugre hate,

And tho' immured-
Disgrace to REbels-

r

q my soul is free!
-yet can I chirp and sing-
-Glory to my KING!!

My soul is free-as ambient air-
Although my baser part's immured;
Whilst loyal thoughts do still repair
To accompany my solitude.

Although rebellion do my body bind,
My KING alone can captivate my mind.

• This expression of loyalty requires a correspondent warmth of manner. p Again he resumes a calm and composed manner.

q Much animation. "Rebels" and " King" require a most powerful Emphasis.

r This last verse should be spoken in a guy and elevated tone; the heart so glowing with devotedness to his Sovereign, as to be insensible to the pain of Captivity.