KING HENRY V. AND THE HERMIT (SOLEMN MANNER.) The principal Rhetorical Figures are the Erotesis, the Synecdoche, and the Antithesis. a He pass'd unquestioned thro' the camp, In silent reverence, or begg'd b King Henry lifted up his eyes, c With reverence he the hermit saw, d"Repent thee, Henry, of the wrongs, "I have pass'd forty years of peace, But what a weight of woe, hast thou "I used to see along the stream, The white sail, sailing down; a Slow utterance, with a respectful, reverential manner. b The rate of utterance becomes rather increased, and the voice slightly elevated. Veneration; this is expressed in a manner very similar to Modesty. d This Warning should be given throughout in a solemn and impressive manner with a hollow tone of voice. "I used to hear the traveller's voice, As here he pass'd along, Or maiden as she loiter'd home, "No traveller's voice may now be heard, In vain for succour cry. "I used to see the youth row down, "King Henry, many a blacken'd corpse * " I shall go on," King Henry cried, See'st thou not, Hermit, that the Lord f The Hermit heard King Henry speak, And angry His face was gentle, and for that More solemn was his frown. "What if no miracle from heaven Think you, for that, the weight of blood "Thou conqueror king! repent in time, For Henry thou hast heard the threat, h King Henry forced a careless smile, i But Henry soon remember'd him, Upon his dying day. SOUTHEY. e Here is a transition from the deepest Solemnity to the boldest Daring. f Moderately grave manner. Resumes a most solemn and impressive manner. h Gayness of Manner. i Solemnity. THE FIEND OF WAR. (VEHEMENT MANNER.) The principal Rhetorical Figures are the Prosopopeia and the Erotesis. a Hark! heard ye not the voice of death с Thus they hail the power of war, e a Alarm; requiring an anxious and hurried manner, with a deep tone of voice and slow utterance. The first "hark" should be uttered sharply with the right hand extended and the eye fixed as in the attitude of listening. The second "hark" should be uttered somewhat louder than the first, with a considerable pause after it. b The voice becomes more elevated, and the rate of utterance increased with a strong expression of Horror. c Solemn manner with a firm tone of voice. d Murder may have the expression of Rage. e The fists should here be clenched, and the right hand extended as in the act of throwing a spear. f Famine is expressed by a haggard, wild look and manner. At Plunder, the eyes should be fixed, and the hands as in the act of seizing on the object. Hovering round the fiery car, h Rapine with ferocious air Snatch'd from a burning church's porch; Kills like the fabled tree of death; i Who are these that stalk behind, All who since the world began, The Ferocious air of Rapine, the Diabolical look of Sacrilege, and the Ghastly appearance of Pestilence must be expressed while being described. Anxious inquiry, approaching to Terror.-See Feur, page 55. k Most solemn reply," Man" requiring a very forcible emphasis, with the falling Inflection. E A WINTER MORNING. (DEEPLY PATHETIC MANNER.) The principal Rhetorical Figure is the Ecphonesis. a It was upon a winter's morn, When snow flakes on the wind were borne, Cold and shiv'ring sit alone. The snow fell thick and fast, yet he Yet of him notice none was taken, He asked not aid-he looked for one d Nor e'er again was that sweet boy a Narrative manner, with a mild, soft tone of voice. b This line should be given with an expression of Horror. e Piteous tone with a strong feeling of sympathy. d Tender, affectionate manner. e Blaming. |