f Thus sing they loud, but as they speak

Slacker and slacker grows the breeze,
Now weaker blows-now still more weak-
Sinks-faints-droops-dies, and by degrees
One smooth unvaried calm o'erspreads the level seas.
8 Hour after hour they watch in vain
To see the wish'd-for gale arise;
Day after day with ling'ring pain,
Upbraid the unrelenting skies.
Each, heart-sick of the bitter woe,
Sighs deep for liberty and land;
But none so heavy feels the blow

As one, the youngest of the band,

Who on this voyage first has left his native strand.
Soon as the morn its light displays,

Eager he mounts the lofty shrouds ;
And through the live-long day his gaze
Bends eager on the distant clouds.
Still day by day decays his strength,
Death ready seems to aim his dart;
Word speaks he never, 'till at length

The tenth dull night sees tear-drops start,
And thus in words of fire he pours his swelling heart.

h "Oh for yon sea-birds rapid wing,

i

To speed me to the land I love!

How gaily then I'd laugh and sing,

Green earth below, blue skies above. My Parents! never more we'd part,

As once from their fond arms I tore ; k-Oh tell me not, my boding heart,

That I shall never see them more;

1-Rise, rise, ye tempests rise, and hurl us to the shore

f Here is a transition to Seriousness; the manner becoming gradually more and more dejected; "sinks,-faints,-droops,-dies require the most solemn expression, and a particularly slow utterance with a long suspension of the voice at each word.

Dejected manner.

h Anxious manner; the tone of voice becomes elevated, and the rate of utterance very considerably increased.

i This should be uttered with a feeling of Contrition; the voice should be piteous, and sent forth with a deep drawn sigh.

Apprehension.

1 Most animated and energetic manner.

m 66

n

My brothers too-how blithe we went, With healthful cheeks of sunburnt brown, For ever on some sport intent,

To shake the half-ripe apples down ; Or our own cherry wine to quaff,

From that strange home-made beechen bowl; They may forget perhaps and laugh,

Time brands it deeper on my soul;

Oh! happy, happy days, would ye could backward roll!

P❝Fair is the world of waters too,

At sunrise gay or gorgeous noon; Or, when upon the waste of blue,

Gleams star of eve, or midnight moon. But still yon solitary vale,

That sunny bank with humming bees; The sheep-bell on the distant gale;

The cottage bosom'd in the trees—

Oh! they were ill exchanged for the wild warring seas.

"How bright to Fancy's eye they shine,
The years that never can return !
How bright the joys that once were mine,
Upon my waking memory burn!
On the high hill I seem to stand,
And view the busy scene below;
Around me all the ripening land

m

Waves in the summer sunset's glow-
The rivers run revealed, and sparkle as they flow.

"On yonder lake of liquid gold,

How sweet the evening sunbeams fall! How sweet where yonder forest old, Sweeps to the castle's ruined wall!

Cities and cots, and woods and plains,

Spread round a scene that ne'er can tire;

Affectionate warmth, requiring an animated manner.

The counte

nance should assume an expression of Delight at the recollection of past enjoyments.

n Here is a transition to Seriousness.

o Enthusiastic manner.

P This verse requires but little more than level speaking, with the exception of the last line, which should be given with an elevated tone and a considerable degree of feeling.

a Dejected manner, requiring a melancholic tone of voice.

Throughout a gay confusion reigns,

While over all yon minster spire

Lifts to the fleecy clouds its proud peak tipp'd with fire. -I see the glitt'ring scene

I see

I hear I hear the busy hum

Oh welcome back ye pastures green,
No dream is this-

-I come, I come !"

Red blazed the seaman's kindling eye,

As that loved vision fired his brain; He gave one wild and frantic cry,

And plunged into the flashing main;

The waters closed above―he never rose again. T. W.

This should be spoken in a wild, frenzied manner, the tone of voice still continuing melancholic.

s Much Solemnity, with considerable feeling, particularly at the last line,

MARCO BOZZARIS.

Marco Bozzaris was the Epaminondas of Modern Greece; He fell in a night attack upon the Turkish camp at Laspi, the site of the ancient Platea, Aug. 20, 1823, and expired in the moment of victory. His last words were, " To die for liberty is a pleasure, not a pain."

(MOURNFUL DESCRIPTION.)

The principal Rhetorical Figures are the Simile, the Anaphoru, and the Polysyndeton.

a At midnight, in his guarded tent,

The Turk was dreaming of the hour When Greece, her knee in suppliance bent, Should tremble at his power;

In dreams, thro' camp and court he bore

The trophies of a conqueror;

In dreams his song of triumph heard,

Simply Descriptive, requiring little more than level speaking.

Then wore that monarch's signet ring,
Then press'd that monarch's throne—a King,
As wild his thoughts, and gay of wing
As Eden's garden bird.

At midnight, in the forest shades,
Bozzaris ranged his Suliote band,
True as the steel of their tried blades,
Heroes in heart and hand.

There had the Persians' thousands stood,
There had the glad earth drunk their blood
On old Platea's day;

And now these breathed that haunted air,
The sons of sires who conquer'd there,
With arm to strike, and soul to dare,
As quick, as far as they.

An hour pass'd on-the Turk awoke;
That bright dream was his last;
He woke to hear his sentries shriek,

d "To arms! they come! the Greek! the Greek !”
e He woke to die 'midst flame, and smoke,

And shout, and groan, and sabre stroke,
And death shots falling thick and fast,
Like forest pines before the blast,
Or lightnings from the mountain cloud ;
And heard with voice as trumpet loud,
Bozzaris cheer his band;

fStrike- 'till the last arm'd foe expires,
Strike- -for your altars and your fires,
Strike- -for the green graves of your sires,
-and your native land!

God

They fought like brave men, long and well,
They piled that ground with Moslem slain,

b This verse demands much spirit and boldness of expression.
Here is a transition to a Seriousness of manner.

d Vehement exclamation, requiring a high tone of voice, and rapid ut

terance.

e "He woke," requires a suspensive pause. "To die," should be given with much emphasis. The manner then becomes particularly animated, with a moderately loud tone and rapid utterance.

f Vehement manner, with an elevated tone of voice, and most energetic action.

g The voice becomes deep, and the manner serious: a suspensive pause at "conquered," also at "but."

They conquer'd-buth Bozzaris fell
Bleeding at every vein.

i His few surviving comrades saw

I

His smile, when rang their proud hurrah,
And the red field was won;
Then saw in death his eyelids close,
Calmly as to a night's repose,

Like flowers at set of sun.

Come to the bridal chamber, Death!
Come to the mother's, when she feels
For the first time her first-born's breath;
Come when the blessed seals
Which close the pestilence are broke,
And crowded cities wail its stroke;
Come in Consumption's ghastly form,
The Earthquake's shock, the Ocean's storm;
Come when the heart beats high and warm,
With banquet-song, and dance, and wine,
And thou art terrible; the tear,

The groan, the knell, the pall, the bier,
And all we know, or dream, or fear

Of agony, are thine.

But to the hero, when his sword

Has won the battle for the free,
Thy voice sounds like a prophet's word,
And in its hollow tones are heard,
The thanks of millions yet to be.
Come, when his task of fame is wrought;
Come, with her laurel-leaf blood-bought;
Come, in her crowning hour; and then
Thy sunken eyes' unearthly light
To him is welcome as the sight

Of sky and stars to prison'd men;
Thy grasp is welcome as the hand
Of brother in a foreign land;

h Great Solemnity, the rate of utterance should be slow and emphatic. Mournful and solemn manner, with a plaintive tone of voice.

k The tone of voice should be here particularly deep and emphatic, and the rate of utterance protracted.

1 Enthusiastic manner, with a due regard to the solemnity of the subject.