CURSE OF KEHAMA.

(VEHEMENT MANNER.)

This piece forms a striking example of the Imprecation.

a I charm thy life

From the weapons of strife,
From stone and from wood,
From fire and from flood,
From the serpent's tooth,
And the beasts of blood;
From Sickness I charm thee,
And Time shall not harm thee,
But Earth which is mine,
Its fruits shall deny thee;
And Water shall hear me,
And know thee and fly thee,
And the Winds shall not touch thee
When they pass by thee;

And the Dews shall not wet thee

When they come nigh thee:
And thou shalt seek Death
To release thee in vain ;
Thou shalt live in thy pain,
b While Kehama shall reign,
With a fire in thy heart,
And a fire in thy brain;
And sleep shall obey me,
And visit thee never,

And the Curse shall be on thee

For ever and ever.

SOUTHEY.

a This requires to be delivered with a strong expression of Malice throughout.

b Exulting manner; the tone of voice becomes elevated. "Curse requires a most powerful emphasis with the strongest expression of Malice.

THE BATTLE OF WATERLOO.

(SOLEMN DESCRIPTION.)

The principal Rhetorical Figures are the Apostrophe, the Alliteration, the Prosopopeia, and the Simile.

Pale Brussels! then what thoughts were thine,
When ceaseless from the distant line

Continued thunders came!

Each burgher held his breath, to hear
These forerunners of havock near,
Of rapine and of flame.

What ghastly sights were thine to meet,
When rolling through thy stately street,
The wounded shew'd their mangled plight
In token of the unfinish'd fight;

And from each anguish laden wain,
The blood drops laid thy dust like rain!
How often in the distant drum,
Heard'st thou the fell invader come,
While ruin shouting to his band,

Shook high her torch and goary brand!
Cheer thee fair city! a From yon stand,
Impatient Buonaparte's stretch'd hand
Points to his prey in vain ;
While maddening in his eager mood,
And all unwont to be withstood
He fires the fight again.

bOn! On! was still his stern exclaim,—
Confront the battery's jaws of flame!
Rush on the levell'd gun—

My steel-clad cuirassiers, advance !
Each Hulan, forward with his lance!

My guard, my chosen, charge for France!
France and Napoleon!"

a The tone and manner here becomes animated.

b Most authoritative Command, with an elevated and loud tone of voice,

and eager and rapid utterance.

Loud answer'd their acclaiming shout,
Greeting the mandate, which sent out.
Their bravest and their best, to dare
The fate their leader shunn'd to share.
But he, his country's sword and shield,
Great Wellington, ne'er known to yield,
Still in the battle-front revealed,
Came like a beam of light;

In action prompt, in sentence brief,
d"Soldiers stand firm," exclaim'd the chief,
"England shall tell the fight!"

* On came the whirlwind- -like the last
But fiercest sweep of tempest blast-
On came the whirlwind-

-steel gleams broke

Like lightning thro' the rolling smoke,

The war was waked anew;
Beneath their fire in full career,
Rush'd on the ponderous cuirassier;
The lancer couch'd his ruthless spear,
And hurrying as to havock near,
The Cohorts' eagles flew.

In one dark torrent broad and strong,
The advancing onset roll'd along;
For harbinger'd by fierce acclaim,

That from the shroud of smoke and flame,

Peal'd wildly the imperial name.

But, on the British heart, were lost
The terror of the charging host,
For not an eye, the storm that view'd
Changed its proud glance of fortitude;
Nor was one forward footstep staid
As dropp'd the dying and the dead.
Fast as their ranks the thunder tear,
Fast they renew'd each serried square;
And on the wounded and the slain,
Closed their diminish'd files again;

c This requires but little more than level speaking.

d Most Courageous manner, with a firm and elevated tone of voice. e The remainder of this Piece requires a considerable degree of Animation, with a glow of Enthusiasm.

'Till from their line, scarce spears' length three
Emerging from the smoke they see
Helmet, and plume, and panoply.
Then waked their fire at once;
Each musketeer's revolving knell
As fast, as regularly fell,

As when they practise to display
Their discipline on festal day;'

Then down went spear and lance;
Down were the Eagle's banners sent,
Down reeling steeds and riders went,
Corslets were pierced and pennons rent;
And to augment the fray,

Wheel'd full against their staggering flanks,
The English horsemen's foaming ranks
Forced their resistless way.

Then to the musket knell succeeds
The clash of swords, the neigh of steeds.
As plies the smith his clanging trade,
Against the cuirass rang the blade.
And while amid their close array
The well served cannon rent their way;
And while amid their scatter'd band
Raged the fierce rider's bloody brand,
Recoiled in common rout and fear,
Lancer and guard and cuirassier;
Horsemen and foot a mingled host,

Their leaders fall'n, their standards lost.

SIR W. SCOTT.

CÆSAR ON HAVING PASSED THE RUBICON.

(VEHEMENT MANNER.)

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

a I've pass'd the Rubicon

And once again am free

Firm tone and courageous manner, with a strong Emphasis at "free," and a pause after it. "Death or victory are highly emphatic, and require a lengthened utterance.

KING RICHARD III., AND HIS SON.

It is related that on the eve of the battle of Bosworth Field, Richard's son, a youth or about sixteen, who, for certain reasons, had been brought up in ignorance of his high birth, was hastily summoned to Bosworth. Having reached the royal tent, Richard came forward, and clasping him most affectionately in his arms, informed the noblemen present, that he was his son. Richard then told him that on the morrow he should fight for his crown, and pointed out to him a place where he would be enabled to witness the battle, desiring him that if he were victorious to come to him, and he would acknowledge him openly; but that if he were vanquished, not to reveal the secret of his birth, as it would insure his destruction. The result of the battle is well known; and this son of a king was compelled to have recourse to the labour of his hands for his daily bread. He hired himself to a mason as a common labourer; but by attention to his duties he, however, in time, became his master's foreman, and ultimately married his daughter, and obtained his business. He lived in obscurity to the age of ninety, having survived his wife and children.

(SOLEMN AND DIGNIFIED MANNER.)

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

Night veil'd the battle plain!

O'er heaven and earth watched night;
Falchions were sheathed-the martial strain
Died with the proud sunlight:

Silent and calm the pale tents lay

While voiceless war slept night away.

Richard, in frowning thought,

Sat 'neath his purple tent;

His brow with some dark gloom seem'd fraught,
Terror and sadness blent:

One knelt before his feet in awe;

He gazed yet reck'd not what he saw.

Dimly the silver lamp

Lighted his waving hair

And faded cheek, the iron stamp

Of a death sat settled there;

His breastplate shook beneath its sway,
As some deep hidden grief had way.

a "Death" requires emphasis, and a slight suspensiou of the voice after it.