CURSE OF KEHAMA. (VEHEMENT MANNER.) This piece forms a striking example of the Imprecation. a I charm thy life From the weapons of strife, And the Dews shall not wet thee When they come nigh thee: 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, Continued thunders came! Each burgher held his breath, to hear What ghastly sights were thine to meet, And from each anguish laden wain, Shook high her torch and goary brand! bOn! On! was still his stern exclaim,— My steel-clad cuirassiers, advance ! My guard, my chosen, charge for France! 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, In action prompt, in sentence brief, * On came the whirlwind- -like the last -steel gleams broke Like lightning thro' the rolling smoke, The war was waked anew; In one dark torrent broad and strong, That from the shroud of smoke and flame, Peal'd wildly the imperial name. But, on the British heart, were lost 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 As when they practise to display Then down went spear and lance; Wheel'd full against their staggering flanks, Then to the musket knell succeeds 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; 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, 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, a "Death" requires emphasis, and a slight suspensiou of the voice after it. |