Shakespeare.
2.
Alon. (c.) For the last time, I have beheld the shadowed ocean close upon the light. For the last time, through my cleft dungeon's roof, I now behold the quivering lustre of the stars. For the last time, O Sun! (and soon the hour) I shall behold thy rising, and thy level beams melting the pale mists of morn to glittering dew-drops. Then comes my death, and in the morning of my day, I fall, which—No, Alonzo, date not the life which thou hast run by the mean reck'ning of the hours and days, which thou hast breathed: a life spent worthily should be measured by a nobler line; by deeds, not years. Then would'st thou murmur not, but bless the Providence, which in so short a span, made thee the instrument of wide and spreading blessings, to the helpless and oppressed! Though sinking in decrepit age, he prematurely falls, whose memory records no benefit conferred by him on man. They only have lived long, who have lived virtuously.
Sheridan.
3
O thou that rollest above, round as the shield of my fathers! whence are thy beams, O sun! thy everlasting light? Thou comest forth in thy awful beauty: the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. But thou thyself movest alone: who can be a companion of thy course? The oaks of the mountains fall; the mountains themselves decay with years; the ocean shrinks and grows again; the moon herself is lost in the heavens; but thou art forever the same, rejoicing in the brightness of thy course. When the world is dark with tempests, when thunders roll and lightnings fly, thou lookest in thy beauty from the clouds, and laughest at the storm. But to Ossian thou lookest in vain; for he beholds thy beams no more; whether thy yellow hair floats on the eastern clouds or thou tremblest at the gates of the west. But thou art, perhaps, like me—for a season; thy years will have an end. Thou wilt sleep in thy clouds, careless of the voice of the morning.
Ossian.
CHAPTER VIII.
PITCH.
Pitch is the degree of elevation or depression of sound. On the proper pitching of the voice depends much of the ease of the speaker, and upon the modulation of the voice depends that variety which is so pleasing and so necessary to relieve the ear, but no definite rules can be given for the regulation of the pitch—the nature of the sentiment and discriminating taste must determine the proper key note of delivery. He who shouts at the top of his voice is almost sure to break it, and there is no sublimity in shouting, while he who mutters below the proper key note soon wearies himself, becomes inaudible, and oppresses his hearers. Pitch is distinguished as Middle, High, and Low.
MIDDLE PITCH.
The Middle Pitch is used in conversational language, and is the note that predominates in good reading and speaking.
1
A free, wild spirit unto thee is given,
Bright minstrel of the blue celestial dome!
For thou wilt wander to yon upper heaven,
And bathe thy plumage in the sunbeam's home;
And, soaring upward, from thy dizzy height,
On free and fearless wing, be lost to human sight.
Welby.
2
Eternal blessings crown my earliest friend,
And round his dwelling guardian saints attend!
Blest be that spot, where cheerful guests retire
To pause from toil, and trim their evening fire:
Blest that abode, where want and pain repair,
And every stranger finds a ready chair:
Blest be those feasts with simple plenty crowned,
Where all the ruddy family around
Laugh at the jests or pranks that never fail,
Or sigh with pity at some mournful tale;
Or press the bashful stranger to his food,
And learn the luxury of doing good.
Goldsmith.
HIGH PITCH.
High Pitch indicates command, joy, grief, astonishment, etc. To obtain a good control of the voice in a high pitch, practice frequently and energetically with the greatest force and in the highest key you can command. Do not forget to drop the jaw, so as to keep the mouth and throat well open, and be sure to thoroughly inflate the lungs at every sentence, and if the force requires it even on words. Do not allow the voice to break into an impure tone of any kind, but stop at once, rest for a short time and then begin again. The following examples are excellent for increasing the compass and flexibility of the voice, and the pupil must practice them frequently and with sustained force.
1.
"The game's afoot,
Follow your spirit, and upon this charge
Cry 'God for Harry, England and Saint George!'"
Shakespeare.
2.
Ring! Ring!! Ring!!!
3.
MELNOTTE. Look you our bond is over. Proud conquerors that we are, we have won the victory over a simple girl—compromised her honour—embittered her life—blasted in their very blossoms, all the flowers of her youth. This is your triumph—it is my shame! Enjoy that triumph, but not in my sight. I was her betrayer—I am, her protector! Cross but her path—one word of scorn, one look of insult—nay, but one quiver of that mocking lip, and I will teach thee that bitter word thou hast graven eternally in this heart—Repentance!
BEAUSEANT. His Highness is most grandiloquent.
MELNOTTE. Highness me no more! Beware! Remorse has made me a new being.
Away with you! There is danger in me. Away!
Sir E. Bulwer Lytton.
4.
Up, comrades, up!—in Rokeby's halls,
Ne'er be it said our courage falls!
Sir Walter Scott.
5.
To arms! To arms!! a thousand voices cried.
6.
The combat deepens! On ye brave!
