25.-JEALOUSY.

I do mistrust thee, woman! and each word
Of thine stamps truth on all suspicion heard.
Borne in his arms through fire from yon Serai—
Say, wert thou lingering there with him to fly?
Thou need'st not answer, thy confession speaks,
Already reddening on thy guilty cheeks!
Then, lovely dame, bethink thee! and beware:
'Tis not his life alone may claim such care:
Another word-and-nay-I need no more.
Accursed was the moment when he bore

Thee from the flames, which better far-but-no-
I then had mourned thee with a lover's woe-
Now 't is thy lord that warns, deceitful thing!
Know'st thou that I can clip thy wanton wing?
In words alone I am not wont to chafe :
Look to thyself, nor deem thy falsehood safe.

26.-COURAGE.

He read their thoughts-they were his own— "What! while our arms can wield these blades, Shall we die tamely? die alone?

Without one victim to our shades,

One Moslem heart, where, buried deep,
The saber from its toil may sleep?
No-God of Iran's burning skies!
Thou scorn'st the inglorious sacrifice.
No-though of all earth's hope bereft,
Life, swords, and vengeance still are left:
We'll make yon valley's reeking caves
Live in the awe-struck minds of men,
Till tyrants shudder when their slaves

Tell of the Gueber's bloody glen!
Follow, brave hearts! this pile remains
Our refuge still from life and chains;
But his the best, the holiest bed,

Who sinks entombed in Moslem dead!"

27.-LOVE.

Strange! that one lightly-whispered tone
Is far, far sweeter unto me,

Than all the sounds that kiss the earth
Or breathe along the sea;

But, lady, when thy voice I greet,
Not heavenly music seems so sweet.

I look upon the fair, blue skies,

And naught but empty air I see;
But when I turn me to thine eyes,
It seemeth unto me

Ten thousand angels spread their wings
Within those little azure rings.

28.SCORN.

Banished! I thank you for't. It breaks my chain!
I held some slack allegiance till this hour;
But now my sword's my own. Smile on, my lords!
I scorn to count what feelings, withered hopes,
Strong provocations, bitter, burning wrongs,
I have within my heart's hot cells shut up,
To leave you in your lazy dignities.

But here I stand and scoff you! here, I fling
Hatred and full defiance in your face!
Your Consul's merciful-for this all thanks:
He dares not touch a hair of Catiline!

29.-PROFOUND DESPAIR.

No change, no pause, no hope! yet I endure!
I ask the earth, have not the mountains felt?
I ask yon heaven, the all-beholding sun,
Has it not seen? The sea, in storm or calm,
Heaven's ever-changing shadow, spread below,-
Have its deaf waves not heard my agony?
Ah, me! alas, pain, pain ever, forever!
The crawling glaciers pierce me with the spears
Of their moon-freezing crystals: the bright chains

Eat with their burning cold into my bones :
Heaven's winged hound, polluting from thy lips,
His beak in poison not his own, tears up

My heart; and shapeless sights come wandering by,
The ghastly people of the realm of dream,
Mocking me: and the earthquake's fiends are charged
To wrench the rivets from my quivering wounds,
When the rocks split and close again behind:
While from their loud abysses howling throng
The genii of the storm, urging the rage
Of whirlwind, and afflict me with keen hail.

30.-PASSION.

Passion, when deep, is still-the glaring eye,
That reads its enemy with glance of fire;
The lip, that curls and writhes in bitterness:
The brow contracted, till its wrinkles hide
The keen fixed orbs that burn and flash below;
The hand firm clenched and quivering, and the foot
Planted in attitude to spring and dart

Its vengeance, are the language it employs.

While passions glow, the heart, like heated steel,
Takes each impression, and is worked at pleasure.

31.-EXHORTATION.

Rise, fathers, rise! 't is Rome demands your help;
Rise, and revenge her slaughtered citizens,

Or share their fate! The slain of half her senate
Enrich the fields of Thessaly, while we
Sit here, deliberating in cold debates,
If we should sacrifice our lives to honor,
Or wear them out in servitude and chains.

Rouse up, for shame! Our brothers of Pharsalia
Point at their wounds, and cry aloud, "To battle!"

32. DESPAIR.

But must I die here-in my own trap caught?
Die-die?-and then! O mercy! grant me time-
Thou who canst save-grant me a little time,

And I'll redeem the past—undo the evil
That I have done-make thousands happy with
This hoarded treasure-do thy will on earth
As it is done in heaven-grant me but time!—
Nor man nor God will heed my shrieks! All's lost!

HOW TO CRITICISE

THE ELOCUTION OF A

READER OR SPEAKER.

By committing the following questions thoroughly to memory, the reader, if he fully understands the rules and principles which have been discussed in this treatise, will be able to analyze and criticise fully and accurately, so far as relates to elocution, any reading or speaking performance to which he may listen.

The plan is simple, yet, as far as it goes, perfectly adapted to the end in view. Each question suggests the proper answer, and the answer gives the information sought upon that particular point. The student ought, in this way, to criticise his own reading and speaking; and when the investigation results in the discovery of some defect in delivery, he should at once correct it.

1. Does he breathe naturally, and at proper intervals, as he proceeds in his discourse? If not, in what respect does he fail to observe the necessary conditions?

2. Is his voice clear, pure, full, resonant, and agreeable? 3. Is his articulation distinct and accurate, without being unnecessarily precise? If not, what are his faults?

4. Does he open his mouth wide enough to give full effect to the words uttered, without going to the extreme of mouthing?

5. Does he modulate his voice correctly as relates to pitch, or does he habitually speak in the same key?

6. Does he speak in too high or in too low a pitch?

7. Does he indulge in unbecoming transitions in pitch, as by changing too suddenly or too frequently from a very low and subdued to a very high and loud tone?

8. Does he employ the different forms of stress with suitable variety and proper effect?

9. Has he a good command of the swell, medium, the intermittent, and of the explosive, radical stress?

10. Does he manage the voice with taste and judgment in modulating it to suit the sentiment?

11. Does he employ too much force or not enough?

12. Does he give proper quantity to the open vowel sounds, the nasals, and liquids, without letting them run into a singing or drawling or an artificial tone?

13. Does he terminate sentences and passages in which the sense is complete with a correct and pleasing cadence? 14. Does he mark his parentheses, paragraphs, and changes of subjects by proper changes in pitch, force, stress, quantity, quality, and movement?

15. Does he speak too fast, or too slow, or has he uniformly about the same rate of utterance?

16. In interrogation, does he look and speak as if he were really asking a question and felt interested in the answer he might receive?

17. In narration, are his looks, tone, and manner, such as you can conceive they would be were he relating some part of his own experience?

18. When he attempts a description does he proceed as though he had himself seen, heard, felt, or in any way known that which he tries to describe?

19. In didactic discourse is his manner colloquial and familiar, as though he were actually engaged in imparting instruction?

20. Does he bring out the meaning of the author from whom he reads, or express his own sentiments in an elegant, forcible, clear, impressive, and appropriate manner?

21. Do his tone and manner indicate that he understands