« НазадПродовжити »
4. Nor were his political his only' talents. His eloquence was an era' in the senate; peculiar, and spontaneous'; familiarly expressing gigantic sentiments and instructive wisdom'; not like the torrent of Demosthenes, or the splendid conflagration of Tully; it resembled sometimes the thunder', and sometimes the music' of the spheres. He did not conduct the understanding through the painful subtilty of argumentation, nor was he ever on the rack of exertion'; but rather lightened upon the subject, and reached the point by the flashings of the mind, which, like those of the eye, were felt, but could not be followed".
5. Upon the whole, there was in this man something that could create', subvert', or reform'; an understanding', a spirit', and an eloquence', to summon mankind to society, or to break the bonds of slavery asunder, and to rule the wildness of free minds with unbounded authority; something that could establish', or overwhelm' empires, and strike a blow' in the world that should resound through the universe'.
LESSON XXVIII. E from
VANITY OF LIFE.
1. Man, born of woman,
Is of few days,
And continueth not.
And bring me unto judgment with thee?
Hast thou numbered his months',
And enjoy', as an hireling', his day.
It becometh green again,
75047A And bring forth boughs as a young plants
5. But man dieth, and his power is gone':
He is taken away', and where is he?
Till the river faileth and is dry land,
Nor be aroused from his sleep.
In the realm of departed souls'!
Shall he live again?
Will I wait till a change' come to me.
Thou wilt bind up and remove my iniquity.
The rock is removed out of its place',
And thus, thou destroyest the hope of man.
Thou changest his countenance, and sendest him away.
HERDER'S HEBREW POETRY.
EXERCISES IN POETRY. Some lessons will now be given for the purpose of illustrating the principles applicable to the reading of poetry. It will be recollected that these have already been stated as follows, viz : 1. The rising inflection and monotone are used more frequently in
poetry than in prose. 2. Avoid changing the accent or emphasis for the sake of accommo
dating the meter. 3. At the end of each line, there should generally be a slight
pause, especially in rhyme.
4. In most kinds of poetry, there should be, somewhere near the
middle of each line, a slight pause, which is called a cesura, and sometimes there should be one or two additional pauses still slighter than the cesura. These latter are called demi-cesuras.
The cesura is marked thus, ( II ), and the demi-cesura, thus, ( I ). 5. A simile in poetry should be read in a lower tone than the rest of
And smooth 1 or rough, ll with them | is right or wrong;
Not for the doctrine, || but the music there.
Though oft | the ear || the open | vowels tire;
Alexandrine | ends the song,
What's roundly | smooth || or languishingly | slow;
Where Denham’s | strength, || and Waller's | sweetness join.
As those | move easiest, ll who have learned I to dance.
'T is not enough || no harshness I gives offense,
POPE. REMARKS.-In the third line, the melody would require that the cesural pause should be after “ though,” but the sense is more fully expressed by placing it after “ muse.” In the eighth line, the cesura would come after the first syllable
. in the word “syllables ;” but it is desirable to avoid dividing a word, and therefore it is removed to the end of the word. For the same reason, in the twentieth line, to avoid dividing the word “ Alexandrine," the cesura is removed three syllables beyond its natural place.
BURIAL OF SIR JOHN MOORE.
In the two succeeding lessons, the cesuras are all marked, but the demi-cesuras are but partially noted. 1. Not a drum / was heard, || not a funeral note,
As his corse || to the rampart we hurried;
O’er the grave || where our hero was buried. 2. We buried him | darkly, || at dead of night,
The sods' || with our bayonets / turning;
And the lantern || dimly burning.
Not in sheet | nor in shroud || we wound him;
With his martial cloak around him.
And we spoke || not a word of sorrow;
And we bitterly thought || of the morrow.
And smoothed down || his lonely pillow,
And we'l far away on the billow.
6. Lightly | they 'll talk || of the spirit | that's gone',
And o'er his cold ashes || upbraid him,
In the grave' || where a Briton has laid him. 7. But half of our heavy task || was done,
Which the foe || was sullenly firing. 8. Slowly and sadly || we laid him down,
From the field of his fame || fresh and gory ;
LESSON XXXI. à 1
THE MARINER'S DREAM. 1. In slumbers of midnight || the Sailor-boy lay,
His hammock | swung loose || at the sport of the wind; But watch-worn | and weary, || his cares | flew away,
And visions of happiness li danced | o'er his mind. 2. He dreamed of his home, ll of his dear native bowers,
And pleasures that waited || on life's merry morn; While Memory each scene || gayly covered with flowers,
And restored every rose, ll but secreted the thorn. 3. Then Fancy her magical pinions | spread wide,
And bade the young dreamer || in ecstasy rise ;
And the cot of his forefathers | blesses his eyes. +4. The jessamine clambers || in flower o'er the thatch,
And the swallow sings sweet || from her nest in the wall; All trembling with transport || he raises the latch,
And the voices of loved ones || reply to his call. 5. A father bends o'er him || with looks of delight;
His cheek is impearled" || with a mother's warm tear;
With the lips of the maid || whom his bosom holds dear. 6. The heart of the sleeper || beats high in his breast,
Joy quickens his pulse, || all his hardships seem o'er; And a murmur of happiness || steals through his rest
"O God'! thou hast blest me, || I ask for no more.” 7. Ah! whence is that flame || which now bursts on his eye?
Ah! what is that sound || that now larums his ear? 'T is the lightning's red glare || painting hell on the sky!
'Tis the crashing of thunders, if the groan of the sphere !