Rather smile there, blessed one;
Thinking of me in the sun,—

Or forget me, smiling on!"

This pathetic morceau, from Robert Buchanan's "Little Ned," requires semitones, but not a great variety of them; the range should be limited as in repressed grief:

mother

"And one cold day in winter time, when

Had gone away into the snow, and we

Sat close for warmth and cuddled one another;
He put his little head upon my knee,

And went to sleep, and would not stir a limb,
But looked quite strange and old;

And when I shook him, kissed him, spoke to him,

He smiled; and grew so cold.

Then I was frightened and cried out, and none
Could hear me; while I sat and nursed his head
Watching the whitened window, while the sun
Peeped in upon his face and made it red,

And I began to sob,-till mother came,

Knelt down, and screamed, and named the good God's

name,

And told me he was dead.

And when she put his night-gown on, and weeping
Placed him among the rags upon his bed,

I thought that brother Ned was only sleeping,
And took his little hand and felt no fear.

But when the place grew gray and cold and drear,
And the round moon over the roofs came creeping,
And put a silver shade

All round the chilly bed where he was laid,

I cried, and was afraid."

Here are two verses from the poem which relates "Little Gretchen's" wanderings on wanderings on "New Year's

eve":

*

*

*

*

"And she remembered her of tales her mother used to

tell,

And of the cradle-songs she sang, when summer's twi

light fell;

Of good men, and of angels, and of the Holy Child, Who was cradled in a manger, when winter was most

wild;

Who was poor, and cold, and hungry, and desolate, and lone;

And she thought the song had told, he was ever with

his own;

And all the poor and hungry, and forsaken ones are

his,

'How good of him to look on me in such a place as

In her scant and tattered garments, with her back against the wall,

She sitteth cold and rigid; she answers to no call. They have lifted her up fearfully, they shuddered as

they said,

'It was a bitter, bitter night! the child is frozen dead.' The angels sang their greeting for one more redeemed

from sin;

Men said, 'It was a bitter night: would no one let her in ?'

And they shivered as they spoke of her, and sighed. They could not see

How much of happiness there was after that misery."

§ 7.-JOY.

The joyous intonation is characterized by a light, quick "skipping" of the voice, up and down the scale; not reaching a very high nor a very low key, unless the emotion is excessive; the greater the degree of joy, the greater the range of voice, and the faster the time in changing from one key to another. The words are pronounced on whole tones, but the voice skips about up and down the scale, but not with regularity-tripping about among the notes within a reasonable compass. The vowel sounds are all pronounced in quick time; they are not dwelt upon as in sorrow. If a mere "pleasure" is taken in the thoughts expressed, the intonation is the same, but the range of notes is contracted, and the "time" slower than in excessive joy. In the following exercise we have simply pleasure in the thoughts conveyed; occasionally the diminuendo is required :—

"On her white breast, a sparkling cross she wore,
Which Jews might kiss, and infidels adore.
Her lively looks a sprightly mind disclose,
Quick as her eyes, and as unfix'd as those:
Favors to none, to all she smiles extends;
Oft she rejects, but never once offends.
Bright as the sun, her eyes the gazers strike,
And like the sun, they shine on all alike.

Yet graceful ease, and sweetness void of pride,

Might hide her faults, if belles had faults to hide;
If to her share some female errors fall,

Look on her face and you'll forget them all.

-Rape of the Lock.

The next is of the same order, but the "diminuendo" is more prominent than in the preceding example:

"O the pleasing, pleasing anguish,

When we love, and when we languish!
Wishes rising,

Thoughts surprising,

Pleasure courting,

Charms transporting,

Fancy viewing,

Joys ensuing,

O the pleasing, pleasing anguish."

-Rosamond, Act 1, Sc. 2.

A verse or two from S. H. Dana's "Pleasure-boat"

will give good practice for the joyous intonation.

Careening to the wind, they reach,

With laugh and call, the shore.
They've left their footprints on the beach,
But them, I hear no more.

§ 8.-THE ASPIRATE.

This is the symbol of hate, secrecy, surprise, with different modifications of tone for each; that is, the aspirate is the special characteristic of each, but it alone would by no means constitute the expression of the emotion. Hate is expressed usually on one of the lowest keys given with force, and employs also the guttural vibration; these, with a strong degree of the aspirate, depicts the passion. Secrecy takes more of the aspirate, and less vocal force, and is delivered on a higher key than hate. Surprise takes much less of the aspirate than the preceding; it is given on a higher key also if the emotion is pleasurable, the voice travels in an upward direction through several keys at each impulse; if the surprise be disagreeable, the voice travels on a downward direction through several keys at each impulse.

Earnestness, intensity, horror, and curiosity are all marked by the aspirate. The pupil on reflection will perceive that the passions spoken of first, "hate," etc., or their primal causes, are in one way or another at the foundation of earnestness, intensity, and so on; that they are all akin-branches of the same family; for hate is the foundation of horror; a desire, or expectation of surprise, is at the root of curiosity. Self