should find fault with the climate, and not with mě. For my part, I'm sure, I wish it was spring all the year round, and that rôses grew under our fêet. Sir Peter. Zounds! Madam, you had no taste when you married me. Lady Teazle. That's very true, indeed, Sir Peter; and after having married you, I should never pretend to taste again, I allow. 6. OTHELLO. Iago. My noble lord Othello. What dost thou say, Iago? Iago. Did Michael Cassio, when you wooed my lady, know of your love? Othello. He did, from first to last. Why dost thou ásk? Iago. But for a satisfaction of my thought; No further hárm. Othello. Why of thy thought, Iago? Iago. I did not think, he had been acquainted with her. Othello. Indeed! ày, indêed:-Discern'st thou aught in that? Is he not honest? Iago. Honest, my lórd? Othello. Ay, hônest. Iago. My lord, for aught I know. Iago. Think, my lord? Othello. Think, my lord? By heavens! he echoes me, As if there were some monster in his thought Too hideous to be shown. Thou dost mean something. Julia. I'll not endûre it!-But remember thisDuke or no duke, I'll be a dûchess, sir! Duke. A duchess! You shall be a queen-to all Who, by the courtesy, will câll you so. Julia. And I will have attendance! Duke. So you shall, When you have learned to wait upon yourself. Duke. Excellent! How well you sum the duties of a wife! Duke. When they talk of you and me, Darby and Joan shall no more be remembered:- Julia. Shall we? Duke. Wondrous happy! Oh, you will make an admirable wife! Julia. I will make a vixen. Duke. What? Julia. A very vixen. Duke. Oh, no! We'll have no víxens. Julia. I'll not bear it! I'll to my father's! — V. THE MONOTONE. TOBIN. The monotone is one uniform tone, which neither rises nor falls in pitch above or below the general level of the sentence. It is a continuous flow of sound, corresponding, in some degree, to the chanting tone in vocal music.) It is generally associated with low pitch and slow movement. When the voice is under the influence of awe or horror, the monotone strikes upon the ear like the recurring pulsations of a deep-toned bell, The monotone is the natural expression of voice when the feelings are under the influence of awe, adoration, reverence, sublimity, grandeur, or horror. The "Grandeur of thought and sublimity of feeling," says Tower, "are always expressed by this movement. effect produced by it is deep and impressive. When its use is known, and the rule for its application is clearly understood, the reading will be characterized by a solemnity of manner, a grandeur of refinement, and a beauty of execution, which all will acknowledge to be in exact accordance with the dictates of Nature, and strictly within the pale of her laws." The monotone, one of the most effective tones in elocution, must not be confounded with monotony, one of the worst faults in school reading. There is one form of monotone, prevailing in the poetry of sentiment, that is not combined with low pitch. This may be called poetic monotone, as contrasted with the monotone on a low pitch, which may be termed grave monotone. In poetic monotone, the key is not necessarily lower than the middle pitch, though there is always something of the suppressed force of pathos and sentiment. In examples of the poetic monotone, the slight or suspensive rising inflection takes the place of monotone. I. INFLECTION DRILL ON THE MONOTONE. 1. Repeat, five times, the long vowel sounds, ā, ē, ī, ō, ū. 2. Count, in low pitch combined with monotone, from one to twenty, thus: one, two, three, etc. 3. Rōllōn, thōu deep and dark blue ōcean, rōll! Ten thousand fleets sweep ōver thēe in vàin. 4. An ancient time-piece says to all Fōrēvēr nēvēr! Nēvēr-fōrēvēr! II. EXAMPLES OF POETIC MONOTONE. 1. FROM POE'S "RAVEN." Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim, whose footfalls tinkled on the tufted floor. This I sat engaged in guessing, but no syllable expressing To the fowl, whose fiery eyes now burned into my bosom's core; This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp-light gloated o'er, But whose velvet violet lining with the lamp-light gloating o'er She shall press, ah, nevermore! 66 2. FROM THE CLOSING SCENE." Long, but not loud, the droning wheel went on, Breathed through her lips a sad and tremulous tune. At last the thread was snapped: her head was bowed; Life dropped the distaff through his hands serene,And loving neighbors smoothed her careful shroud, While Death and Winter closed the autumn scene. READ. 3. PASSING AWAY. While yet I looked, what a change there came! The garland beneath her had fallen to dust; The hands, that over the dial swept, From the shriveled lips of the toothless crone— III. LOW, OR GRAVE, MONOTONE. PIERPONT. The low, or grave, monotone is pitched on the lower notes of the voice. It is indicated by the macrons placed over the vowels: 1. ALEXANDER'S FEAST. He chose a mournful müse, Soft pity to infuse: He sung Darius great and gōōd, Fällen, fällen, fällen, fällen, DRYDEN. 2. THE SEA. Break, break, break, On thy cold gray stōnes, O Sea! O well for the fisherman's boy, That he shouts with his sister at play! That he sings in his boat on the bay! And the stately ships gō ōn To their haven under the hill; |