We buried him darkly, at dead of night,
The sods with our bayonets turning;
By the struggling mòonbeam's misty light,
And the lantern | dimly burning.

No useless coffin | inclosed his breast,

Not in sheet | nor in shroud | we wound him;
But he lay like a warrior taking his rèst |
With his martial cloak | around him.

Féw and short were the prayers we sáid,
And we spoke not a word of sorrow,
But we steadfastly gazed on the face of the dead,
And we bitterly thought of the morrow.

We thought, as we hollowed his narrow béd,

And smoothed down his lonely pillow,

That the foe and the stranger | would tread o'er his head,
And we far away on the billow!

Lightly they'll talk of the spirit that's gone,
And o'er his cold ashes upbraid him,-

But nothing he'll reck, if they let him sleep on |
In the grave where a Briton | has laid him.

But half of our heavy task | was done |

When the clock | struck the hour for retiring: And we heard the distant and random gún | That the foe was sullenly firing.

Slowly and sadly | we laid him down,

From the field of his fame | fresh and góry; We carved not a line, and we raised not a stone, But left him | alone with his glòry.

CHAPTER II.

FORCE AND STRESS.

SECTION I.

FORCE OF VOICE.

1. Force of utterance relates to the degree of loudness or intensity of voice.

2. The three main divisions of force are soft, moderate, and loud. These, for convenience, may be subdivided as follows: (1) Very soft (corresponding to pianissimo in music). (2) Soft (piano). (3) Moderate (mezzo-forte). (4) Loud (forte). (5) Very loud (fortissimo).

3. The general rule of force is, to read with an intensity appropriate to the thoughts or emotion to be expressed, and with a power or strength of voice sufficient to fill the room, so that every person in it may hear distinctly every word that is uttered.

4. Force of voice must be stronger in the schoolroom than in the parlor, and louder in the lecture-hall than in the school-room. If read to an assemblage of a thousand people, the most didactic and unimpassioned document must be read with considerable force.

5. Pupils should be cautioned against attempting any degree of force beyond the compass of their voices, and also against the conventional school-tone of loudness, which consists in raising the voice to so high a pitch that it grates on the ear like the filing of a saw.

6. "The command of all degrees of force of voice," says Prof. Russell, "must evidently be essential to true.

and natural expression, whether in reading or speaking. Appropriate utterance ranges through all stages of vocal sound, from the whisper of fear and the murmur of repose, to the boldest swell of vehement declamation, and the shout of triumphant courage. But to give forth any one of these or the intermediate tones, with just and impressive effect, the organs must be disciplined by appropriate exercise and frequent practice. For every day's observation proves to us, that mere natural instinct and animal health, with all the aids of informing intellect, and inspiring emotion, and exciting circumstances, are not sufficient to produce the effects of eloquence, or even of adequate utterance.

7. "The overwhelming power of undisciplined feeling may not only impede but actually prevent the right action of the instruments of speech; and the novice who has fondly dreamed, in his closet, that nothing more is required for effective expression than a genuine feeling, finds, to his discomfiture, that it is perhaps the very intensity of his feeling that hinders his utterance; and it is not till experience and practice have done their work, that he learns the primary lesson, that force of emotion needs a practiced force of will to balance and regulate it, and a disciplined control over the organs to give it appropriate utterance.

8. "The want of due training for the exercise of public reading or speaking is evinced in the habitual undue loudness of some speakers, and the inadequate force of others—the former subjecting their hearers to unnecessary pain, and the latter to disappointment and uneasiness.

9. "Force of utterance, however, has other claims on the attention of students of elocution, besides those which are involved in correct expression. It is, in its various gradations, the chief means of imparting strength to the vocal organs, and power to the voice itself. The due

practice of exercises in force of utterance, does for the voice what athletic exercise does for the muscles of the body it imparts the two great conditions of powervigor and pliancy."

CAUTION.

10. In drill upon the following exercises, bear in mind the following direction from Prof. Monroe: "Seek to make the sounds always smooth and musical; and never lose sight of the fact that what is wanted in every-day use of the voice, in the school-room or elsewhere, is a pleasant and natural intonation. The practice of loud and sustained tones is an excellent means of improving the voice; but is to be the exception, not the rule, in ordinary reading. Still less should a shouting tone be used in conducting a recitation, or in the ordinary discipline of a class. Yet the softest tone must be elastic and full of life, not dull and leaden."

CONCERT DRILL ON FORCE.

1. Repeat, three times, the long vocals, ā, ē, ī, ō, ū, (1) with soft force; (2) with moderate force; (3) with loud force.

2. Count from one to twenty with very soft force; with soft force; with moderate force; with loud force; with very loud force.

3. Repeat, five times, the word "all," beginning with very soft force, and increasing the degree of force with each successive repetition of the word.

4. Repeat the following with increased force on each. successive repetition: "loud, louder, LOUDEST."

5. Repeat, three times, ē, ā, ä, a, ō, ọ, (1) with soft force; (2) moderate force; (3) loud force.

I. VERY SOFT FORCE.

Very soft force is appropriate to the expression of tenderness, sadness, or peaceful and tranquil feeling.

He therefore turning softly like a thief,
Lest the harsh shingle should grate underfoot,
And feeling all along the garden-wall,

Lest he should swoon and tumble and be found,
Crept to the gate, and opened it, and closed,
As lightly as a sick man's chamber-door,

Behind him, and came out upon the waste.

And there he would have knelt, but that his knees Were feeble, so that falling prone he dug

His fingers into the wet earth, and prayed.

II. SOFT OR SUBDUED FORCE.

TENNYSON.

Soft force differs from very soft only in degree.