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LXXXI. —LOCHINVAR.

1. Oh, young Lochinvar is come out of the west ! Through all the wide border his steed was the best; And, save his good broadsword, he weapons had none, He rode all unarmed, and he rode all alone.

So faithful in love, and so dauntless in war,

There never was knight like the young Lochinvar.

2. He stayed not for brake, and he stopped not for stone;

He swam the Esk River, where ford there was none;
But, ere he alighted at Netherby gate,

The bride had consented-the gallant came late;
For a laggard in love, and a dastard in war,
Was to wed the fair Ellen of brave Lochinvar.

3. So boldly he entered the Netherby hall,

Among bridesmen, and kinsmen, and brothers, and all.

Then spoke the bride's father, his hand on his sword
(For the poor craven bridegroom said never a word),
"Oh, come ye in peace here, or come ye in war,
Or to dance at our bridal, young lord Lochinvar ?"

4. "I long wooed your daughter-my suit you denied ;
Love swells like the Solway, but ebbs like its tide;
And now I am come with this lost love of mine
To lead but one measure, drink one cup of wine.
There are maidens in Scotland more lovely by far,
That would gladly be bride to the young Lochin

var."

5. The bride kissed the goblet, the knight took it up; He quaffed off the wine and he threw down the cup

She looked down to blush, and she looked up to sigh, With a smile on her lips and a tear in her eye.

He took her soft hand ere her mother could bar-"Now tread we a measure!" said young Lochinvar.

5. So stately his form, and so lovely her face,

That never a hall such a galliard did grace;

While her mother did fret, and her father did fume, And the bridegroom stood dangling his bonnet and plume;

And the bridemaidens whispered, ""Twere better by far

To have matched our fair cousin with young Lochin

var."

7. One touch to her hand, and one word in her ear, When they reached the hall door, and the charger

stood near;

So light to the croup the fair lady he swung,

So light to the saddle before her he sprung!

"She is won! We are gone, over bank, bush, and scaur!

They'll have fleet steeds that follow!" quoth young Lochinvar.

8. There was mounting 'mong Græmes of the Netherby clan;

Forsters, Fenwicks, and Musgraves, they rode and they ran;

There was racing and chasing on Cannobie Lee,
But the lost bride of Netherby ne'er did they see.

So daring in love, and so dauntless in war,

Have you e'er heard of gallant like young Lochinvar?

Sir Walter Scott.

FOR PREPARATION.—I. From "Marmion" (sung by Lady Heron to King James IV.) (V.). (See XXVI for the beginning of "Marmion.”) Find, on your map, the Esk River (empties into the Solway Firth);-Cannobie (on the south bank of the Esk, near the English border).

II. Lŏeh-in-vär', weap'-ons, däunt'-less, knight (nit), găl'-lant (and gal-lǎnt'), meas'-ure (mězh ́-ur), eouş'-in (kŭz'n), mãid'-enş (mãd ́nz), tread, sigh, Græmes (grāmz).

III. Dauntless (less?), faithful (ful?), boldly (ly?). What is omitted in they'll?

IV. Border, broadsword, brake, consented, laggard, dastard, craven, denied, "bonnet and plume," charger, quoth, clan, quaffed.

V. "Over bank, bush, and scäur" (or "scar," a precipice), galliard (gay dance). Mark the feet and the accented syllables in the 1st stanza.

LXXXII.-HOW TO RENDER IMPASSIONED IDEAS.

These include such strong passions as anger, defiance, revenge, hatred, terror, intense scorn, remorse and shame, and the extreme degree of the better feelings of courage, joy, grief, etc.

The reading of this class is characterized by no new vocal elements, but by the extreme degree of all the elements of speech: "very loud force," "very long slides,” "very abrupt stress," "very long quantity," "very wide compass of voice." The "volume" and "quality" of voice change to suit the dignity or meanness of the passion.

IMPASSIONED EARNESTNESS.

"Suffer not yourselves to be betrayed' with a kiss. Ask yourselves how this gracious reception of our petition comports with those WARLIKE' preparations which cover our waters and darken our land. Are fleets and ARMIES necessary to a work of love and reconciliation? Have we shown ourselves so unwilling to be reconciled, that

FORCE must be called in to win back our love? Let us not be deceived', sir. These are the implements of WAR' and SUBJUGATION—the last arguments to which kings' resort." (Patrick Henry.)

INDIGNATION AND SCORN.

"Ay, down to the dust with them, slaves as they are! From this hour let the blood in their dastardly veins, That shrunk at the first touch of Liberty's war,

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Be wasted for tyrants, or stagnate in chains.

Oh, shame! that in such a proud moment of life,

Worth the history of ages, when, had you but hurled One bolt at your bloody invader, that strife

Between freemen and tyrants had spread through the world

"That then-oh, disgrace upon manhood!-e'en then You should falter, should cling to your pitiful breath; Cower down into beasts, when you might have stood men,

And prefer a slave's life to a glorious death!"

(From "To the Neapolitans," by Thomas Moore)

IMPASSIONED GRIEF.

In impassioned expression, not pathetic, the slides are very long, rising and falling through the wide interval of "the octave." These slides, shortened a semitone, express impassioned grief and tenderness. The most emphatic words require also the "tremulous vanishing stress."

EXAMPLE.

Arthur is rightful heir to the English throne, and King John, his uncle, has induced Hubert, his chamberlain, to murder the little prince in the most cruel way, by burning out his eyes with hot irons.

Arthur-An if an angel should have come to me, And told me Hubert should put out mine eyes,

I would not have believed him. No tongue but Hubert'sHubert (to attendants)-Come forth! Do as I bid you do.

Arthur-Oh, save me, Hubert-save me! My eyes are out,

Even with the fierce looks of these bloody men.

Hubert-Give me the iron, I say, and bind him here. Arthur-Alas! What need you be so boisterousrough?

I will not struggle; I will stand stone-still.
For Heaven's sake, Hubert, let me not be bound!
Nay, hear me, Hubert! drive these men away,
And I will sit as quiet as a lamb;

I will not stir, nor wince, nor speak a word,

Nor look upon the iron angrily:

Thrust but these men away, and I'll forgive you,
Whatever torment you do put me to.

(From "King John," Shakespeare.)

IMPASSIONED JOY.

In addition to "very loud force" and "very long slides," and the usual "pure tone,” the extreme degree of joy requires the "quick swelling” and rapidly “tremulous stress" to give it passionate fervor. The pitch is high.

EXAMPLE.

When officers and men have given up all hope of relief, and are bravely awaiting a horrible death, Jessie Brown, a corporal's wife, made doubly sensitive to sound by sickness, hears the far-off music of the Scotch regiments sent to their succor, and shouts:

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