like the poor, miserable furniture of a ruin, not only the upstart empire of Louis Bonaparte, but all the establishments and all the results of ancient and eternal despotism. Look at all this pass by. It is disappearing forever. You will never see it more. See that book half sunk; it is the old code of iniquity. That trestlework which has just been swallowed up is the throne! And this other trestlework which is going off, it is — the scaffold! And for this immense engulfing, and for this supreme victory of life over death, what has been the power necessary? One of thy looks, O Sun! One of thy rays, O Liberty!

(5) The Octave.

The Octave is the slide of voice through eight notes of the scale. Many utterances which may be placed in this class fall a little short of the Octave, while others overrun it, but the Interval is relatively the Octave. It is heard in nature in the peal of thunder, the crash of cannon, and the exclamations of intense feeling heard among all peoples.

In expression the Octave is employed in the utterance of astonishment, intense fear, exultation, impassioned exclamation, and interrogation.

Selection illustrating the Octave.

NOTE. The Octave is the least common of the Intervals, and is heard in dramatic expression in which the Interval of the Fifth plays quite as important a part. Only the most intense exclamations of feeling should be given in this wide Interval.

SHYLOCK'S RAGE FROM "THE MERCHANT
OF VENICE"

WILLIAM SHAKESPEARE

Enter SHYLOCK, SALANIO, and SALARINO

Salanio. How now, Shylock! what news among the merchants? Shylock. You knew, none so well, none so well as you, of my daughter's flight.

Salarino. That's certain: I, for my part, knew the tailor that made the wings she flew withal.

Salan. And Shylock, for his own part, knew the bird was fledged; and then it is the complexion of them all to leave the dam.

Shy. She is damned for it.

Salar. That's certain, if the devil may be her judge.

Shy. My own flesh and blood to rebel!

Salan. Out upon it, old carrion! rebels it at these years?
Shy. I say, my daughter is my flesh and blood.

Salar. There is more difference between thy flesh and hers than between jet and ivory; more between your bloods than there is between red wine and rhenish. But tell us, do you hear whether Antonio have had any loss at sea or no?

Shy. There I have another bad match: a bankrupt, a prodigal, who dare scarce show his head on the Rialto; a beggar, that was used to come so smug upon the mart; let him look to his bond: he was wont to call me usurer; let him look to his bond: he was wont to lend money for a Christian courtesy; let him look to his bond.

Salar. Why, I am sure, if he forfeit, thou wilt not take his flesh what's that good for?

Shy. To bait fish withal: if it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what's his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villany

you teach me, I will execute, and it shall go hard but I will better the instruction.

Enter TUBAL

Salan. Here comes another of the tribe: a third cannot be matched, unless the devil himself turn Jew.

[Exeunt SALAN. and SALAR.

Shy. How now, Tubal! what news from Genoa? hast thou found my daughter?

Tub. I often came where I did hear of her, but cannot find her. Shy. Why, there, there, there, there! a diamond gone, cost me two thousand ducats in Frankfort! The curse never fell upon our nation till now; I never felt it till now: two thousand ducats in that; and other precious, precious jewels. I would my daughter were dead at my foot, and the jewels in her ear! would she were hearsed at my foot, and the ducats in her coffin! No news of them? Why, so: and I know not what's spent in the search: why, thou loss upon loss! the thief gone with so much, and so much to find the thief; and no satisfaction, no revenge: nor no ill luck stirring but what lights on my shoulders; no sighs but of my breathing; no tears but of my shedding.

Tub. Yes, other men have ill luck too: Antonio, as I heard in Genoa,

Shy. What, what, what? ill luck, ill luck?

Tub. Hath an argosy cast away, coming from Tripolis.
Shy. I thank God, I thank God! Is't true, is't true?

Tub. I spoke with some of the sailors that escaped the wreck. Shy. I thank thee, good Tubal: good news, good news! ha, ha! where? in Genoa?

Tub. Your daughter spent in Genoa, as I heard, in one night fourscore ducats.

Shy. Thou stickest a dagger in me: I shall never see my gold again: fourscore ducats at a sitting! fourscore ducats!

Tub. There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break.

Shy. I am very glad of it: I'll plague him; I'll torture him: I am glad of it.

Tub. One of them showed me a ring that he had of your daughter for a monkey.

Shy. Out upon her! Thou torturest me, Tubal: it was my turquoise; I had it of Leah when was a bachelor: I would not have given it for a wilderness of monkeys.

Tub. But Antonio is certainly undone.

Shy. Nay, that's true, that's very true. Go, Tubal, fee me an officer; bespeak him a fortnight before. I will have the heart of him, if he forfeit; for, were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue; go, good Tubal; at our synagogue, Tubal. [Exeunt.

(6) Vocal culture of Intervals.

a. Sing ā, ä, ō up and down the musical scale by the Intervals do, mi, sol, do.

b. Speak the sounds ā, ē, ī, ō, ū up and down alternately in slides of the Semitone; then in Seconds, Thirds, Fifths, and Octaves respectively.

c. Do the same with the words all, arm, isle, our, roll.

Selection used to illustrate all the Intervals.

NOTE. The great variety of sentiment and passion in the following scene gives ample opportunity for the study and application of the five Intervals of Pitch. To summarize, keep in mind that the Semitone is the pathetic Interval; the Second, the solemn Interval; the Third, the conversational Interval; the Fifth, the joyous Interval; and the Octave, the exclamatory Interval.

PROTESTATIONS OF LOVE FROM "MUCH ADO ABOUT NOTHING"

WILLIAM SHAKESPEARE

Messina. The Inside of a Church. Lady Hero is falsely accused
Enter BENEDICK and BEATRICE

Benedick. Lady Beatrice, have you wept all this while?
Beatrice. Yea, and I will weep awhile longer,

Bene. I will not desire that.

Beat. You have no reason; I do it freely.

Bene. Surely I do believe your fair cousin is wronged.

Beat. Ah, how much might the man deserve of me that would right her!

Bene. Is there any way to show such friendship?

Beat. A very even way, but no such friend.

Bene. May a man do it?

Beat. It is a man's office, but not yours.

Bene. I do love nothing in the world so well as you is not that strange?

Beat. As strange as the thing I know not. It were as possible for me to say I loved nothing so well as you: but believe me not; and yet I lie not; I confess nothing, nor I deny nothing. I am sorry for my cousin.

Bene. By my sword, Beatrice, thou lovest me.

Beat. Do not swear by it, and eat it.

Bene. I will swear by it that you love me; and I will make him eat it that says I love not you.

Beat. Will you not eat your word?

Bene. With no sauce that can be devised to it. I protest I love thee.

Beat. Why, then, God forgive me!

Bene. What offence, sweet Beatrice?

Beat. You have stayed me in a happy hour: I was about to protest I loved you.

Bene. And do it with all thy heart.

Beat. I love you with so much of my heart that none is left

to protest.

Bene. Come, bid me do any thing for thee.

Beat. Kill Claudio.

Bene. Ha! not for the wide world.

Beat. You kill me to deny it. Farewell.

Bene. Tarry, sweet Beatrice.

Beat. I am gone, though I am here: there is no love in you: nay, I pray you, let me go.

Bene. Beatrice,

Beat. In faith, I will go.