Master young man, you, I pray you, which is the way to master Jew's? Can you tell me whether one Launcelot, that dwells with him, dwell with him or no? A good example of affectation is found in the play "The Honeymoon," by John Tobin. Juliana, when she finds herself in a cottage instead of a palace, says to the Duke: I'll not endure it! but remember this: And I will have attendance! To wait upon myself! Must I bear this? I could tear out my eyes that bade you woo me, Sir, has spoilt me for it. Why, do you think I'll work? What! Rub and scrub Your noble palace clean? . . And dress your victuals (if there be any)? In developing the voice it is advisable to use the old ballads which preceded the drama, as they give scope and dramatic quality. One of the best examples is "Edward, O Edward": "Why doies your brand sae drap wi bluid, Why doies your brand sae drap wi bluid, "O I hae killed my hauke sae guid, O I hae killed my hauke sae guid, "Your haukis bluid was nevir sae reid, Your haukis bluid was nevir sae reid, "O I hae killed my reid-roan steid, OI hae killed my reid-roan steid, "Your steid was auld, and ye hae gat mair, Edward, Edward, Your steid was auld, and ye hae gat mair, Sum other dule ye drie O." "And whatten penance wul ye drie for that, Edward, Edward? And whatten penance will ye drie for that? My deir son, now tell me O." "Ile set my feit in yonder boat, Mither, mither, Ile set my feit in yonder boat, And Ile fare ovir the sea O." "And what wul ye doe wi your towirs and your ha, Edward, Edward? And what wul ye doe wi your towirs and your ha, "Ile let thame stand tul they doun fa, Ile let thame stand tul they doun fa, For here nevir mair maun I bee O." "And what wul ye leive to your bairns and your wife, Edward, Edward? "And what wul ye leive to your bairns and When ye gang ovir the sea O?" "The warldis room, late them beg thrae life, The warldis room, late them beg thrae life, your wife, "And what wul ye leive to your ain mither deir, And what wul ye leive to your ain mither deir ? "The curse of hell frae me sall ye beir, Mither, mither, The curse of hell frae me sall ye beir, The ballads of Kipling, which follow the lines of the old English ballads, especially in the matter of refrain, are also of great service in developing dramatic quality. For developing the flute-like quality in the voice nothing excels the lyric poetry of Sidney Lanier (1842-1881), and many suitable extracts from the "Song of the Chattahoochee," "Tampa Robins," and "Individuality" can be cited. Keep steadily in mind the interdependence of literature and your expression of it. While many of the great poems do not lend themselves to public entertainment, you should not consider your education adequate without a knowledge of them and of their importance in literature. Ten great poems of the nineteenth century are: Wordsworth's (1770-1850) "Ode on Immortality." Keats's (1795-1821) "Ode on a Grecian Urn." George Meredith's (b. 1828) "Modern Love." Oscar Wilde's (1856-1900) "The Ballad of Reading Gaol." Matthew Arnold's (1822-1888) "Sohrab and Rustum." THE VOWEL SOUNDS Long A is made by uniting the short sound of E, as in end, with Y as the closing, vanishing sound. Words for practice: day, may, bay, say, hay, ray, gay, clay, pay, stay, they, fray, gray, way, spray, babe, cape, date, fame, eight, break, main, nave, dairy, quake, rage, safe, bass, facial, aeronaut, barbarian, canary, vagaries, heinous, pathos, vary, prairie, Mary, Sarah, grimace. Avoid stress on the vanishing Y and do not sound it as an E; do not make day, dae; bay, bae; may, mae; or say, sae. Short A. Words for practice: cat, rat, bat, hat, at, sat, mat, man, and, band, sand, bad, mad, glad, land, hand, cant, gas, thank, carry, marry, character, barrel, dazzle, passion, Harry, romance, caravan, comparison, fancy. Italian A. Words for practice: arm, aunt, alms, half, calf, can't, carve, calve, calm, father, palm, psalm, vaunt, daunt, jaunt, gaunt, balm, staunch, papa, |