The pupil will carefully note the short analysis of the expression of each passion, and the marginal directions as to tone and time due to each particular passage.

THE PASSIONS-AN ODE.-COLLINS.

DIRECTIONS.

Begin calmly, smoothly, and in moderate time, and middle pitch.

The tone and

time must here change, and be varied to express the diffe. rent emotions described.

This must be

rapid, to ex.

press the sud-.

presto.

From the supporting myrtles round,

denness of the They snatch her instruments of sound,

action.

Fear deprives the voice of its power; the tone becomes thin and feeble, and the utterance (when the

passion is highly-wrought) tremulous, indistinct, and broken.

Anger is high in pitch, loud, and quick in the time of its utterance; and the words do not flow, but burst out in sudden starts, indicative of the rashness of passion.

This is distinct from the expression of dignified anger, just severity, and reproof, which is solemn and measured in its delivery, and low in pitch.

Despair vents itself in a low, moaning tone; till it reaches its wildest paroxysm, when it is cracked and shrieking. Both shades of expression are beautifully and distinctly individualized by the poet in the descriptive verses.

The expression of Hope is in direct contrast with that of Despair; lively, animated, joyous; in rather a high pitch of voice, but at the same time sweet and flowing.

allo. con spirito.

Mark the trans-(But thou, O Hope, with eyes so fair,

ition from the preceding passion by change of tone & time; and as the feeling grows, let the voice swell and increase i volume.

What was thy delighted measure?

Still it whisper'd promis'd pleasure,

And bade the lovely scenes at distance hail!

<

And from the rocks, the woods, the vale, She call'd on Echo still through all the song;

And where her sweetest theme she chose,

The features of Revenge are of the same family as Anger; but bolder, stronger, and more highly colored.

The tone must be fiercer, harsher, and more concentrated than mere Anger. Revenge, when most intense, speaks between the set teeth; and utters its denunciations in a hoarse, guttural voice; and with fitful bursts of passion.

PITY, on the contrary, speaks in a low, soft, and gentle tone of voice; but full and flowing, as from the exuberance of a warm heart.

The transition from the calm joyousness of Hope, to the fierce excitement of Revenge, must be marked by the assumption of a deeper and a louder tone,and an impetuous utterance.

Mark the change to the gentle & tender tone of Pity.

Return to the rapid movement & fierce utterance of Revenge.

presto

And longer had she sung-but, with a frown,

Bfz.

Revenge impatient rose;

7. JEALOUSY.

Jealousy has a changeful tone, varying as it yields to love or hate; sometimes indulging in the tenderness of affection, at others venting itself in all the harshness and bitterness of revenge. The poet has well distinguished these two different phases of the passion.

A largo p.

presto. m. f.

Begin in a low Thy numbers, Jealousy, to nought were fix'd,

tone, & slowly;

changing, according to the alternation of feeling descri

bed.

Of differing themes, the veering song was mix'd,

Mp. retard affo, dolce,

And now it courted Love,"

on Hate!

8. MELANCHOLY.

The voice of Melancholy is low in tone, soft, mellow, and slow in utterance.

Mark the gen. tleness of the passion by a smooth, flowing delivery, and rather deep

tone.

A lighter tone & movement.

In notes by distance made more sweet,

Pour'd through the mellow horn her pensive soul: