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The blue, the fresh, the fever free;
Without a mark, without a bound,
It runneth the earth's wide regions round;
It plays with the clouds, it mocks the skies,
Or like a cradled creature lies.
I'm on the sea, I'm on the sea,
I am where I would ever be,
With the blue above and the blue below,
And silence wheresoe'er I go.
If a storm should come and awake the deep,
What matter? I shall ride and sleep.
I love, oh! how I love to ride
On the fierce, foaming, bursting tide,
Where every mad wave drowns the moon,
And whistles aloft its tempest tune,
And tells how goeth the world below,
And why the southwest wind doth blow!
I never was on the dull, tame shore
But I loved the great sea more and more,
And backward flew to her billowy breast,
Like a bird that seeketh her mother's nest,--
And a mother she was and is to me,
For I was born on the open sea.
The waves were white, and red the morn,
In the noisy hour when I was born;
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The whale it whistled, the porpoise rolled,
And the dolphins bared their backs of gold;
And never was heard such an outcry wild,
As welcomed to life the ocean child.
I have lived, since then, in calm and strife,
Full fifty summers a rover's life,
With wealth to spend, and a power to range,
But never have sought or sighed for change:
And death, whenever he comes to me,
Shall come on the wide, unbounded sea!
--BARRY CORNWALL.
The sun does not shine for a few trees and flowers, but for the
wide world's joy. The lonely pine upon the mountain-top waves
its sombre boughs, and cries, "Thou art my sun." And the little
meadow violet lifts its cup of blue, and whispers with its
perfumed breath, "Thou art my sun." And the grain in a thousand
fields rustles in the wind, and makes answer, "Thou art my sun."
And so God sits effulgent in Heaven, not for a favored few, but
for the universe of life; and there is no creature so poor or so
low that he may not look up with child-like confidence and say,
"My Father! Thou art mine."
--HENRY WARD BEECHER.
THE LARK
Bird of the wilderness,
Blithesome and cumberless,
Sweet be thy matin o'er moorland and lea!
Emblem of happiness,
Blest is thy dwelling-place:
Oh, to abide in the desert with thee!
Wild is thy lay, and loud,
Far in the downy cloud,--
Love gives it energy; love gave it birth.
Where, on thy dewy wing
Where art thou journeying?
Thy lay is in heaven; thy love is on earth.
O'er fell and fountain sheen,
O'er moor and mountain green,
O'er the red streamer that heralds the day;
Over the cloudlet dim,
Over the rainbow's rim,
Musical cherub, soar, singing, away!
Then, when the gloaming comes,
Low in the heather blooms,
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Sweet will thy welcome and bed of love be!
Emblem of happiness,
Blest is thy dwelling-place.
Oh, to abide in the desert with thee!
--JAMES HOGG.
In joyous conversation there is an elastic touch, a delicate stroke, upon the central ideas, generally following a
pause. This elastic touch adds vivacity to the voice. If you try repeatedly, it can be sensed by feeling the
tongue strike the teeth. The entire absence of elastic touch in the voice can be observed in the thick tongue of
the intoxicated man. Try to talk with the tongue lying still in the bottom of the mouth, and you will obtain
largely the same effect. Vivacity of utterance is gained by using the tongue to strike off the emphatic idea with
a decisive, elastic touch.
Deliver the following with decisive strokes on the emphatic ideas. Deliver it in a vivacious manner, noting the
elastic touch-action of the tongue. A flexible, responsive tongue is absolutely essential to good voice work.
FROM NAPOLEON'S ADDRESS TO THE DIRECTORY ON HIS RETURN FROM EGYPT
What have you done with that brilliant France which I left you?
I left you at peace, and I find you at war. I left you
victorious and I find you defeated. I left you the millions of
Italy, and I find only spoliation and poverty. What have you
done with the hundred thousand Frenchmen, my companions in
glory? They are dead!... This state of affairs cannot last long;
in less than three years it would plunge us into despotism.
Practise the following selection, for the development of elastic touch; say it in a joyous spirit, using the
exercise to develop voice charm in all the ways suggested in this chapter.
THE BROOK
I come from haunts of coot and hern,
I make a sudden sally,
And sparkle out among the fern,
To bicker down a valley.
By thirty hills I hurry down,
Or slip between the ridges;
By twenty thorps, a little town,
And half a hundred bridges.
Till last by Philip's farm I flow
To join the brimming river;
For men may come and men may go,
But I go on forever.
I chatter over stony ways,
In little sharps and trebles,
I bubble into eddying bays,
I babble on the pebbles.
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The Art of Public Speaking
With many a curve my banks I fret,
By many a field and fallow,
And many a fairy foreland set
With willow-weed and mallow.
I chatter, chatter, as I flow
To join the brimming river;
For men may come and men may go,
But I go on forever.
I wind about, and in and out,
With here a blossom sailing,
And here and there a lusty trout,
And here and there a grayling,
And here and there a foamy flake
Upon me, as I travel,
With many a silvery water-break
Above the golden gravel,
And draw them all along, and flow
To join the brimming river,
For men may come and men may go,
But I go on forever.
I steal by lawns and grassy plots,
I slide by hazel covers,
I move the sweet forget-me-nots
That grow for happy lovers.
I slip, I slide, I gloom, I glance,
Among my skimming swallows;
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