br- R say that Brutus' love to Cæsar, was no less than shf st TRI ief ·n veq his. If, then, that friend demand why Brutus rose B shf p against Cæsar, this is my answer: not that I loved nef- shf st Cæsar less, but that I loved Rome shf p peq sp phf st you rather Cæsar were living, and die all slaves, than that Cæsar were dead, and live all freemen? sef E-R a R2 veg w As Cæsar loved me, I weep for him; as he was for br rLi B sdf d tunate, I rejoice at it; as he was valiant, I honour him; but, as he was ambitious, I slew him. D There a R2 veq w- D Bpcf are tears for his love, joy for his fortune, honour for his valour, and death for his ambition. Who's here so base that would be a bondman? If any, for him have I offended. Who's here so vile that Bohf sh BR him have I offended. I pause for a reply. None she sw Then none have I offended. I have done no more a R2 shf n nef br-R to Cæsar, than you should do to Brutus. a ihf n rLI The ieb n question of his death is enrolled in the Capitol, nor his offences enforced, for which he suffered phf st B -ihb ....... she Fshe-shb death. Here comes his body, mourned by Mark Antony, who, though he had no hand in his death, shall receive the benefit of his dying,-a place in B she the commonwealth; as which of you shall not? B nef BR a RQ cef With this, I depart that, as I slew my best lover for the good of Roine, I have the same dagger REMARKS ON THE NOTATION OF THE SPEECH OF BRUTUS. I have introduced this speech, and noted it, for the purpose of showing that the gestures necessary for delivering it in the true spirit, are principally the suspending and the emphatic. These are suited to the vehemence of the speaker's manner, which seeks no ornament, but hastens to produce the main impression on his hearers, by the most direct method. An inspection of the notation will make his evident; for, even though the reader may wish to alter many particular gestures which are here noted, he must change then for others of the same nature, if he would preserve the character of the speech. The suspending and the emphatic gestures must still abound, and he will find little opportunity for introducing the other descriptions, which are, in general, too tame for the abrupt and vehement style of this speech. "Be silent that you may hear." On these words I have marked the gesture for the left hand, as well as that for the right, and also on the words, "have respect unto mine honour." This last is an auxiliary gesture, but of the vehement kind. The exordium of this singular oration ends at "better judge;" after which, the arms should fall to rest, and there should be a considerable pause. Another division, which may be called the proposition, takes place at "live all freemen ;" another, the narration, at "death for his ambition;" and that which may be called the pathetic, or appeal to the passions, finishes at "I pause for a reply." The argument, or reasoning, ends at "suffered death;" and the peroration follows. "I weep for him." This is noted E-R, the right hand on the eyes, the left at rest. "Him have I offended," noted on "him," ihf rc, recoiling. In this action the finger is pointed suddenly, and scornfully; then immediately withdrawn. Frequent changes in the positions of the feet indicate anxiety; they are, therefore, noted, in this speech. "His body, mourned;" auxiliary gesture. When the right hand is brought up on “mourned," both hands become supine; and, on the next words, “by Mark Antony," they make the action of noting. At "Here comes," noted B, the speaker looks back; at “Mark Antony,” noted F, he looks forward to those whom he addresses. It would be tedious to point out all the suspending gestures, succeeded immediately by the emphatic, for they abound. In all the antitheses, which are numerous, the suspending will be found over the first member, and the emphatic over the last. B shf at U ief But from its loss: to give it then a tongue ief idq R st It is the knell of my departed hours. RB vhc rt Bohf p Where are they? With the years beyond the flood B phf 1 B vhq How much is to be done! My hopes, and fears U F B veq w nef c- F shf st- A How poor, how rich, how abject, how august, B nef d B sdf n An heir of glory! a frail child of dust! FB phf U B veq sp Didf- U veq w Helpless immortal! insect infinite! idf n- U vef sp A worm! a God! B shf sh I tremble at myself, own. phf n man Triumphantly distress'd! what joy! what dread! What can preserve my life? or what destroy? a nef sp d pdf n An angel's arm can't snatch me from the grave, B veq w B nef B sdf st Legions of angels can't confine me there. REMARKS ON THE EXTRACT FROM YOUNG'S NIGHT-THOUGHTS. The peculiarities of Young's style, especially in his NightThoughts, render his poetry particularly difficult for recitation. His use of epithets is faulty to excess. He heaps them profusely, and in every manner, on the principal idea. Man is here his subject, which he colours with every variety of tint, exhibits in every light, and touches and re-touches almost to disgust. And yet he has here produced many sublime images; and his very faults, his labour, his antitheses and his catachreses, are the source of his beauties. This passage is particularly difficult to recite. The dif * Cătachrēsis, a figure of speech by which one word is abusivel▼ put for another. |