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THE SOLDIER FROM BINGEN. Mrs. No ton. A Soldier of the Legion lay dying in Algiers, There was lack of woman's nursing, there was dearth of woman's
tears ; But a comrade stood beside him, while the life-blood ebbed away: And bent with pitying glance to hear each word he had to say. The dying soldier faltered, as he took that comrade's hand, And he said: "I never more shall see my own — my native land! Take a message and a token to the distant friends of mine, For I was born at Bingen - at Bingen on the Rhine!
- Tell my brothers and companions, when they meet and crowd
around, To hear my mournful story, in the pleasant vineyard ground, That we fought the battle bravely, and when the day was done, Full many a corse lay ghastly pale, beneath the setting sun; And ’midst the dead and dying were some grown old in wars, The death-wound on their gallant breasts,- the last of many scars! But some were young, and suddenly beheld Life's morn decline,And one had come from Bingen — fair Bingen on the Rhine!
“Tell my mother that her other sons shall comfort her old age,
6 Tell my sister not to weep for me, and sob with drooping head, When the troops come marching home again, with glad and gallant
tread; But to look upon them proudly, with a calm and steadfast eye, For her brother was a soldier, too, and not afraid to die! And if a comrade seek her love, I ask her in my name To listen to him kindly, without regret or shame; And to hang the old sword in its place -- (my father's sword and
mine), For the honor of cld Bingen -- dear Bingen on the Rbine!
" There's another,- not a sister, -in the happy days gone by,
weak, His eyes put on a dying look,- he sighed, and ceased to speak; His comrade bent to lift him, but the spark of life had fledThe soldier of the Legion in a foreign land was dead ! And the soft moon rose up slowly, and calmly she looked down On the red sand of the battle-field, with bloody corses strewn ! Yes, calmly on that dreadful scene her pale light seemed to shine, As it shone on distant Bingen-fair Bingen on the Rhine.
THE NATION'S DEAD.
The brave — the good — the true,
Lie dead for me and you !
For me and you !
By many a black bayou,
And died for me and you!
For me and you!
Their ready swords they drew,
To gain for me and you !
For me and you !
They charged — those boys in blue 'Mid surging smoke, and volley'd ball The bravest were the first to fall!
To fall for me and you!
For me and you !
Their martyr spirits grew
They starved for me and you !
For me and you !
To them is justly due, .
« They died for me and you !” Four hundred thousand of the brave Made this, our ransomed soil, their gravo
For me and you !
INFLECTIONS. Inflections are the peculiar slides which the voice takes in pronouncing a letter, syllable, or word.
The Rising Inflection is the upward slide of the voice. It may be indicated by the acute accent (?).
The Falling Inflection is the downward slide of the voice. It may be indicated by the grave accent (1).* · The Circumflex or Wave is the union of the rising and falling inflections. It is called Direct when the first interval ascends w ; Inverted, when the order of the intervals is reversed (v); Equal, when the rising and falling are the same, and Unequal, when they are different. It is called Single when two intervals only are thus joined (v or ^); Double, when another is joined continuously to the second of the single form (W).
“ The use of Inflection is to give significance to speech; it constitutes that part of modulation addressed to the understanding, ranking next to distinct articulation, as the means of rendering consecutive oral expression intelligible. It has, too, a certain effect of local melody,--so to term it, in the successive clauses of a sentence, without which aid we could not discriminate between the commencement and the completion of a thought addressed to the ear.
Propriety of tone, even in the plainest forms of 'prose reading, is wholly dependent on the right use of inflections. . . . In the reading of verse, appropriate inflections are the only means of avoiding the two great evils of monotony and chant.” — Russell.
“Words may be considered under three aspects: as representatives of simple thought, as indicative of an enforcing of thought and as expressive of passion. The progress of the voice in speaking (as before stated) is called Melody. The course of melody under the direction of simple thought, is through the interval of a tone in the radical change, with a concrete rise of a tone from each of those radicals. But the portions of discourse representing simple thought are limited ; thoughts are to be enforced and passions expressed. The tenor of the simple diatonic melody is therefore often interrupted by an occurrence of wider intervals of the scale both in the concrete and discrete forms.”
* Should the pupil be unable readily to distinguish between the rising and falling inflections, the following plan may be adopted to overcome the difficulty.
Take for illustration the word “constitution.” To exemplify the use of the falling inflection, let the question be asked, “What is the word?” — The answer —“ Constitution" — will inevitably be given with the falling slide of the voice. To secure the use of the rising slide, a direct question, (demanding a positive answer, -"yes,” or “no”- ) may be asked by the pupil; thus, “Is the word •Constitution'?” The interrogation will be involuntarily made with the rising inflection.
By the term Octave is meant the uninterrupted movement of the voice from any assumed radical place, through the notes of the scale, till it vanishes in the eighth degree above or below that radical place.
The Rising Octave expresses the most forcible degree of interrogation, and of emphasis on a rising interval. It is the appropriate intonation of questions accompanied with contempt, mirth, raillery, and the temper or triumph of peevish or indignant argument.
Examples. “ My extravagance! I'm sure I'm not more extravagant than a woman ought to be. ....
" Sir Peter, am I to blame because flowers are dear in cold weather? You should find fault with the climate, and not with me. For my part, I'm sure I wish it was spring all the year round, and that roses grew under our feet.” — SCHOOL FOR SCANDAL. — Sheridan.
“Do you deny me justice ? Saints of heaven, .
RICHELIEU. - Bulwer.
“What? shall we teach our chroniclers henceforth
To write that in five bodies were contained
PHILIP VAN ARTEVELDE. — Henry Taylor