Why, it all lies in a nutshell: sport a curriclewalk Bond street-play the dandy-Using and dance well-go to the opera-put on your wig-pull off your overcoat, and there's a man of the first fashion in town for you!

(~)~To thine own self be true,|

And it must follow, as the night the day,

ɅThou canst not then be false to any man.

(~)~Be you content

to lend your patience to us,

And we shall labor jointly with your soul

To give it due content.

I will do what you ask

with pleasure, if I can.

I do know when many of the best respect in Rôme, -Except immortal Cæsar, speaking of Brutus, (~)~Have wished that noble Brutus

Hamlet. What news?

had his eyes.

Rosencrantz. None, my lord, but that the world's grown honest.

Hamlet. Then is doomsday near.

But your news is not true. Let me question you more in particular. What have you, my good friends, desèrved at the hands of Fortune, that she sends you to prison! \hither? Guildenstern. VPrison, my lord?

Hamlet. Denmark's a prison.

Rosencrantz. Then is the world one.

For my part, (~~)~~I do not know how it may be my destiny to fall; it may be by chance, or malady, Nor violence; but, /~should it be my fate to perish the victim of a bold and honest discharge of duty, -I will not shun it. -Curran.

Apology.

Then sware Lord Thomas Howard: 'A'Fore God, I am no

coward;

(~~)~But I cannot meet them here, for my ships are out of gear,

(~~)~~And the half my men are sick. I must fly, but follow quick.

(~~)~We are six ships of the line; can we -Vfight with -Vfifty--Vthree?'

I humbly beg your pardon, sir.

Submission.

Hamlet.

(The last sentence.)

Still am I called.

Unhànd me, gèntlèmèn!
By heaven, I'll make a ghost of him that Vlèts mé!
I say, awây! -Go õn—-~~~I'll follow thee.

'Make' should receive a wide rising skip and a strong, abrupt falling concrete. 'Ghost,' in the second line, is unemphatic, as the word is suggested by the apparition on the platform before them. 'Lets me' is emphatic condition, and requires a sharp rising-wave sweep. 'Away,' a wide falling wave, with final or thorough stress, completing a climax sweep. Submission-yielding, is to be expressed on the last five words. Each of the two clauses should receive a just perceptible Double-wave-rising melody, and the accentual echo should be very delicate.

Carelessness, Indifference.

Let it go; it cannot matter to us.

(~~)~It will be all the same,

He declaims very well.

Yes, you may take it.

How do you do?

Doubt, Speculation.

a hundred years from now.

(~)~There seems to be a path through the woods, over there.

(~~)~~I am not sure of there ever having been such a man (as Caspar Hauser.

Statement, with Appeal; Suggestion.

'Tis sweet and glôrious to die for one's country.

^'Twere a sìn, (~~)~~to be so near Cologne and not see it.

Though he had no hand in his death, ()he shall receive the benefit of his dying, (~~)~a place in the commonwealth.l

If it be found so, some will dear abide it.

Sarcasm.

I marvel (that her grace did leave it out. Disclaimer.

I come not, friends, to steal away your hearts; (~~)~I am no orator, as Brutus is.

Apologetic Defense.

I think it's a first-rate bargain:

it was only two

ninety-eight, marked down from three dollars.

Longing, Eager Expectance. (Illustrated in Hamlet's first speech.)

Ghost. Pity me not, but lend thy serious hearing To what I shall unfold.

Hamlet. Speak; I am bound to hear.

Ghost. So art thou to revenge, when thou shalt hear.
Hamlet. What?

In the Ghost's second speech, 'when' should be made the central idea of the second clause. The thought turns upon the order in time:-'Thou shalt hear; and when-as soon as— thou hast heard, art bound to revenge.' Compare Wolsey's

And when he falls, he falls like Lucifer,
Never to hope again.

'He is certain to fall: it is only a matter of when.' Hamlet's second speech, of a single word, should be read not, as it sometimes is, with a rising inflection, but with a strong falling

slide. Supplying the ellipsis, it stands for, 'For what crime and upon what criminal am I to wreak revenge?'

Interruptive Emphatic Sudden Thought.

If there's anything in the world I hate and you know it—it is asking you for money. I'm sure, for myself, I'd rather go without a thing a thousand times and I do-()the more shame to you to let me!!

Parenthetic Reminder.

It sometimes required, however, the full force of this reflection to induce Meg, old and crabbed as she was, to submit to the various caprices and exactions of attention which were displayed by her new lodger.

-Scott-St. Ronan's Well.

The wave sweep on 'old and crabbed as she was' should be quite moderate, with slurred utterance, and the wave of the melody echoed lightly on ‘old-crabbed-was', or we shall produce a sad confusion of ideas. By giving 'old' a rising third, and crabbed' a corresponding falling intonation,so that 'old and crabbed,' taken by itself, has the A or outline, and add 'as she was' as a rising enclitic phrase, we say, unmistakably, that Mistress Meg's being old and crabbed would naturally render her submissive to her guest's caprices. By widening the emphatic intervals the absurdity would be made more prominent. Yet the outline of the clause, as a whole, would be . In the wrong reading, however, 'old and crabbed' is really exclamatory, giving the clause the force of the insupposable conditional, instead of the true intention, 'because she was old and crabbed,' or, 'being old and crabbed.' (The Double-waverising Sweep, page 451.) In the two examples below, the clauses, 'fleet of foot as she was,' 'wet as I was', are susceptible of perversion in the same manner. The accentual wave echo of the group melody is the essential distinction of the true reading.

She began to run, and, fleet of foot as she was, soon distanced her tormentors.

-Mary Johnston-Audrey.

Northmour produced some cold meat, to which I eagerly set myself; and a bottle of good Burgundy, by which, wet as I was, I did not scruple to profit.

-R. L. Stevenson-The Pavilion on the Links.

A SWEEP COMPOSITE, OR BLEND.-In the question, from Patrick Henry's great speech,

Is it that insidious smile, with which our petition has been lately received?

the ironical motive requires a modification of the directinterrogative melody, by blending in some way the effects of the Double-wave-rising contour and the simple rising sweep. This is satisfactorily and easily accomplished, by widening the terminal rise of each U-group sweep, with increased time and stress.

Is it that insidious smile, with which our petition has

been lately received?

THE DOUBLE-WAVE-FALLING SWEEP; THE INFERENTIAL SWEEP. SYMBOL: .

This sweep is correlative to the double-wave-rising sweep. Its principal office seems to be, to place a positive clause, phrase, or word, in melodic opposition, or contrast, to a negative, implied or expressed. It is inferential in motive.

When a condition or an exception is to be made unusually emphatic, and the speaker's motive includes conviction, determination, or exclamation, the contour is likely to be , instead of .

Occasionally, the falling-wave contour, O, A, is effectively used, rather than .