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Macb. Hark! Who lies i' the second chamber?

Lady M. Donalbain.

Macb. This is a sorry sight. [Looking on his hands.

Lady M. A foolish thought, to say a sorry sight.

Macb. There's one did laugh in 's sleep, and one cried "Murder!"

That they did wake each other: I stood and heard them :

But they did say their prayers, and address'd them

Again to sleep.

Lady M.

There are two lodg'd together.

Mach. One cried "God bless us !" and "Amen!" the other; As they had seen me, with these hangman's hands.

Listening their fear, I could not say

When they did say "God bless us!"

Lady M.

"Amen,"

Consider it not so deeply.

Macb. But wherefore could not I pronounce "Amen"?

I had most need of blessing, and “Amen”

Stuck in my throat.

Lady M.

These deeds must not be thought

After these ways; so, it will make us mad.

Macb. Methought I heard a voice cry "Sleep no more!
Macbeth does murder sleep," the innocent sleep,

Sleep that knits up the ravell'd sleave of care,
The death of each day's life, sore labour's bath,
Balm of hurt minds, great nature's second course,
Chief nourisher in life's feast, -
Lady M.

What do you mean?

Macb. Still it cried "Sleep no more!" to all the house:

"Glamis hath murder'd sleep, and therefore Cawdor

Shall sleep no more; Macbeth shall sleep no more!"

Lady M. Who was it that thus cried? Why, worthy thane,

You do unbend your noble strength, to think

So brainsickly of things. Go get some water,
And wash this filthy witness from your hand.

Why did you bring these daggers from the place?
They must lie there: go carry them, and smear
The sleepy grooms with blood.

Macb.

I'll go no more:

I am afraid to think what I have done;

Look on 't again I dare not.

Lady M.

Infirm of purpose!

Give me the daggers: the sleeping and the dead
Are but as pictures: 'tis the eye of childhood

That fears a painted devil. If he do bleed,

I'll gild the faces of the grooms withal;

For it must seem their guilt. [Exit. Knocking within.
Macb.
Whence is that knocking?

How is't with me, when every noise appals me?
What hands are here? ha! they pluck out mine eyes.
Will all great Neptune's ocean wash this blood

Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,

Making the green one red.

Re-enter Lady MACBETH

Lady M. My hands are of your colour; but I shame

To wear a heart so white. [Knocking within.] I hear a knocking At the south entry: retire we to our chamber:

A little water clears us of this deed:

How easy is it, then! Your constancy

Hath left you unattended. [Knocking within.] Hark! more knocking:

Get on your night-gown, lest occasion call us,

And show us to be watchers. Be not lost

So poorly in your thoughts.

Macb. To know my deed, 'twere best not know myself. [Knock. Wake Duncan with thy knocking! I would thou couldst !

[Exeunt.

SECTION IX. SUMMARY AND VOCAL CULTURE

While the student of vocal culture must make each Quality separate and distinct as a discipline of the voice he must remember that there are blends and shadings of Quality in expression to meet the demands of varying thoughts and

emotions. For example, the Oral may shade into the Normal, the Normal into the Orotund, the Orotund into the Pectoral, and the Pectoral into the Aspirate, according to one's conception of the lines to be interpreted. In like manner the artist combines his colors at will to represent on canvas his ideals of light, shadow, tint, or color; and the musician, though definite and exacting in his technical drill, blends his tones into harmonies to express the emotions and passions of his soul.

1. Exercises.

(1) Practice ā, ē, ī, ō, ū, in alternating notes of speech in the several Qualities.

(2) Give the words all, arm, our, roar, roll, in alternating notes in all the Qualities.

(3) Give the same sounds and words in notes of song in Normal and Orotund Qualities for purity and strength of tone.

2. Selection illustrating Quality.

NOTE. This extract from Quo Vadis contains a great variety of emotion. The student should analyze it, note the shades of feeling portrayed, and express them in their appropriate qualities. All but the Oral, the Nasal, and the Falsetto will be needed in its interpretation.

THE ARENA SCENE FROM "QUO VADIS"
HENRYK SIENKIEWICZ

At last the evening arrived. The sight was in truth magnificent. All that was powerful, brilliant, and wealthy in Rome was there. The lower seats were crowded with togas as white as snow. In a gilded podium sat Nero, wearing a diamond collar and a golden crown upon his head. Every eye was turned with strained gaze to the place where the unfortunate lover was sitting. He was exceedingly pale, and his forehead was covered with drops of sweat. To his tortured mind came the thought that faith of itself would spare Lygia. Peter had said that faith would move the earth to its foundations. He crushed doubt in himself, compressed his whole being into the sentence, "I believe,” and he looked for a miracle.

The prefect of the city waved a red handkerchief, and out of the dark gully into the brightly lighted arena came Ursus. In Rome there was no lack of gladiators, larger by far than the common measure of man; but Roman eyes had never seen the like of Ursus. The people gazed with the delight of experts at his mighty limbs, as large as tree trunks; at his breast, as large as two shields joined together, and his arms of a Hercules. He was unarmed, and had determined to die as became a follower of the Lamb, peacefully and patiently. Meanwhile he wished to pray once more to the Saviour. So he knelt on the arena, joined his hands, and raised his eyes towards the stars. This act displeased the crowd. They had had enough of those Christians, who died like sheep. They understood that if the giant would not defend himself, the spectacle would be a failure. Here and there hisses were heard. Some began to cry for scourgers, whose office it was to lash combatants unwilling to fight. But soon all had grown silent, for no one knew what was waiting for the giant, nor whether he would not defend himself when he met death eye to eye.

In fact, they had not long to wait. Suddenly the shrill sound of brazen trumpets was heard, and at that signal into the arena rushed, amid the shouts of the beast keepers, an enormous German aurochs, bearing on his head the naked body of a woman.

Vinicius sprang to his feet.

"Lygia! Oh,

...

I believe! I believe! Oh, Christ, a miracle!

a miracle!" And he did not even know that Petronius had covered his head at that moment with a toga. He did not look; he did not see. The feeling of some awful emptiness possessed him. In his head there remained not a thought. His lips merely repeated as if in madness, "I believe! I believe! I believe ! "

This time the amphitheater was silent, for in the arena something uncommon had happened. That giant, obedient and ready to die, when he saw his queen on the horns of the wild beast, sprang up, as if touched by living fire, and, bending forward, he ran at the raging animal.

From all breasts a sudden cry of amazement was heard, as the giant fell on the raging bull and seized him by the horns. And then came deep silence. All breasts ceased to breathe.

In the

amphitheater a fly might be heard on the wing. People could not believe their own eyes. Since Rome was Rome no one had ever seen such a spectacle. The man's feet sank in the sand to his ankle; his back was bent like a bow; his head was hidden between his shoulders; on his arms the muscles came out so that the skin almost burst from their pressure; but he had stopped the bull in his tracks. The man and the bull remained so still that the spectators thought themselves looking at a group hewn in stone. But in that apparent repose there was a tremendous exertion of two struggling forces. The bull's feet, as well as the man's, sank in the sand, and the dark, shaggy body was curved so that it seemed a gigantic ball. Which of the two would fail first? Which would fall first?

Meanwhile a dull roar resembling a groan was heard from the arena, after which a brief shout was wrested from every breast, and again there was silence. Duller and duller, hoarser and hoarser, more and more painful grew the groan of the bull as it mingled with the whistling breath from the breast of the giant. The head of the beast began to turn in the iron hands of the barbarian, and from his jaws crept forth a long, foaming tongue. A moment more and to the ears of the spectators sitting nearer came, as it were, the crack of breaking bones; then the beast rolled on the earth, dead.

The giant removed in a twinkling the ropes that bound the maiden to the horns of the bull. His face was very pale ; he stood as if only half-conscious; then he raised his eyes and looked at the spectators.

The amphitheater had gone wild. The walls of the building were trembling from the roar of tens of thousands of people.

Everywhere were heard cries for mercy, passionate and persistent, which soon turned into one unbroken thunder.

The giant understood that they were asking for his life and liberty, but his thoughts were not for himself. He raised the unconscious maiden in his arms, and, going to Nero's podium, held her up and looked up imploringly.

Vinicius sprang over the barrier, which separated the lower seats from the arena, and, running to Lygia, covered her with his toga.

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