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And it shall please me well: for mine own part,

I shall be glad to learn of noble men.

Cas. You wrong me every way; you wrong me, Brutus; I said an elder soldier, not a better:

Did I say "better"?

Bru.

If you did, I care not.

Cas. When Cæsar lived, he durst not thus have moved me. Bru. Peace, peace! you durst not so have tempted him. Cas. I durst not!

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Cas. Do not presume too much upon my love;

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Bru. You have done that you should be sorry for.

There is no terror, Cassius, in your threats,

For I am arm'd so strong in honesty

That they pass by me as the idle wind,

Which I respect not. I did send to you

For certain sums of gold, which you denied me:
For I can raise no money by vile means:

By heaven, I had rather coin my heart,

And drop my blood for drachmas, than to wring
From the hard hands of peasants their vile trash
By any indirection: I did send

To you for gold to pay my legions,

Which you denied me: was that done like Cassius ?
Should I have answer'd Caius Cassius so?

When Marcus Brutus grows so covetous,
To lock such rascal counters from his friends,
Be ready, gods, with all your thunderbolts;
Dash him to pieces!

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Cas. I did not: he was but a fool that brought My answer back. Brutus hath rived my heart:

A friend should bear a friend's infirmities,

But Brutus makes mine greater than they are.
Bru. I do not, till you practise them on me.
Cas. You love me not.

Bru.

I do not like your faults.

Cas. A friendly eye could never see such faults.
Bru. A flatterer's would not, though they do appear
As huge as high Olympus.

Cas. Come, Antony, and young Octavius, come,
Revenge yourselves alone on Cassius,

For Cassius is aweary of the world;

Hated by one he loves; braved by his brother;
Check'd like a bondman; all his faults observed,
Set in a note-book, learn'd, and conn'd by rote,
To cast into my teeth. O, I could weep

My spirit from my eyes! There is my dagger,
And here my naked breast; within, a heart
Dearer than Plutus' mine, richer than gold:
If that thou be'st a Roman, take it forth;

I, that denied thee gold, will give my heart:

Strike, as thou didst at Caesar; for, I know,

When thou didst hate him worst, thou lovedst him better Than ever thou lovedst Cassius.

Bru. Sheathe your dagger:

Be angry when you will, it shall have scope;

Do what you will, dishonour shall be humour.
O Cassius, you are yokèd with a lamb
That carries anger as the flint bears fire;
Who, much enforced, shows a hasty spark,
And straight is cold again.

Hath Cassius lived

Cas.
To be but mirth and laughter to his Brutus,

When grief, and blood ill-temper'd, vexeth him?
Bru. When I spoke that, I was ill-temper'd too.
Cas. Do you confess so much ? Give me your hand.
Bru. And my heart too.

Cas. Bru.

O Brutus !

What's the matter?

Cas. Have you not love enough to bear with me,
When that rash humour which my mother gave me
Makes me forgetful?

Bru. Yes, Cassius; and, from henceforth,

When you are over-earnest with your Brutus,
He'll think your mother chides, and leave you so.

CHAPTER IV

PITCH

Pitch is the location, variation, and succession of notes upon the scale. Location means the point in the compass of voice at which a sound is uttered; variation means the transition from one Degree of Pitch to another; and succession means the relative position and changes of the notes or words as they progress in utterance.

Broadly speaking, Pitch represents the Mental nature. Man, the most intellectual of all beings, makes the most varied and complex use of Pitch to express his thoughts and emotions; while all of a class or family of lower animals employ the same set of changes of Pitch to convey their limited range of vocal expression.

The above definition implies three subdivisions of Pitch, — (1) Degree, (2) Change, and (3) Melody, which correspond respectively to the Emotive, Mental, and Vital natures of man, as shown in the diagram which follows:

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SECTION I. DEGREE OF PITCH

Degree of Pitch is the range or compass of voice from the lowest to the highest note, and the position on the scale in which tones or words are uttered. Degrees of Pitch mark plainly

the speaker's Emotive state; and the emotion to be expressed may range from the deeply serious and reverential emotions of very Low Degree to the cry of excitement, joy, alarm, or defiance of very High Degree. In no way does one's excitement or lack of poise manifest itself so clearly as in his speaking in too high a key; and the low notes of sorrow or grief are unmistakably Emotive.

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There are three Degrees of Pitch, — (1) Low, (2) Middle, and (3) High, each of which may be further subdivided to suit the varieties of shading in expression. These Degrees are dependent upon the number of vibrations in a given time, ranging from about 40 to 4000 in a second, the higher the Degree, the greater the number of vibrations, as shown in the number of parallel lines in the accompanying figure.

I. Scale of Pitch.

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This scale, like that in Movement and Force, is relative, and is dependent upon (1) individuality, (2) acoustic conditions, and (3) the sentiment to be expressed.

(1) Each individual speaks on a scale of Pitch peculiar to himself, the normal scale of one being higher or lower than that of another. This individuality should be preserved unless the scale is abnormally low or high, in which case the student should practice in the various degrees of Pitch until he can raise or lower his voice at will.

High

Middle

Low

2

2

2

(2) The scale of Pitch of the individual should be regulated by the size and shape of each auditorium, which has a fundamental key of Pitch peculiar to itself. As the station master calls the trains in the different rooms of the

building and out on the platform, it will be noticed that he uses different degrees of Pitch. In like manner, the speaker should "catch the Pitch" of his auditorium.

(3) The scale of Pitch once established by the individuality of the speaker and the auditorium, he should suit his Degrees of Pitch to the sentiments and emotions he wishes to portray. There is a close relation between Degrees of Pitch and Degrees of Movement (p. 65). A small bell makes High Pitch and swings rapidly; a large bell swings slowly and makes Low Pitch. A child's vocal organs are small; he speaks rapidly and his scale of Pitch ranges High. A man's voice is lower in Pitch and he speaks more slowly. This is true of musical instruments of various sizes and shapes.

2. Law of use.

Following this analogy we see that the large, deeply serious or reflective emotions, such as reverence, sublimity, devotion, solemnity, sorrow, gloom, pathos, awe, and veneration, take the Low Degrees of Pitch.

When not moved by any unusual emotion we express narrative, didactic thought, calm reasoning, argumentative discourse, patriotism, and courage in the Middle Degrees of Pitch; while joy, laughter, alarm, fright, rage, or consternation are given naturally in the High Degrees of Pitch.

Each Degree is associated and blended with the Degree next to it, the High with the upper portion of the Middle, the Low with the lower portion, and the Middle usually with some notes in both the other Degrees.

3. Illustrative Selections.

NOTE. In the selections illustrating the several Degrees of Pitch avoid the monotony which comes of confining the voice to too narrow a compass. The selection assigned to Low Degree may not all be appropriately given in that Degree. The main purpose should be to give each sentiment its proper Pitch wherever it is found.

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