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1. The Seven Ages.

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The characters in this piece being merely described, the mimickry must be touched with delicacy. The speaker, by his action, represents the infant in the nurse's arms, utters "muling" with slight mimickry, and turns with aversion at the mention of "puking". In the next character, "whining" must be uttered with mimickry of voice, "creeping" with mimickry of action,-and, "unwillingly to school" must imitate sulkiness or pouting. The lover must be described with languishing soft tones, except where he mentions his "mistress' eyebrow" which must be said with a glowing expression. In proceeding with the soldier, the tone becomes rough, and the action sudden. The justice must be described with the voice of a fat elderly man, and the line "full of wise saws", &c., must be given with mock gravity. The next character requires a thin tone, except at the words, " big manly voice", where the tone must be firm; but "childish treble", and "pipes and whistles", must be uttered with mimickry. The conclusion requires solemnity of tone, strongly contrasting with all that precedes.

All the world's a stage,

And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts;
His acts being seven ages. At first the infant,
Muling and puking in his nurse's arms.
And then the whining school-boy, with his sat.
chel

And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woful ballad
Made to his mistress' eyebrow. Then a sol-

dier,

Full of strange oaths, and bearded like the pard,

Jealous in honour, sudden and quick in quarrel; Seeking the bubble, reputation,

Even in the cannon's mouth. And then the

justice,

shifts

In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big, manly voice
Turning again to childish treble, pipes
And whistles in his sound. Last scene of all
That ends this strange, eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans every

thing.

SHAKSPEARE.

2. The Fly and the Spider.

To read this fable dramatically, there must be three voices,—the narrator's natural voice,-a feigned rough voice for the spider,and a feminine voice with much archness of manner for the fly.

Fresh was the breath of morn; the busy breeze,
As poets tell us, whispered through the trees,
And swept the dew-clad blooms with wings
so light;

Phoebus got up and made a blazing fire,
That gilded every country house and spire,

And smiling, put on his best looks so bright.

On this fair morn, a spider who had set,
To catch a breakfast, his old waving net,

With curious art upon a spangled thorn, At length, with gravely, squinting, longing eye, Near him beheld a pretty plump young fly, Humming her little orisons to morn.

'Good morrow, dear Miss Fly', quoth gallant Grim;

'Good morrow, Sir', replied Miss Fly to him: 'Walk in, Miss, pray, and see what I'm

about:'

'I'm much obliged t'you, Sir,' Miss Fly rejoined,

'My eyes are both so very good, I find,

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That I can plainly see the whole without.'

• Fine weather, Miss'-Yes, very, very fine,' Quoth Miss,- prodigious fine indeed :' But why so coy', quoth Grim, that you decline

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Το put within my bower your pretty head?' ''Tis simply this'

Quoth cautious Miss,

'I fear you like my pretty head so well,

You'd keep it for yourself, Sir,-who can tell?'

Then, let me squeeze your lovely hand, my dear,

And

prove that all your fears are foolish, vain.' 'I've a sore finger, sir; nay more, I fear

You really would not let it go again.'

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Poh poh! child, pray dismiss your idle dread;

I would not hurt a hair of that sweet head;

Well then, with one kind kiss of friendship meet me :'

'La, Sir,' quoth Miss, with seeming artless tongue,

I fear our salutation would be long;

So loving too, I fear that you would eat me.' So saying, with a smile she left the rogue, To weave more lines of death, and plan for prog.

3. Hodge and the Vicar.

WALCOT.

In this piece, all that Hodge says must be uttered in a broad rustic dialect, and accompanied by correspondent action. The Vicar's manner must be full of urbanity. Giles must be plain, distinct, and a little broad: and the narrator's own manner must be distinguishable from all these.

Hodge, a poor honest country lout,

Not over stocked with learning, Chanced, on a summer's eve, to meet The vicar, home returning.

"Ah! master Hodge", the vicar cried, "What still as wise as ever :

The people in the village say

That you are wond'rous clever."

"Why, master parson, as to that
I beg you'll right conceive me,

I do na brag, but yet I know
A thing or two, believe me."

"We'll try your skill", the parson cried, "For learning what digestion:

And this

you '11 prove, or right or wrong, By solving me a question:

Noah of old three babies had,

Or grown up children rather;

Shem, Ham, and Japhet, they were called:
Now, who was Japhet's father?”

"Rat it!" cried Hodge, and scratched his head,
"That does my wits belabour:
But howsomde'er, I'll homeward run,
And ax old Giles, my neighbour."

To Giles he went, and put the case
With circumspect intention :
"Thou fool" cried Giles, "I'll make it clear
To thy dull comprehension.

Three children has Tom Long, the smith,
Or cattle-doctor rather ;

Tom, Dick, and Harry, they are called:
Now, who is Harry's father?"

"Adzooks! I have it" Hodge replied,
"Right well I know your lingo;
Who's Harry's father? stop-here goes,-
Why Tom Long Smith, by jingo."

Away he ran to find the priest

With all his might and main,

Who with good humour instant put
The question once again :

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