2

The lion whelp sprang from the eyrie nest,
From the lofty crag where the queen birds rest;
He fought the king on the spreading plain,
And drove him back o'er the foaming main.
He held the land as a thrifty chief,
And reared his cattle, and reaped his sheaf,
Nor sought the help of a foreign hand,
Yet welcomed all to his own free land!

3

Two were the sons that the country bore
To the Northern lakes and the Southern shore;
And Chivalry dwelt with the Southern son,
And Industry lived with the Northern one.
Tears for the time when they broke and fought!
Tears was the price of the union wrought!
And the land was red in a sea of blood,

Where brother for brother had swelled the flood!

4

And now that the two are one again,

Behold on their shield the word "Refrain!"
And the lion cubs twain sing the eagle's song:
"To be staunch, and valiant, and free, and strong!"
For the eagle's beak, and the lion's paw,
And the lion's fangs, and the eagle's claw,

And the eagle's swoop, and the lion's might,
And the lion's leap, and the eagle's sight,
Shall guard the flag with the word "Refrain!"
Now that the two are one again!

If

Rudyard Kipling

The thought of this poem is on-looking throughout to the conclu sion reached in the last two lines of the last stanza. Until these two lines are reached, therefore, the rising inflection should be maintained, including the last lines of all stanzas but the last.

I

IF you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you;
But make allowance for their doubting, too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies;

Or, being hated, don't give way to hating,
And yet don't look too good nor talk too wise;

2

If you can dream and not make dreams your

master;

If you can think and not make thoughts your

aim;

If you can meet with Triumph and Disaster

And treat impostors just the same;

If you can bear to hear the truth you've spoken Twisted by knaves to make a trap for fools; Or, watch the things you gave your life to broken And stoop and build them up with worn-out

tools;

3

If you can make one heap of all your winnings, And risk it on one turn of pitch-and-toss,

And lose, and start again at your beginnings

And never breathe a word about your loss; If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the will which says to them, "Hold on";

4

If you can talk with crowds and keep your virtue; Or walk with kings, nor lose your common touch; If neither foes nor loving friends can hurt you; If all men count with you, but none too much; If you can fill the unforgiving minute

With sixty seconds' worth of distance run, Yours is the earth and everything that's in it, And-which is more-you'll be a Man, my son.

Crossing the Bar

Alfred Tennyson

The inspiration of this poem came to Tennyson one evening while he was being rowed to shore in a harbor on the coast of England. Being contemplative, the rate should be slow. Note that the thought is incomplete at the end of stanza 1, hence the rising inflection is required. The same remark might be applied to the close of stanza 3. A note of faith and trust runs through the whole poem, the climax being reached in the last stanza, which has frequently been quoted.

SUNSET and evening star,

I

And one clear call for me!

And may there be no moaning of the bar,

When I put out to sea,

2

But such a tide as moving seems asleep,

Too full for sound and foam,

When that which drew from out the boundless deep Turns again home.

3

Twilight and evening bell,

And after that the dark!

And may there be no sadness of farewell,
When I embark;

4

For though from out our bourne of Time and

Place

The flood may bear me far,

I hope to see my Pilot face to face
When I have crossed the bar.

Recessional

Rudyard Kipling

The occasion of this poem was the celebration in England of the fiftieth anniversary of Queen Victoria's reign, known as the "Queen's Jubilee." Representatives from all parts of the British Empire assembled at London in 1897 to do honor to the occasion. David Starr Jordan calls this poem "the noblest hymn of the century." As a general rule-exceptions being found in stanzas 2 and 3-the rising inflection should be maintained in each stanza until the prayer, or direct invocation, is reached in the last two lines. The falling inflection should be used on "yet" (for the purpose of emphasis), also on "forget" in each instance. Try the effect of placing very strong emphasis on the first "forget," then make the clause that follows an echo of the first, with less pronounced emphasis on any one word. Note that special emphasis is required on "Thee," in stanzas 4 and 5. The "reeking tube and iron shard" (line 2, stanza 5) refer to cannon and battleships, the latter being much in evidence upon the occasion which inspired this poem.

I

GOD of our fathers, known of old

Lord of our far-flung battle-line— Beneath Whose awful Hand we hold Dominion over palm and pineLord God of Hosts, be with us yet, Lest we forget-lest we forget!

2

The tumult and the shouting dies-
The captains and the kings depart―
Still stands Thine ancient Sacrifice,

An humble and a contrite heart.
Lord God of Hosts, be with us yet,
Lest we forget-lest we forget!