Intonation Pattern XV



Before the High Rise the Low Head often starts very low but then rises gradually, syllable by syllable, ending just below the starting pitch of the nucleus.

The high rising nucleus begins in high level; the medium rise begins in mid level.

This intonation pattern is used:

1. In statements, heard in official speeches, lectures, over the radio (in latest news programmes); or in colloquial speech to draw the listener's attention by using ;his somewhat occasional intonation pattern, e. g.:

↗English ’’leather ‘goods ∣ are also of ’’great de’mand in other countries.

2. In questions:

a) in genera1 questions when they sound very inquisitive, important, willing to discuss; sometimes with a shade of disbelief or impatience, e. g.:

↗Have you ‘’lived here ‘long?

b) in special questions, sounding insistent, inquisitive with a shade of doubt or sometimes even mockery, e. g.:

"And what have you been ‘’doing hither 'to?" I asked him.

3. In imperatives, used as official announcements, e. g.:

↗Have your ‘’passports 'ready, please.


1.*** Listen carefully to the following situations. Concentrate your attention on the phrases pronounced with the rising head + High Rise.

"Do you stay in town all day?" "Sometimes I do and sometimes I don't."

* * *

As a matter of fact I'm going in the same direction myself, so if you come with me I'll show you.

* * *

"And now what sweet will you have, Mrs. Thompson?" "There's apple tart and cream or chocolate trifle."

* * *

"We're sure to have a good crossing."

"Oh well, I'll risk it, but if the worst comes to the worst, don't blame me"


* * *

  • "Do you travel- much?"
  • "Not more than I can help by sea. I've crossed the channel once before but frankly I did not enjoy it."
  • "Why don't you fly across?"
  • "I think I shall one of these days. It couldn't possibly be worse than a really bad sea crossing."

* * *

Tennis is played all the year round, on hard courts or grass courts in summer,- and on hard or covered courts in winter.

* * *

  • "About how long will it be before I die?"
  • "You aren't going to die."
  • "I heard him say a hundred and two."
  • "People don't die with a fever of one hundred and two." (E. Hemingway)

* * *

I sat down and opened the Pirate book and commenced to read but I could see he was not following, so I stopped.

"About what time do you think I'm going to die"? he asked. (E. Hemingway)

* * *

  • "A five shilling book of stamps, please, and a large registered envelope."
  • "Will this size do?"

* * *

  • "I'm told one ought to see the British Museum."
  • "Do you think I shall have time for that?"

* * *

  • "I think the best way from here is to walk across Regent's Park."
  • "Is it much of a walk?"

* * *

However I'm quite ready to enter your name should your answer.s be what a really affectionate mother requires. Do you smoke? (O. Wilde)

* * *

Now to minor matters. Are your parents living? (O. Wilde)

* * *

  • "And where is that?"
  • "Down here, sir."


  • "Would you put us up?"
  • "Oh, I think we would."
  • "Will you show us the way?"
  • "Yes, sir."
  • "Are you a Devonshire girl?"
  • "No, sir."
  • "Have you lived here long?"
  • "Seven years." (J. Galsworthy)

* * *

(On the boat.) This way for the Dover boat. Have your passports ready, please. Pass up the gangway. First class on the right, second class on the left.

2. Listen to the situations again. Find sentences pronounced with Intonation Pattern XV. Define their communicative type and the attitudes expressed by them.

3. Listen carefully to the sentences with Pattern XV and repeat them in the intervals. Make your voice start very low and rise gradually on stressed syllables, then end with high or medium rise reaching the highest possible level.

4. In order to fix the intonation of the rising head + High Rise in your mind, ear and speech habits repeat the sentences with this pattern yourself until they sound perfectly natural to you.

5. Listen to your fellow-student reading these sentences. Tell him what his errors In the Intonation are.

6. This exercise is meant to compare the Intonation Patterns XIV and XIII. (rising Head + High Rise and high Head + High Rise). Read the following fragments with both Intonation Patterns. Observe the difference in attitudes.

He flushed and said: "Are you Miss Barlow?"

She said: "Aren't you Doctor Page's new assistant?"

* * *

He said: "Don't you realize it's quite against the rules to have him here?"

She said: "If Idris had stopped off, he'd have missed his milk, which is doing him such a lot of good."

* * *

She answered stubbornly: "If you don't believe me, look for yourself." He laughed contemptuously: "That may be your idea of isolation.

I'm afraid it isn't mine."

He warned her: "If you don't obey my instructions I'll have to report you." (A.J. Cronin)

* * *

And now I have a few questions to put to you, Mr. Worthing. While I'm making all these inquiries, you, Gwendolen, will wait for me below, in the carriage. (O. Wilde)


* * *

"I know nothing, Lady Bracknell."

"I'm pleased to hear it. I do not approve of anything that tampers with natural ignorance." (O. Wilde)

* * *

"She needs awakening.".

"Are you going to awaken her?" (J. Galsworthy)

* * *

Well, Robert, have you made up your mind yet what you want to do when you leave college? ("Meet the Parkers")

* * *

"Do you like dancing?"

"Yes, very much. Do you dance?"

* * *

"What do you think I ought to see first?" "Do you like art galleries?"

7. This exercise is meant to show the difference in the pronunciation of the same replies with the rising head and the high head + High Rise. Read the following replies with both intonation patterns. Observe the difference in attitudes they render.

Can I keep this book a bit longer? Are you going to keep it for a couple of weeks?
We ought to follow his advice. Must we always follow his advice?
I've just been playing badminton. If you had a good time I can't blame you for being late for lunch
Whose photo do you think this is? You don't seem to recognize the photo of your own father.
Oh, you broke the window! If I did it on purpose you could scream like that.
They're supposed to be different. Are they really different?
He says he made up his mind. Does he really mean what he says?
They're late again. Don't take any notice of them.

8. Think of your own examples (5 for every communicative type) pronounced with Intonation Pattern XIV. Use them in conversational situations.

9. Listen to the extract from "The Apple-Tree" by J. Galsworthy. (See p. 216.) Find sentences pronounced with Intonation Pattern XIV. Observe the attitudes expressed by them.


10. Listen to your teacher suggesting the contexts. Respond by using Intonation Pattern XIV.

She doesn’t look a day over thirty. What makes you think so? Are you sure enough? Would you believe it? But is it likely?
He’s a good chap. Who’s going to believe it? Do you realy mean it? Does it matter all that much.
It’s absolute truth. Can I count on that? What makes you think so? Are you sure enough?
We’ve both got the same answer. What are you going to do about it? Would you believe it? How did you manage to do it?
There’s somebody’s bag in the car. Now, isn’t that peculiar? How do you know it’s there?
I shall be at home by tea-time. Are you sure enough? How can you know exactly? What makes you think so?

11. *** This exercise is meant to develop your ability to hear and reproduce the intonation in proper speech situations.

a) Listen to the dialogue "On the boat" sentence by sentence. Mark the stresses and tunes. Practise the dialogue.

b) Record your reading. Play the recording back immediately for your teacher and fellow-students to detect the errors in your pronunciation. Practise the dialogue for test reading and memorize it.

c) Pick out of the dialogue sentences pronounced with Intonation Pattern XIV. Use them in conversational situations.

12. Give conversational situations with the phrases of the following type.

This way to ... It couldn't possibly be worse than ...
Pass up the ...  
Here we are! Yes, just.
Would you like to ... Well, I suppose we'd better get ready for ...
Oh, I don't know ...  
I'm not much of a ... I say, you haven't got anything ... , have you?
Oh, you won't be ... to-day.  
We're sure to ... I don't think I'm quire as foolish as that
Oh well, I'll risk it, but if the worst comes to the worst, don't blame me. As a matter of fact I don’t think I have ...
... but frankly I didn't enjoy it. Still, thanks, all the same ...
Why don't you ...  
I think I shall, one of these days ...  

13. Think of the possible situations in which phrases pronounced with Intonation Pattern XIV can be used according to the meaning expressed by them.


14. This exercise is meant to develop your ability to read a text with proper intonation and give a summary of it.

a) Listen to the extract from "The Man of Destiny" by B. Shaw (see p. 159) sentence by sentence. Mark the stresses and tunes. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Practise reading it.

b) Record your reading. Play the recording back immediately for your teacher and iellow-students to detect your possible errors. Practise the extract for test reading.

c) Give a summary of the text.

15. Read the following dialogues according to the suggested intonation.

1. Departure

Visitor: I'm going off by the three ‵thirty this afternoon. My bags are all packed; you can get them down whenever you like. Perhaps you could dump them somewhere for me.

Hall Porter: -Very good, sir.

Visitor: Can you order a taxi to take me to the ‘station? What time ought I to have it?

Hall Porter: The three ‘thirty train. Suppose we say a quarter to ‵three. That'll give you ‵comfortable time.

Visitor: -All ,right. ‵Do that for me, will you? Will you be a’bout then?

Hall Porter: Yes, sir.

Visitor: -All right. I'll see you ‵then.

2. Arrival

Mary: ‵There you are, then. I thought you might be here ‵earlier. Was your train ‘late?

Joan: ‵No, I don't think so; just about on ‵time. Which one did you think I was Catching, then?

Mary: Wasn't it the one that gets in at five ‵ten?

Joan: ‵No, that's Saturdays ‵only. Didn't you ‘know?

Mary: Oh, of ‵‵course; -how ‵‵silly of me. ‵Anyway, it doesn't ˇmatter. What ‵‵luck your managing to get away just now. How's your mother?

Joan: ‵Fairly well: a bit overcome by the ˇheat.

Mary: Yes hasn't it been ‵‵awful? I ‵hate storms, but I was quite thankful to hear the thunder last night, because there was a chance of its clearing the ‵air. It hasn't been ‵‵quite so bad to-day. I suppose it's been even ‵worse with you.

Joan: Like an ‵‵oven. I've been completely flattened out.

Mary: Well, ∣you can take it easy for ‵these few days, ‵anyway. Even if it is ∣ hot, it's not so ‵stuffy here as in town. I'm afraid the garden's burnt up, ∣ but it's quite nice down in the ˇwood. Well now, ∣ I expect you'd like to go and have a wash. You're in your ‵usual room.



We all remembered my cousin Anne's first visit. She arrived the day my father's comˇpanion, ∣ who came regularly for a game of chess, ∣ failed to turn ‵up.

My father's face was clouded with disappointment, ∣ but he greeted her ˇkindly and they had a soft conversation. At the end of this ∣ she whispered to him, "I play chess."

"Do you?" said my father. "Not one of my children has brains enough to learn it. Sit ‵down∣and let us play a game."

Anne was so slow in moving her ˇpieces ∣ that I was afraid my father would get ‵cross. But soon, ∣ although I knew ↑nothing about the game, ∣ could see that he was finding it difficult not to be ‵beaten by her.

At the end of the game he said, "You ‵are a clever little girl."

"No, I'm ‘not," she answered, "this is all I can ‵do."

"But that is a very great ˆ deal," said my father. "You can play the most ↑intricate game in the world."


"What is there about Copenhagen ∣that makes you keep going back there?"

"Well, it's rather difficult to ‵analyse. ˇPartly ∣ the place itself,∣but mostly, I suppose, ∣ the people."

"You ‘like the Danes?"

".Oh, ∣ very much."

"Why? What is it that makes you like them?"

"I've ‵often wondered that ∣my‵self. They seem to have a freshness of mind ∣ and a ‵gaiety ∣ that's most attractive."

"Would you call Copenhagen a gay city?"

"‵Yes, ∣ I would ∣ but ↘don't misunderstand me, ∣ it's ↘not all champagne and ˇoysters, ∣ or even beer and ‵bonhomie. But I've always found it a very happy place."

"Isn't that a bit like beauty, though, ∣ in the eye of the be holder?"

"I mean mayn't you be projecting your own pleasure ∣ on to the city itself?"

"ˆOh, I'm ˆsure. But surely that's what we ‵mean by a happy place. A place where we ‵have been ∣ and ‘can be ∣‵happy."

"I'm not so ‵sure about that. I think I can i∥magine somewhere where ↘everything outside is happy, ∣ ∣ but the observer's ‵miserable."

"But then ‵surely ∣ that's a miserable ‵place."

"Depends how you de'fine your ‵terms."

"Like everything ‵else, ∣ ‵yes, ∣ of ‵course. But ↘hat's how ‵I would define it. And ˇTivoli ∣ seems to me ∣ to be a very good symbol of Copen∣hagen."



"‵Yes, ∣ it's a sort of ‵pleasure garden, ∣ right in the very centre of the city."

"’Roundabouts and things?"

"Well, ˇyes, ∣ but much ‵more; ∣ ‵restaurants, ∣ and ‵gardens ∣ and ∣fountains, ∣ and ‵lights, ∣ and ‵theatres, ∣ and ‵pantomime, ∣ and ‵ballet, ∣ and ‵music hall. -It's delightful; ∣ difficult to describe ‵how delightful. You must ‵go there ∣ and see it for your‵self."

"I hope I shall be ‵able to, some day. But ↘not this year. I've got a ↑wretched ‵chimney ∣ that has to be knocked down and rebuilt."

"That'll cost a ‵fortune."

"ˆProbably. Still, ∣ perhaps next year."


One cold sparkling morning in early ˇNovember, ∣ Professor Briggs and his ˇassistant, ∣ Miss Harrison, ∣ stood at the window of his sitting-room in his country ‵house, ∣ watching the candidates for the university re‵search grants ∣ come up the drive.

"I think it is better to see them ‵here than at the college," declared the Professor. "In the course of a weekend here, ∣ each candidate appears in his true ‵colours ∣ and emerges as a definite personality ∣ in a way that would be quite impossible in a short interview. ˇSee, ∣ they have al↘ready sur↘mounted the ↘first ‵obstacle!"

"And what was ‵that?" asked Miss Harrison.

"They have come on the train I told them to take," he chuckled.

"‵That can't have been very difficult. It doesn't show much intelligence on ‵their part to have caught a train."

"‵Ah, ∣ perhaps ‵not, ∣ but there was a ‵catch in it. Only the ‵front ‵ portion of the train comes here. The ↘rear portion goes in ‵quite another direction!" His voice ended on its highest ‵note ∣ and he stood rubbing his hands. "I de↘liberately omitted to ‵give them that information."

"Then I suppose the ticket collector must have ‵told them, ∣ when he punched their ‵tickets."

"You ‘think so?" Professor Briggs sounded disappointed. "But I have known ‵many candidates who have taken the wrong turning, as it were."

16. This exercise is meant to develop your ability to pronounce different communicative types of sentences with all the possible intonation patterns and explain the difference in attitudes they render.

Read the following sentences with all the intonation patterns possible for these communicative types. Observe the difference in meaning.

  • His behaviour can hardly be regarded as noble.
  • How did she take the unexpected news?
  • Did Jack happen to be in Paris at that time?
  • Enter Mr. Jackson's name in this list.
  • This poem has an irresistible charm.


  • Did he know enough about her life to speak with confidence about it?
  • Oh, that won't dol
  • It seemed a fascinating idea.
  • Where did they get settled at last?
  • Don't get involved in it.
  • You've made a mess of the job.
  • You let him alone.
  • He seemed to lose heart in the business after that.
  • Give my best wishes to your Mother.
  • Why do you interest yourself in this affair?
  • Aren't you doctor Page's new assistant?
  • Don't you realize it's quite against the rules to have him here?
  • Good morning, doctor Manson.

17. Listen to the following poems. Mark the stresses and tunes. Read and memorize them.

Nursery Rhymes

  • Jack and Jill went up the hill
  • To fetch a pail of water Jack
  • fell down and broke his crown
  • And Jill came tumbling after.

* * *

  • Twinkle, twinkle little star,
  • How I wonder what you are.
  • Up above the world so high,
  • Like a diamond in the sky.

* * *

  • In winter I get up at night,
  • And dress by yellow candle light.
  • In summer quite the other way,
  • I have to go to bed by day.

* * *

  • I like to go out in the garden,
  • I like to get up on the wall.
  • I like to do anything really,
  • But I hate to do nothing at all.

* * *

  • There was a young man of Devizes,
  • Whose ears were of different sizes.
  • One was so small
  • It was no use at all,
  • But the other won several prizes.


* * *

  • One two three four,
  • Mary at the cottage door.
  • Five six seven eight,
  • Eating cherries off a plate.

* * *

  • There was a little girl
  • And she had a little curl,
  • Right in the middle of her forehead.
  • When she was good she was very very good,
  • But when she was bad she was horrid.

* * *

  • Give a man a pipe he can smoke.
  • Give a man a book he can read.
  • And his home is bright
  • With a calm delight
  • Though the room is poor indeed.

Hush, Hush, Little Baby

  • Hush, hush, little baby.
  • The sun's in the West,
  • The lamb in the meadow
  • Has lain down to rest,
  • The bough rocks the bird now.
  • The flower rocks the bee,
  • The wave rocks the lily,
  • The wind rocks the tree.
  • And I rock the baby
  • So softly to sleep
  • It must not awaken
  • Till daisy buds peep.

* * *

  • James James Morrison Morrison
  • Whereby George Dupree
  • Took great care of his mother,
  • Though he was only three.
  • James James said to his mother,
  • "Mother," he said, said he:
  • "You must never go down to the end of the town
  • If you don't go down with me."
  • James James Morrison's mother
  • Put on a golden gown,
  • James James Morrison's mother


  • Drove to the end of the town.
  • James James Morrison's mother
  • Said to herself, said she:
  • "I can get right down to the end of the town
  • And be back in time for tea."
  • King John put up a notice,
  • "Lost or Stolen or Strayed!
  • James James Morrison's mother
  • Seems to have been mislaid.
  • Last seen wandering vaguely,
  • Quite of her owri accord,
  • She tried to get down to the end of the town
  • Forty shillings rewardl"
  • James James Morrison Morrison
  • (Commonly known as Jim)
  • Told his other relations
  • Not to go blaming him.
  • James James said to his mother,
  • "Mother," he said, said he:
  • "You must never go down to the end of the town
  • Without consulting me."
  • James James Morrison's mother
  • Hasn't been heard of since.
  • King John said he was sorry,
  • So did the Queen and the Prince,
  • King John (somebody told me)
  • Said to a man he knew:
  • "If people go down to the end of the town,
  • Well, what can anyone do?"

The Arrow and the Song

H.W. Longfellow

  • I shot an arrow into the air,
  • It fell to earth, I knew not where;
  • For, so swiftly it flew, the sight
  • Could not follow it in its flight.
  • I breathed a song into the air,
  • It fell to earth, I knew not where;
  • For who has sight so keen and strong,
  • That it can follow the flight of a song?
  • Long, long afterward, in an oak
  • I found the arrow, still unbroke;
  • And the song, from beginning to end,
  • I found again in the heart of a friend.



A. Tennyson

  • Sweet and low, sweet and low,
  • Wind of the western sea,
  • Low, low, breathe and blow,
  • Wind of the western seal
  • Over the rolling waters go,
  • Come from the dying moon and blow,
  • Blow him again to me;
  • While my little one, while my
  • pretty one sleeps.
  • Sleep and rest, sleep and rest,
  • Father will come to thee soon;
  • Rest, rest, on mother's breast,
  • Father will come to thee soon.
  • Father will come to his babe in the nest
  • Silver sails all out of the West,
  • Under the silver moon.
  • Sleep, my little one, sleep, my
  • pretty one, sleep ...


G.G. Byron

  • It is the hour when from the boughs
  • The nightingale's high note is heard;
  • It is the hour when lovers’ vows
  • Seem sweet in every whispered word;
  • And gentle winds and waters near,
  • Make music to the lovely ear.
  • Each flower the dews have lightly wet,
  • And in the sky the stars are met,
  • And on the wave is deeper blue,
  • And on the leaf a browner hue,
  • And in the heaven that clear obscure,
  • So softly dark, and darkly pure,
  • Which follows the decline of day,
  • As twilight melts beneath the moon away.


P.B. Shelley

  • The sun is set; the swallows are asleep;
  • The bats are flitting fast in the gray air;
  • The slow soft toads out of damp corners creep,


  • And evening's breath, wandering here and there
  • Over the quivering surface of the stream,
  • Wakes not one ripple from its silent dream.
  • There are no dews on the dry grass tonight,
  • Nor damp within the shadow of the trees;
  • The wind is intermitting, dry and light;
  • And in the inconstant motion of the breeze
  • The dust and straws are driven up and down,
  • And whirled about the pavement of the town.

The Bells

E.A. Poe

  • Hear the sledges with the bells -
  • Silver bells!
  • What a world of merriment their melody fortells!
  • How they tinkle, tinkle, tinkle,
  • In the icy air of night!
  • While the stars, that oversprinkle
  • All the heveans, seem to twinkle
  • With a crystalline delight;
  • Keeping time, time, time
  • In a sort of Runic rhyme,
  • To the tintinnabulation that so musically wells
  • From the bells, bells, bells, bells,
  • Bells, bells, bells.
  • From the jingling and the tinkling of the bells.

G.G. Byron

  • "Adieu! Adieul my native shore
  • Fades o'er the waters blue;
  • The night-winds sigh, the breakers roar,
  • And shrieks the wild sea-mew.
  • Yon sun that sets upon the sea
  • We follow in his flight;
  • Farewell awhile to him and thee,
  • My native Land - Good Night!
  • "A few short hours, and he will rise
  • To give the morrow birth;
  • And I shall hail the main and skies,
  • But not my mother earth.
  • Deserted is my own good hall,
  • Its hearth is desolate;
  • Wild weeds are gathering on the wall;
  • My dog howls at the gate.
  • "With thee, my bark,
  • I'll swiftly go Athwart the foaming brine;


  • Nor care what land thou bear'st me to,
  • So not again to mine.
  • Welcome, welcome, ye dark blue waves!
  • And when you fail my sight,
  • Welcome, ye deserts, and ye caves!
  • My native Land - Good Night!"

(From "Childe Harold's Pilgrimages")

My Soul is Dark

G.G. Byron

  • My soul is dark - Oh! quickly string
  • The harp I yet can brook to hear;
  • And let thy gentle fingers fling
  • Its melting murmurs o'er mine ear.
  • If in this heart a hope be dear,
  • That sound shall charm it forth again:
  • If in these eyes there lurk a tear,
  • Twill flow, and cease to burn my brain.
  • But bid the strain be wild and deep,
  • Nor let thy notes of joy be first:
  • I tell thee, minstrel, I must weep
  • Or else this heavy heart will burst;
  • For it hath been by sorrow nursed,
  • And ached in sleepless silence long:
  • And now 'tis doomed to know the worst,
  • And break at once - or yield to song.

She is not

Fair Hartley Coleridge

  • She is not fair to outward view,
  • As many maidens be;
  • Her loveliness I never knew
  • Until she smiled on me.
  • Oh, then I saw her eye was bright,
  • A well of love, a spring of light.
  • But now her looks are coy and cold -
  • To mine they ne'er reply;
  • And yet I cease not to behold
  • The love-light in her eye.
  • Her very frowns are sweeter far
  • Than smiles of other maidens are.

Those Evening Bells

Th. Moore

  • Those evening bells! Those evening bells!
  • How many a tale their music tells,


  • Of love, and home, and that sweet time,
  • When last I heard their soothing chime!
  • Those joyous hours are passed away!
  • And many a heart that then was gay
  • Within the tomb now darkly dwells
  • And hears no more those evening bells!
  • And so 'twill be when I am gone,
  • That tuneful peal will still ring on,
  • While other bards shall walk these dells,
  • And sing your praise, sweet evening bells!

The Daffodils

W. Wordsworth

  • I wandered lonely as a cloud
  • That floats on high o'er vales and hills,
  • When all at once I saw a crowd,
  • A host of golden daffodils;
  • Beside the lake, beneath the trees,
  • Fluttering and dancing in the breeze.
  • Continuous as the stars that shine
  • And twinkle on the Milky Way,
  • They stretched in never-ending line
  • Along the margin of a bay;
  • Ten thousand saw I at a glance,
  • Tossing their heads in sprightly dance.
  • The waves beside them danced; but they
  • Out-did the sparkling waves in glee.
  • A poet could not but be gay
  • In such a jocund company:
  • I gazed - and gazed - but little thought
  • What wealth the show to me had brought:
  • For oft, when on my couch I lie
  • In vacant or in pensive mood,
  • They flash upon that inward eye
  • Which is the bliss of solitude;
  • And then my heart with pleasure fills
  • And dances with the daffodils.

Stopping by Woods on a Snowy Evening

Robert Frost

  • Whose woods these are I think I know.
  • His house is in the village though;
  • He will not see me stopping here
  • To watch his woods fill up with snow.
  • My little horse must think it queer
  • To stop without a farmhouse near


  • Between the woods and frozen lake
  • The darkest evening of the year.
  • He gives his harness bells a shake
  • To ask if there is some mistake.
  • The only other sound's the sweep
  • Of easy wind and downy flake.
  • The woods are lovely, dark and deep.
  • But I have promises to keep,
  • And miles to go before I sleep,
  • And miles to go before I sleep.

Home-Thoughts, from Abroad

Robert Browning

  • Oh, to be in England
  • Now that April is there,
  • And whoever wakes in England
  • Sees, some morning, unaware,
  • That the lowest boughs and the brushwood sheaf
  • Round the elm-tree bole are in tiny leaf,
  • While the chaffinch sings on the orchard bough
  • In England - now:
  • And after April, when May follows,
  • And the whitethroat builds, and all the swallows!
  • Hark, where my blossomed pear-tree in the hedge
  • Leans to the field and scatters on the clover
  • Blossoms and dewdrops - at the bent spray's edge -
  • That's the wise thrush; he sings each song twice over,
  • Lest you should think he never could recapture
  • The first fine careless rapture!
  • And though the fields look rough with hoary dew,
  • All will be gay when noontide wakes anew
  • The buttercups, the little children's dower,
  • - Far brighter than this gaudy melon-flower!

The Song of Hiawatha

H.W. Longfellow


  • Ye who love the haunts of Nature,
  • Love the sunshine of the meadow,
  • Love the shadow of the forest,
  • Love the wind among the branches,
  • And the rain-shower and the snow-storm,


  • And the rushing of great rivers
  • Through their palisades of pine-trees,
  • And the thunder in the mountains,
  • Whose innumerable echoes
  • Flap like eagles in their eyries; -
  • Listen to these wild traditions,
  • To this song of Hiawathal
  • Ye who love a nation's legends,
  • Love the ballads of a people,
  • That like voices from afar off
  • Call to us to pause and listen,
  • Speak in tones so plain and childlike,
  • Scarcely can the ear distinguish
  • Whether they are sung or spoken; -
  • Listen to this Indian Legend,
  • To this Song of Hiawatha!


Rudyard Kipling

  • 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;
  • 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 those two imposters 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 'em up with worn-out tools;
  • If ycu 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!"


  • If you can talk with crowds and keep your virtue,
  • Or walk with kings - nor lose the 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!


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