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ORTHOPHONY, 
 
 VOCAL CULTURE. 
 
 A MANUAL OF ELEMENTARY EXERCISES FOR THE 
 
 CULTIVATION OF THE VOICE 
 
 IN ELOCUTION. 
 
 FOUNDED UPON DR. JAMES RUSH'S " PHILOSOPHY OF 
 
 THE HUMAN VOICE," AND THE SYSTEM OF 
 
 VOCAL GYMNASTICS INTRODUCED 
 
 BY MR. JAMES E. MURDOCH. 
 
 COMPILED BY 
 
 WILLIAM gUSSELL, 
 
 AUTHOB OP "lESSONS In'iHUNOUTIOB," BIO. 
 EEEDITED BT 
 
 REV. FRANCIS T.RUSSELL, M.A. 
 
 TOBHIiaLT PBOPESSOB 07 OSAIOEZ AT IBIHIFT AHS HOBABT OOLLEOES. 
 
 Seventy-Ninth Edition. 
 
 BOSTON AND NEW YORK : 
 HOUGHTON, MIFFLIN AND COMPANY. 
 
 1896. 
 
-B^^-TXfY 
 
 , ti-^ 1 & 5 
 
 Copyright, 1882, 
 Br FRANCIS T. RBSSETL. 
 
 AH rights reserved. 
 
 The Riverside Press, Cambridge, Mass., U. S. A, 
 Bleotrotyped and Printed by H. 0. Houghton & Company. 
 
To 
 
 JAMES E. MURDOCH, Esq. 
 
 THE EMINENT ELOCDTIONIST AND TRAGEDIAN, 
 AND FORUEB E9IEEHED A3S0CUTE OF TEE ORIGINAI, COMPILER OF THIS VOLUME, 
 
 €f)t (olloiolng iWanual 
 
 18 RESPEOTFULLT DEDICATED 
 BY 
 
 THS EDITOR. 
 
PEEFAOE. 
 
 " The design of the exercises presented in this manual is 
 to furnish the groundwork of practical elocution, and what- 
 ever explanations are needed for the training of the organs 
 and the cultivation of the voice. The system of instruction 
 adopted in the present volume is founded on Dr. Rush's 
 treatise, ' The Philosophy of the Human Voice,' and is 
 designed as a practical synopsis of that work, with the ad- 
 dition of copious examples and exercises, selected for the 
 purpose of facilitating the application of theory to practice. 
 We hope, however, that the use of this manual will induce 
 students and teachers to consult, for themselves, that in- 
 valuable source of instruction, for an ample and complete 
 statement of the theory of vocal culture, in connection with 
 an exact analysis of the vocal functions. 
 
 " The exercises embodied in the following pages are de- 
 signed equally for the assistance of two classes of students, 
 — at very different stages of progress in general education, 
 but requiring, alike, the benefit of a thorough-going course 
 of practice in elocution : young learners, whose habits of 
 utterance are, as yet, forming ; and adults, whose profes- 
 sional duties involve the exercise of public speaking. To 
 the former, this manual will furnish the materials for a 
 progressive cultivation and development of the vocal or- 
 gans for the useful purposes of education, and as a gracd' 
 
VI PREFACE. 
 
 ful accomplishment. To the latter, it affords the means of 
 correcting erroneous habit in the use of the organs of 
 speech, and of acquiring the command of an easy, healthful, 
 and effective mode of managing the voice in the act of 
 reading or speaking in public." — From the original Preface 
 in the year 1845. 
 
 After forty years of use as a philosophical text-book, 
 it has been deemed advisable to revise, and somewhat to 
 rearrange, the subject-matter of "Orthophony." The work, 
 as originally done, was so faultless and complete in all its 
 parts, in arrangement and execution, that the editor has 
 found it extremely difficult to alter it for the better. But 
 he believes that the changes, which are numerous, are im- 
 provements, and will adapt the work still better for use, as 
 a text-book, in our institutions of learning, and for class or 
 private study. The text throughout has been thoroughly 
 revised, simplified, and condensed. Much of the discursive 
 matter under each scientific head has been rejected, as 
 wider study of the art has rendered unnecessary so much of 
 explanation. Such treatment was essential forty years 
 ago, when the philosophical and natural principles of the 
 art were not recognized. 
 
 The same high standard of literary excellence in the 
 selections used as illustrations has been maintained, and by 
 the introduction of new examples and a rearrangement of 
 the old, it is hoped that new life has been infused into the 
 well-known treatise, and that it can stiil be used by those 
 who for years have found it the most helpful text-book 
 upon the subject. 
 
 It should be observed that it is not the purpose, in follow- 
 ing the exercises under each division of a subject, to sug- 
 
PREFACE. VU 
 
 gest that all the examples should be used at any one lesson 
 or drill. Care should be exercised to adapt the drill in 
 every case to the strength and vocal condition of the 
 student. 
 
 Acknowledgments are due to Messrs. James Miller & 
 Co. for their courtesy in granting the use of selections 
 from Mrs. Browning's poems, and also to Messrs. Clark 
 & Maynard for permission to copy a few prints of the 
 vocal organs from Hutchison's " Physiology and Hygiene." 
 
 F. T. K. 
 
 August, 1883. 
 
 Note. At the time of the proposed revision of the present 
 volume, two years ago, Mr. Murdoch, supposing that the editor's 
 work was to be somewhat different in character, forming a new 
 and independent treatise (which was not designed) , and having, 
 moreover, in view the publication of his own book on Elocution, 
 then in preparation, suggested that his name should be removed 
 as far as possible from "Vocal Culture," lest the two books 
 should be confounded the one with the other. Mr. Murdoch's 
 valuable work, " Analytic Elocution," having recently appeared, 
 this danger is now removed, and his permission having been 
 gained to record once more the proper recognition of the admi- 
 rable system of " Vocal Gymnastics," first taught by him on the 
 basis of Dr. Rush's "Philosophy," his name appears again upon 
 the title-page. 
 
 December, 1884. 
 
CONTENTS. 
 
 » 
 
 IWTSOBnCTOBT OBSERVATIONS ....«• jdH 
 
 CHAPTER L 
 
 Bespibation, or Exercises in Breathino .... 1 
 
 Additional Breathing Exercises ..... S 
 
 CHAPTER n. 
 
 OkthoSpt 5 
 
 Tonic Elements ........ 7 
 
 Subtonic Elements . 10 
 
 Atonic Elements ........ 12 
 
 Vowels and Diphthongs . 14 
 
 Yocal and Diphthongal Elements ..... 15 
 
 Consonantal Elements 16 
 
 Labial Sounds 16 
 
 Dental Sounds 18 
 
 Palatio Sounds 20 
 
 Aspirated Element 20 
 
 Nasal Sounds 20 
 
 Lingual Sounds . 21 
 
 Exercises in Enunciation ....... 23 
 
 Words containing Tonic Elements .... 23 
 
 Words containing Subtonic Elements ... 28 
 
 Words containing Atonic Elements .... 31 
 
 Words containing Syllabic Combinations . . 32 
 Exercise in Transition from one class of Elements to 
 
 another 35 
 
 Exercise in Transition from one class of Organic Ac- 
 tions to another 35 
 
 Exercise in Difficult Combinations of Elements . 36 
 
 Pronunciation 40 
 
 CHAPTER III 
 
 MoDB OF Utterance 10 
 
X CONTENTS. 
 
 CHAPTER IV, 
 
 QiTALiTT 01' Voice 42 
 
 Whispering 42 
 
 Pure Tone 45 
 
 Examples of Pure Tone 49 
 
 Subdued or Softened Force 49 
 
 Moderate Force 52 
 
 Sustained Force 66 
 
 Orotund Quality 67 
 
 Effusive Orotund 68 
 
 Expulsive Orotund 72 
 
 Explosive Orotund 76 
 
 Aspirated and Pectoral Quality 78 
 
 Effusive Utterance 80 
 
 Expulsive Utterance 82 
 
 Explosive Utterance 83 
 
 CHAPTER V. 
 
 POKCE 85 
 
 Exercises in Force 88 
 
 Suppressed Force 88 
 
 Subdued Force 90 
 
 Moderate Force 92 
 
 Declamatory Force 95 
 
 Impassioned Force 96 
 
 Shouting and Calling 97 
 
 Examples of Transition in Force ... . . .97 
 
 CHAPTER VL 
 
 Btbess . 101 
 
 Radical Stress 102 
 
 Median Stress 106 
 
 Vanishing Stress ". 113 
 
 Compound Stress 116 
 
 Thorough Stress 1 ) 8 
 
 Tremor, or Intermittent Stress 121 
 
 CHAPTER Vn. 
 
 Melody I24 
 
 Pitch 125 
 
 Middle Pitch Ijj 
 
CONTENTS. XI 
 
 Low Pitch 128 
 
 Very Low Pitch ........ 130 
 
 High Pitch 131 
 
 Very High Pitch 134 
 
 Transition in Pitch 136 
 
 The Phrases of Sentential Melody 141 
 
 The Slide 145 
 
 The Slide of Emotion 150 
 
 The Distinctive Slide 154 
 
 The Mechanical Slide 157 
 
 The Wave, or Circumflex 159 
 
 The Monotone 165 
 
 Semitonic or Chromatic Melody 171 
 
 CHAPTER Vin 
 
 Time 176 
 
 Quantity 176 
 
 Exercises in Quantity 178 
 
 Pauses 188 
 
 Poetic and Oratorical Pauses 190 
 
 Rhetorical Pauses , . 194 
 
 Grammatical Pauses 197 
 
 Movement 197 
 
 Examples of Slowest Movement 199 
 
 Examples of Slow Movement 200 
 
 Examples of Moderate Movement .... 201 
 
 Examples of Animated or Lively Movement . . 202 
 
 Examples of Brisk, Gay, or Quick Movement . . 203 
 
 Examples of Rapid or Quickest Movement . . 205 
 
 Transition in Movement 206 
 
 Accent 208 
 
 Syllabic Accent 208 
 
 Rhythmical Accent 210 
 
 Examples of Rhythm 213 
 
 Prosodial Accent, or Metre 217 
 
 Iambic Metre 218 
 
 Trochaic Metre 221 
 
 Anapestic Metre 222 
 
 Notation of Rhythmical and Prosodial Accent combined 224 
 
 CHAPTER IX. 
 
 Emphasis and Expression 227 
 
 Impassioned Emphasis 228 
 
Xll CONTENTS. 
 
 Emphasis 229 
 
 Examples 230 
 
 Arbitiaiy Emphasia 235 
 
 Expression 239 
 
 Tables fob Daily Exekcise ...... 241 
 
 Engratbd Illustrations op the Vocal Obgans . . 248 
 
 Desceiption of the Organs of Voice .... 253 
 
 miscellaheoua pleces for general practice . . 262 
 
 I. A Sea-voyage. Irving 262 
 
 II. Death of Morris. Scott . . . ■ . . 265 
 
 III. Eulogy of President Garfield. Blaine . . . 268 
 
 IV. Chatham's Eebuke of Lord Suffolk ... 270 
 V. Patrick Henry's Speech in Favor of the War of In- 
 dependence 271 
 
 VI. Passing Away. Pierpmt 272 
 
 VII. Battle of Waterloo. Byron . . . . 274 
 
 VTII. Satan rallying the Fallen Angels. Milton . . 276 
 
 IX. Hymn to Mont Blanc Coleridge . . . 278 
 
 X. Khyme of the Duchess May. JE. B. Brouming . 280 
 
 XI. The Uses of Knowledge. Alison . . . 295 
 
 XII. The Last Hours of Sir Walter Scott. Lochhart . 297 
 
 XIII. Specimen of the j!.ioqneuce of John Adams. Webster 299 
 
 XIV. Slavery opposed to Nature. Brougham . . . 301 
 
INTRODUCTORY OBSERVATIONS. 
 
 OETHOPHONY.i OR THE SYSTEMATIC CULTIVATION 
 OF THE VOICE.' 
 
 The term orthophony is used to designate the art of cul- 
 tivating the Toice, for the purposes of speech, reading, dec- 
 lamation, recitation, or singing. This art, like all others, is 
 founded on certain principles, the knowledge of which con- 
 stitutes science. The principles of orthophony are derived 
 from the sciences of anatomy and physiology, as regards the 
 structure and action of the vocal organs, from the science 
 of acoustics, as regards the formation of sound, in general, 
 and from the science and art of music, as regards the regu- 
 lation of vocal sound, in particular. 
 
 Dr. Rush's exact and scientific analysis of elocution in 
 his masterly treatise, "The Philosophy of the Human 
 Voice,'' enables the teacher to carry elementary cultivation 
 to an extent previously unattainable, and, even yet, too 
 little known by those who have not paid special attention to 
 
 } The terms phonation (the act of producing vocal sound), and phon- 
 ology (the science of voice) are in current use among physiologists. But 
 the systematic cultivation of the vocal organs, on the elements of expres- 
 sive utterance, is a branch of education for which our own language fur- 
 nishes no appropriate designation. The compiler of this manual has 
 ventured to adopt, as a term convenient for this purpose, the word 
 orthophony, — a modification of the corresponding French word "or- 
 thophonie," used to designate the art of training the vocal organs. The 
 etymology of this term, when traced to the original Greelt words, — signi- 
 tying correct and voice, — sanctions its use in elocution, on the same 
 ground with that of " orthoiipy," in grammar 
 
XIV INTKODUCTION. 
 
 the subject. The actual benefits, however, arising from the 
 practical applications of Dr. Rush's system are equally felt 
 in the exactness of intelligence which it imparts, regarding 
 all the expressive uses of the voice, and the force, freedom, 
 and brilliancy of effect which it gives to the action of the 
 vocal organs, whether in the utterance of expressive emo- 
 tion, or of distinctive meaning addressed to the understand- 
 ing, by the process of unimpassioned articulation. 
 
 The methods of practical training, founded on the theory 
 and the suggestions of Dr. Rush, are attended by a per- 
 manent salutary influence of the highest value. They pro- 
 duce a free and powerful exertion of the organs of respira- 
 tion, a buoyancy of animal life, an exhilaration of spirits, 
 and an energetic activity of the whole corporeal frame, — ■ 
 all highly conducive to the well-being of the juvenile pupil, 
 not less than to his attainment of a spirited, effective, and 
 graceful elocution. The correspondent benefits conferred 
 on adults, by a vigorous course of vocal gymnastics, are of 
 perhaps still higher moment for the immediate purposes of 
 life and usefulness. The sedentary habits of students and 
 professional men render them liable not only to organic 
 disability of utterance, and to injury of the lungs, but to 
 numerous faults of habit, in their modes of exerting the 
 organs of speech, — faults which impair or counteract the 
 intended effect of all their efforts in the form of public 
 reading or speaking. The daily practice of vocal exercises 
 is the only effectual means of invigorating the organic 
 system, or correcting faults of habit in utterance, and the 
 surest means, at the same time, of fortifying the inward 
 frame against the exhausting effects of professional exer- 
 tion, when either pursued too long in succession or prac- 
 tised at too distant intervals, — both serious evils, and 
 nearly equal in the amount of injury which they occasion. 
 
 The compiler of the present work could enumerate many 
 cases in which voice and health, equally impaired, have 
 been restored in a few months, or even weeks, of vocal 
 
INTRODUCTION. XV 
 
 training, — and still more in which new and brilliant 
 powers of expression have been elicited in individuals who 
 have commenced practice with little hope of success and 
 with little previous ground for such hope, — confirmed 
 wrong habits of utterance, debilitated organs, and sinking 
 health having all united their depressing and nearly ruin- 
 ous influence on the whole man. 
 
ORTHOPHONY. 
 
 CHAPTER I. 
 
 RESPIRATION, OR EXERCISES IN BREATHING. 
 
 Gymnastic and calisthenic exercises are invaluable aids to 
 the culture and development of the voice, and should be sedu- 
 lously^ practised, when opportunity renders them accessible. 
 But even a slight degree of physical exercise, in any form 
 adapted to the expansion of the chest, and to the freedom 
 and force of the circulation, will serve to impart energy and 
 glow to the muscular apparatus of voice, and clearness to its 
 sound. 
 
 There is, therefore, a great advantage in introducing some 
 preliminary muscular actions, as an immediate prepara- 
 tion for vocal exercise. These actions may be selected from 
 the system of preparatory movements taught at gymnastic 
 establishments ; or they may be made to consist in regulated 
 walking, with a view to the acquisition of a firm, easy, and 
 graceful carriage of the body, with appropriate motion of the- 
 arms and limbs, — in the systematic drill in gesture, in its 
 various forms, for the purpose of obtaining a free, forcible, 
 and effective use of the arm, as a natural accompaniment to 
 speech, — or in the practice of attitude and action combined, 
 in the most vivid style of lyric and dramatic recitation, so as 
 to attain a perfect control over the whole corporeal frame, 
 for the purposes of visible expression. 
 
 Some preliminary exercises, such as the preceding, having 
 been performed, and a sufficient period for rest and tranquil 
 1 
 
2 ORTHOPHONY. 
 
 breathing having elapsed, the next stage of preparatory 
 action may be as in the following directions : — 
 
 1. Attitude of the Body, and Position of the Organs. 
 
 Place yourself in a perfectly erect but easy posture ; the 
 weight of the body resting on one foot ; the feet at a mod- 
 erate distance, the one in advance of the other ; * the arms 
 akimbo ; the fingers pressing on the abdominal muscles, in 
 front, and the thumbs on the dorsal muscles, on each side 
 of the spine ; the chest freely expanded and fully projected ; 
 the shoulders held backward and downward, the head per- 
 fectly vertical. 
 
 2. Exercises in Deep Breathing. 
 
 Having thus complied with the preliminary conditions of 
 a free and unembarrassed action of the organs, draw in and 
 give out the breath very fully, and very slowly, about a 
 dozen times in succession. Let the breathing be deep and 
 tranquil, but such as to cause the chest to rise fully and fall 
 freely, and at every eflPort fill the lowest air cells of the 
 lungs. 
 
 3. Exercise in " Effusive " or Tranquil Breathing. 
 
 Draw in a very full breath, and send it forth in a pro- 
 longed sound of the letter h. In the act of inspiration, take 
 in as much breath as you can contain. In that of expira- 
 tion, retain all you can, and give out as little as possible, — 
 merely sufficient to keep the sound of h audible. But keep 
 
 1 The habit of keeping the chest open and erect is indispensable to the 
 production of a full, round tone of voice. But it is of still higher value, 
 as one of the main sources of health, animation, and activity. 
 
 The effect on the student of the preceding exercises in breathing is 
 usually soon perceptible in an obvious enlargement of the chest, and habit- 
 ually erect attitude, an enlivened style of movement, a great accession of 
 general bodily vigor, an exhilarated state of feeling, and an augmented ac- 
 tivity of mind. To persons whose habits are studious and sedentary, anA 
 especially to females, the vigorous exercise of the organs of respiration 
 tnd of voice is in every point of view an invaluable discipline. 
 
ADDITIONAL BREATHING EXERCISES. 3 
 
 it going on as long as you can sustain it. In this style of 
 respiration the breath merely effuses itself into the sur- 
 rounding air. 
 
 4. Exercise in " Expulsive " or Forcible Breathing. 
 
 Draw in a very full breath, as before, and emit it, with a 
 lively expulsive force, in the sound of h, but little prolonged, 
 in the style of a moderate whispered cough. The breath 
 in this style of expiration is projected into the air. Repeat 
 this exercise, as directed in the statement preceding. 
 
 5. Exercise in " Explosive " or Abrupt Breathing. 
 Draw iu the breath, as already directed, and emit it with 
 
 a sudden and violent explosion, in a very brief sound of the 
 letter h, — in the style of an abrupt and forcible, but whis- 
 pered cough. The breath is, in this mode of expiration, 
 thrown out with abrupt violence. Repeat this exercise as 
 before directed. 
 
 The above exercises are sufficient for ordinary use, but 
 the following are also of service in expanding and strength- 
 ening the lungs. Caution should be observed in these, 
 and indeed all forms of vocal training, that no discomfort 
 be created by the exertion. Practice will soon render 
 even the most difficult drill agreeable. But if forced be- 
 yond the natural power of endurance, the breathing exer- 
 cises will injure rather than develop the voice. 
 
 ADDITIONAI, BREATHING EXERCISES. 
 
 Sighing. 
 
 Sighing, as a natural effort, designed to relieve the lungs 
 and accelerate the circulation, when depressing emotions or 
 organic impediments cause a feeling as if the breath were 
 pent up, consists in a sudden and large inspiration and 
 a fuU, strong, effusive expiration. In vocal training it be- 
 comes a most efficacious means of free, unembarrassed res- 
 
4 ORTHOPHONY. 
 
 piration, and consequently of organic energy and of full 
 voice. It should be repeated as the other exercises, and 
 practiced through both the nostrils and the mouth ; the 
 former being its gentler, the latter its more forcible form. 
 It should be produced also in the tremulous style of inspi- 
 ration, in which the sigh resembles a series of prolonged 
 and subdued sobs. 
 
 Sohling. 
 
 Sobbing, as an instinctive act, consists in a slightly con- 
 vulsive, subdued, and whispering gasp, by which an instan- 
 taneous supply of breath is obtained, when the stricture 
 caused by the suffocating effect of grief would otherwise 
 obstruct or suspend too long the function of inspiration. 
 The practice of the sob facilitates the habit of easy and 
 rapid inspiration, and the expression of pathetic emotion. 
 
 Gasping. 
 
 Gasping is an organic act corresponding somewhat to 
 sobbing, but much more violent, as belonging to the expres- 
 sion of fierce emotions. Its effects as an exercise, in disci- 
 plining the organs, are very powerful, and its use in vehe- 
 ment expression in dramatic passages highly effective, and, 
 indeed, indispensable to natural effect. 
 
 Panting. 
 
 Panting, as a natural act, in a highly excited state of cir- 
 culation, whether caused by extreme muscular exertion or 
 by intense emotion, consists in sudden and violent inspira- 
 tion and expiration, the latter process predominating in force 
 and sound. It is the only form of respiration practicable 
 in high organic excitement. The practice of panting as an 
 exercise imparts energy to the function of respiration, and 
 vigor to the organs. Its effect is inseparable from the ex 
 pression of ardor and intense earnestness in emotion. 
 
OETHOEPT. 
 
 CHAPTER II. 
 
 ORTHOEPY. 
 
 The term orthoepy (correct speech) comprehends all that 
 part of elocution which pertains to the organic functions of 
 articulation, and its audible result, which we term enuncia- 
 tion. It will be a matter of convenience, at the same time, 
 to take into view the subject of pronunciation, or, in other 
 words, enunciation as modified by the rules of sound and 
 accent which are drawn from the usage of a particular lan- 
 guage. To pronounce a word properly, implies that we 
 enunciate correctly all its syllables, articulate distinctly the 
 sounds of its letters, and accent properly according to pre- 
 vailing cultivated usage. 
 
 We commence with the study of articulation, as a func- 
 tion of the smaller organs of voice, including the larynx 
 and the circumjacent parts, the mouth and its various por- 
 tions and appurtenances. Our preceding observations ap- 
 plied to the use of the larger organs, the cavity and mus- 
 cles of the chest, etc., and referred to the act of respiration, 
 preparatory to the production of vocal sound, whether in 
 speech or in music. We are now occupied with the func- 
 tions of speech. 
 
 Propriety of pronunciation is justly regarded as an insep- 
 arable result of cultivation and taste. We recognize an 
 educated person by his mode of pronouncing words ; and 
 we detect slovenliness in mental habit, or the absence of 
 culture, with no less certainty, in the same way. What- 
 ever thus holds true of pronunciation — a thing subject to 
 the law of prevailing good custom merely, and liable, there- 
 fore, to various interpretations in detail — is still more em- 
 phatically applicable to distinct enunciation, the unfailing 
 characteristic of correct Intellectual habits, and the only 
 means of exact and intelligible communication by speech. 
 
6 ORTHOPHONY. 
 
 But a distinct enunciation is wholly dependent on the 
 action of the organs, — on their positions and their move- 
 ments, — on the force and precision of their execution. The 
 breath having been converted into sound by the use of the 
 component portions of the larynx, passes on to be modified 
 or articulated into definite forms by the various parts of 
 the mouth, and by the action of the tongue. 
 
 The functions of the organs in articulation must obviously 
 be determined by the character of the sound which in any 
 case is to be executed. We shall find advantage, there- 
 fore, in first considering the character of the component 
 elementary sounds of our language, as a guide to the mode 
 of exerting the organs in producing them. 
 
 Dr. Eush, in his " Philosophy of the Voice,'' has adopted 
 an arrangement of the elementary sounds of our language 
 which differs from that of grammarians, and is founded on 
 a more strict regard to the vocal properties of each ele- 
 ment, a classification which is more convenient for the 
 purposes of elocution, as well as more exact in relation to 
 the facts of speech. Dr. Rush's arrangement we shall fol- 
 low in this branch of our subject, as it is best adapted to 
 the purposes of instruction. 
 
 On a very few points of detail, however, we shall take 
 the liberty to vary from Dr. Rush's system, where precision 
 and accuracy of instruction seem to require such varia- 
 tion. 
 
 Dr. Rush's mode of classifying the elementary sounds of 
 our language presents, first, those which he has denomi- 
 nated " Tonic " elements, as possessing the largest capacity 
 for prolongation of sound, and other modifications of tone. 
 The following are the 
 
TONIC ELEMENTS. 
 
 " TONIC " ELEMENTS. 
 
 I. Simple Sounds, 
 
 1. A, 
 
 2. A, 
 
 3. A, 
 
 4. E, 
 
 5. 00, 
 00^ 
 
 6. E, 
 
 7. E, 
 
 8. I, 
 
 as in ^-11. 
 as in A-rca^ 
 as iu A-n. 
 as in -S-ve. 
 as in (?o-ze. 
 as in L-oo-k. 
 as in E-TT. 
 as in j&nd. 
 as in ^n. 
 
 9. 
 
 Ai, 
 
 as in Air. 
 
 10. 
 
 u. 
 
 as in U-Tp. 
 
 11. 
 
 0, 
 
 as in 0-T. 
 
 12. 
 
 0, 
 
 as in O-u. 
 
 I] 
 
 - Compound Sounds. 
 
 13. 
 
 A, 
 
 as in A-le. 
 
 14 
 
 I, 
 
 as in /<e. 
 
 16. 
 
 0, 
 
 as in 0-ld. 
 
 16. 
 
 Ou, 
 
 as in Ou-T. 
 
 The following elements of the same class are omitted by 
 Dr. Rush. But they seem to be indispensable in teaching, 
 which requires exact and close discriminations in order to 
 obtain accuracy in practice. 
 
 17. Oi, as in Oi-l. 18. CJ as in C-se, sounding 
 
 lonff in the verb, short in the noun. 
 
 (The student's attention should be directed to the fol- 
 lowing observations, previous to practising the preceding 
 sounds.) 
 
 The a in such words as ale. Dr. Rush has very justly 
 represented as consisting of two elements: 1st. The "rad- 
 ical," or initial sound, with which the name of the letter a 
 commences ; and 2d. The delicate " vanish," or final sound, 
 with which, in full pronunciation, and in singing, it closes, 
 — bordering on e as in eve, but barely perceptible to the 
 ear. This element obviously differs, in this respect, from 
 the acute e of the French language, which begins and ends 
 with precisely the same form of sound and positions of the 
 organs of speech ; while the English a, as in ale, requires a 
 slight upward movement of the tongue, to close it with pro- 
 priety ; and hence its " vanish " approaches to the sound 
 of e. 
 
 1 A shorter quanHty, but the same in qitality, with oo in ooze. 
 
8 ORTHOPHONY. 
 
 The i of ice, in like manner, will, on attentive analysis, 
 be found to consist of two simple elements : 1st, a as in 
 at; 2d, i as in in. Walker, in his system of orthoepy, de- 
 fines this element as commencing with the a vn father. But 
 such breadth of sound is, in our own day, justly regarded as 
 the mark of a drawling and rustic pronunciation, while good 
 taste always shrinks from the too flat sound, which this ele- 
 ment receives in the style of dialectic error in Scotland or 
 Ireland, or in the style of fastidious and affected refinement, 
 as if " ayee." 
 
 The o of old, although not so commonly recognized as a 
 compound element, will be found, on analysis, to belong 
 properly to that class. Thus, if we observe closely the pro- 
 nunciation of a native of continental Europe in speaking 
 English, we shall find that the letter o in such words as old 
 sounds a little too broad, and does not close properly. The 
 foreign pronunciation lacks the delicate " vanish," approach- 
 ing to 00 in ooze, although not dwelling on that form of 
 sound, but only, as it were, approximating to it ; as the let- 
 ter a, in just and full utterance for public speaking, and for 
 singing, closes with a slight approach to e in eve, but does 
 not dwell on that element. 
 
 That this compound form of the " tonic " o in old is a 
 genuine tendency of the organs, in the pronunciation of our 
 language, may be observed in the current fault of the utter- 
 ance which characterizes the popular style of England, and 
 in which the vanish of this element is protruded to such an 
 extent as to justify American caricaturists in representing 
 it by the spelling of "powst rowd," for post road. 
 
 The element ou in our is obviously a compound of o as 
 in done, — the same with u in up, — and a short or " vanish- 
 ing " quantity of oo in ooze. The negligent style of popular 
 error makes this element commence with a as in arm, or a 
 in at ; and the local style of rustic pronunciation in New 
 England makes it commence with e in end. 
 
 Ai, as in the word air, though not recognized by Dr. 
 
TONIC ELEMENTS. 9 
 
 Rush, nor by many other writers on elocution, as a separate 
 element from a in ale, is obviously a distinct sound, approach- 
 ing to that of e in end, but not forming so close a sound to 
 the ear, nor executed by so much muscular pressure in the 
 organs. The literal flat sound, however, of o in ale, if given 
 in the class of words air, rare, care, etc., constitutes the 
 peculiarity of local usage in Ireland, as contradistinguished 
 from that of England. 
 
 Popular usage in England and America inclines, no doubt, 
 to the opposite extreme, and makes a in air too nearly like 
 a prolonged sound of a as in an. In the southern regions 
 of the United States, this sound is even rendered as broad 
 as that of a in arm. But while good taste avoids such 
 breadth of sound, as coarse and uncouth, it stUl preserves 
 the peculiar form of this element, as differing both from a 
 in ale, and e in end, and lying, as it were, between them. 
 
 U in. up seems to have been merged by Dr. Rush in the 
 element e in err, which would imply that the latter word is 
 pronounced " urr." But this is obviously the error of neg- 
 ligent usage, whether in the United States or in England. 
 In the latter country it is the characteristic local error of 
 Wales. 
 
 In the usage of New England and of Scotland there is, 
 no doubt, a too prevalent tendency to pronounce en; earth, 
 mercy, etc., with a sound too rigidly close, like that of e in 
 merit ; thus, " air," " airth," " maircy." But cultivated and 
 correct pronunciation, while it avoids this preciseness, draws 
 a clear though close distinction between the vowel sounds 
 in urn and earn. 
 
 Mr. Smart, in his " Practice of Elocution," describes the 
 element in question with perfect exactness and just dis- 
 crimination. 
 
 " Er and ir are pronounced by unpolished speakers just 
 like ur, as indeed, in some common words, such as her, sir, 
 etc., they are pronounced, even by the most cultivated ; but 
 m words of less common occurrence there is a medium be- 
 
10 ORTHOPHONY. 
 
 tween ur and air which elegant usage has established as the 
 just utterance of e and i joined to the smooth n" -^ 
 
 in or and o in on are apparently considered by Dr. 
 Rush and by Walker as modifications of a in all. Admit- 
 ting, however, the identity of quality in these elements, — 
 their obvious difference in quantity, and in the position and 
 pressure of the muscles by which, as sounds, they are formed, 
 together with the precision and correctness of articulation, 
 demand a separate place for them in elementary exercises 
 designed for the purposes of culture, which always implies a 
 definite, exact, and distinctive formation of sounds. 
 
 Oi in oil, though omitted in the scheme of Dr. Rush, are 
 evidently entitled to a distinct place in the classification of 
 the elements of our language, on the same ground on which 
 a separate designation is assigned to ou in our. 
 
 This compound element oi is formed by commencing 
 with the in on, and terminating with the i in in. Popular 
 and negligent usage inclines to two errors in this diphthong : 
 1st, that of commencing with o in own instead of o in on ; 
 2d, that of terminating with a short sound of a as in ale, 
 instead of * in in. The appropriate sounds are as mentioned 
 above. 
 
 The compound element u as in use, although obviously 
 formed of a short quantity of e in eve and of oo m ooze, is 
 entitled to a place in the classification of the elements of 
 our language, not merely as being a sound represented by a 
 distinct character, as in the name of the letter u, but as con- 
 stitutmg a peculiar diphthongal element. 
 
 " SUBTONIC " ELEMENTS. 
 
 These elements are so denominated by Dr. Rush " from 
 their inferiority to the ' tonics,' in all the emphatic and ele- 
 gant purposes of speech, while they admit of being ' into- 
 nated,; or carried 'concretely' (continuously) through the 
 intervals of pitch." 
 
 1 Th& Practice of Elocution. By B. H. Smart. London, 1820. 
 
SUBTONIC ELEMENTS. 
 
 11 
 
 1. 
 
 L, 
 
 as in L-\xll^ 
 
 9. 
 
 G, 
 
 as in 
 
 G-A-g. 
 
 2. 
 
 M, 
 
 as in M-ai-m. 
 
 10. 
 
 V, 
 
 as in 
 
 V-al-ve. 
 
 3. 
 
 N, 
 
 as in ^-u-n. 
 
 11. 
 
 z, 
 
 as in 
 
 Z-one. 
 
 4. 
 
 E, 
 
 as in i2-ap. 
 
 12. 
 
 z. 
 
 as in 
 
 A-z-ure 
 
 5. 
 
 n, 
 
 as in Fa-r.2 
 
 13. 
 
 r, 
 
 as in 
 
 r-e. 
 
 6. 
 
 Ng, 
 
 as in Si-w^'. 
 
 14. 
 
 w, 
 
 as in 
 
 W-oe. 
 
 7. 
 
 B, 
 
 as in B-a,~be. 
 
 15. 
 
 TH, 
 
 as in 
 
 TIT-en. 
 
 8. 
 
 D, 
 
 as in Did. 
 
 
 
 
 
 Compound of 8 and 12. 
 16. J, a,s in J-oj. 
 
 The first six of the " subtonic " elements, I, m, n, r 
 (hard), r (soft), and ng, have an unmixed " vocality " 
 throughout : the seventh, eighth, and ninth, b, d, g, have a 
 " vocality," terminating in a sudden and explosive force of 
 sound: the remaining " subtonics,'' v, z, zh,y, w, th,j, have 
 an " aspiration " (whispering sound of the breath) joined 
 with their vocality. 
 
 The fourth of these elements — ras mrap — differs from 
 the fifth, — r as in far, — in having a harder and clearer 
 sound, executed by a forcible but brief vibration of the tip 
 of the tongue against the first projecting ridge of the inte- 
 rior gum, immediately over the upper teeth ; while the lat- 
 ter has a soft murmuring sound, caused by a slight vibration 
 of the whole fore part of the tongue, directed towards the 
 middle part of the roof of the mouth. 
 
 The common errors of careless usage substitute the 
 " soft " for the " hard " r, and omit the " soft " r entirely ; 
 thus, "yaA " for far. Another class of errors consists in 
 rolling, or unduly prolonging the sound of the " hard " r, 
 and substituting th« hard for the " soft " sound. 
 
 1 In arranging the *' subtonics," words have, in as many cases as prac- 
 ticable, been selected for examples which contain a repetition of the ele- 
 ment under consideration. The design of this slight deviation from Dr. 
 Etush is to present each element as impressively as possible to the ear. 
 
 ' Added to Dr. Bush's arrangement, for the reasons mentioned in subse- 
 |uent observations on this element. See last paragraph of this page. 
 
12 OETHOPHONY. 
 
 The greater prolongation of sound, which takes place in 
 the average of singing notes, or in impassioned recitation, 
 renders a slight comparative " roll " of the " hard " r un- 
 avoidable, at the beginning of a word. But it is a gross 
 error of taste to prolong this sound, in the style of foreign 
 accent, as in French and Italian pronunciation ; or to sub- 
 stitute the rough sound of the " hard " r for the delicate 
 murmur of the *' soft " r. 
 
 The "snbtonic" elements numbered 13 and 14 — y as 
 in ye, and w as in woe — are, it may be remarked, not 
 properly separate elements from e in eve and oo in ooze, 
 but only extremely short " quantities " of the same " qual- 
 ities " of vowel sound which are exhibited in these words. 
 They require, however, a closer position of the organs 
 for their execution ; and hence, for the purposes of prac- 
 tical instruction, they may be advantageously studied as dis- 
 tinct elementary sounds. 
 
 "atonic" elements. 
 These elements are thus designated by Dr. Rush from 
 their want of " tonic " property, — " their limited power of 
 variation in pitch." " They are all properly ' aspirations,' 
 and have not the sort of sound called ' vocality.' They are 
 produced by a current of the whispering breath, through 
 certain positions of parts, in the internal and external 
 mouth." 
 
 1. 
 
 2. 
 3. 
 
 4. 
 
 P, as in P-i-pe. 
 T, as in T-en-t. 
 0, " hard," and K, as 
 
 in 0-a.-ke. 
 F, as in F-i-fe. 
 
 5. G " soft," and S, as in 
 
 C-ea-se. 
 
 6. H, as in IT-e. 
 
 7. Th, as in TA-ia. 
 
 8. Sh, as in Pu-sA. 
 
 
 ^ Compound 
 9. Ch, as i 
 
 of 2 and 8. 
 n Oh-m-ch.^ 
 
 1 Wk, which Dr. Rush has recognized as a distinct element, are but ap- 
 pareatly such. They difEer in no respect from the separate elements, w and 
 
ATONIC ELEMENTS. 13 
 
 To some persons the foregoing analysis may seem unnec- 
 essarily minute. But exactness in articulation cannot exist 
 without close discrimination and careful analysis. Many of 
 the worst errors in the enunciation of words are owing to 
 slight oversights of the true sound of a letter. Without 
 strict attention to details, there can, in this particular, be no 
 security for accurate execution. The very common error, 
 for example, of reading or singing the word faith as if it 
 were written '■'• fai-eeih" is merely an act of negligence re- 
 garding the " vanish," or final portion of sound, in the diph- 
 thong ai, which — although it is unavoidably analyzed by 
 the voice, in the utterance of singing, to a greater extent 
 than in that of reading — should never be dissected in 
 the unnatural style which has just been mentioned. 
 
 We have omitted, as will have been observed, that part 
 of Dr. Rush's analysis which presents the " tonic " ele- 
 ments a as in awe (identical with a in all), a in arm, and 
 a in an, as diphthongal. Correct reading and appropriate 
 singing alike forbid the " vanish " of these sounds to be 
 rendered apparent to the ear. It is one of the acknowl- 
 edged improprieties of enunciation which permits the word 
 awe to terminate in any form approaching — even in the 
 most distant degree — the negligent style of " awer." 
 
 Let it be admitted that the " vanish," or final portion of 
 the sound, in such elements, is but an unavoidable, acciden- 
 tal " vocule," inseparably attached to the " radical " or initial 
 sound, when we utter it by itself ; and it becomes, from its 
 very nature, a thing which judgment and taste would alike 
 require to be sunk out of notice to the ear, in the enuncia^ 
 tion of syllables or words. 
 
 A, only that, in the modern orthography of words, they are inverted, o^^ 
 to their order. The ancient orthography of the language placed them a' 
 they stand in orthoepy. Hw; thus Hweat,Hvien, etc. The sound is pro- 
 duced by placing the lips iu position for w and enanciatiug h at the same 
 time. 
 
14 ORTHOPHONY. 
 
 The preceding arrangement of the elementary sounds of 
 the language, as presented by Dr. Rush, exhibits them in a 
 manner very clear and distinct, as results of organic action, 
 — or as sounds formed by the voice. But to ascertain their 
 character with perfect accuracy of knowledge, for the pur- 
 poses of vocal practice and culture, it becomes important to 
 examine them closely, in connection with the exact position 
 and movement of the organs, during the process of execu- 
 tion. 
 
 Classified, in this light, the audible elements of our lan- 
 guage may be conveniently designated by the terms in use 
 previous to Dr. Rush's arrangement. We will commence 
 with the 
 
 VOWELS AND DIPHTHONGS. 
 
 These elements, generally, are formed by the act of " ex- 
 piration " modified into vocality by the larynx, and the 
 adjoining organs, aided by the tongue, the palate, the lips, 
 etc., which give definite and distinctive character to the 
 sounds of the voice, as rudiments of speech. 
 
 The enunciation of vowels and diphthongs demands at^ 
 tention principally to the free and expansive opening of the 
 mouth, together with a strict attention to the action of the 
 particular organ or organs by which each element receives 
 its peculiar character as a definite sound. Much attention 
 in the execution of these sounds is required to the action 
 of the organs at the moment of commencing and at that of 
 closing each sound. The sound of the voice in the utter- 
 ance of the first audible portion of articulate sounds, Dr. 
 Rush has termed the '' radical " (initial) movement ; the 
 sound uttered in the concluding portion of an articulation 
 he has termed the "vanishing" (final) movement. Each 
 of these points of articulate sound demands the closest dis- 
 crimination, as regards both the voice and the motion or 
 action of the organs. If the latter is not exact, the former 
 will be more or less incorrect or vague, confused, and in- 
 definite. The " radical " movement always demands clear- 
 
VOCAL AND DIPHTHONGAL ELEMENTS. 15 
 
 ness, force, precision, and spirit in the execution ; the 
 " vanish " requires nice and delicate finish, perfect exact- 
 ness, but no undue marking or prominence. It should 
 resemble, in its effect on the ear, that of a light but definite 
 touch on the piano. 
 
 " In just articulation, the words are not to be hurried 
 over, nor precipitated, syllable over syllable ; nor, as it 
 were, melted together into a mass of confusion : they shotdd 
 be neither abridged, nor prolonged, nor swallowed, nor 
 forced, and — if I may so express myself — shot from the 
 mouth ; they should not be trailed nor drawled, nor let slip 
 out carelessly, so as to drop unfinished. They are to be 
 delivered out from the lips, as beautiful coins newly issued 
 from the mint, deeply and accurately impressed, perfectly 
 finished, neatly struck by the proper organs, distinct, sharp, 
 in due succession, and of due weight." ^ 
 
 The precision and force of the " radical " portion of a 
 sound are gained by deep inspiration and a preliminary 
 rallying, or gathering of impulse on the organs, — some- 
 what as we brace the muscles before the exercise of jump- 
 ing or diving, — and then causing an instantaneous explo- 
 sion of the accumulated and compacted breath, in the form of 
 clear, cutting sound. In practising the following elements, 
 this explosive, radical movement should be carried up from 
 the slightest style of a suppressed cough to the most violent 
 exertion, or the loudest style of coughing. The preliminary 
 practice of a repeated actual cough is the best preparatory 
 discipline for the species of organic action which constitutes 
 the " radical " portion of any articulate sound. 
 
 VOCAL AND DIPHTHONGAL ELEMENTS, 
 
 corresponding to the " tonics " of Dr. Rush, and executed 
 principally by the action of the larynx, with the mouth mori 
 or less open : — 
 
 1 Austin's Chirottomia, pp. 38, 39. 
 
16 
 
 ORTHOPHONY. 
 
 Simple Sounds. 
 
 1. ^-11. 
 
 2. A-rm. 
 
 3. ^-n. 
 
 4. E-Ye. 
 6. 00-zQ, 
 
 L-oo-ls.. 
 
 6. E-TT. 
 
 7. j;-nd. 
 
 8. J-n. 
 
 9. ^i-r. 
 10. Z7-p. 
 
 11. 0-v. 
 
 12. 0-n. 
 
 II. Compound Sounds. 
 
 13. ^-le (original element 
 
 and 4). 
 
 14. 7-ce (3 and 4). 
 
 15. 0-ld (original element 
 
 and 5). 
 
 16. Ou-n (10 and 5). 
 
 17. Oi-\ (12 and 8). 
 
 18. Use. (4 and 5). 
 
 CONSONANTAL ELEMENTS, 
 
 corresponding to the " subtonic " and " atonic ' 
 the classification of Dr. Rush : — 
 
 sounds in 
 
 These are — in consonance 
 formed by the action of the lips. 
 as follows : : — 
 
 1. ^-a-5e. 
 
 2. P-i-^e. 
 
 3. M-ai-m. 
 
 Labial Sounds. 
 
 with their designation — 
 They may be enumerated 
 
 4. PT-oe. 
 
 5. V-el-vQ.^ 
 
 6. ^-i-/e. 
 
 The " subtonic " b is formed by a firm compression of the 
 lips, which arrests the escape of the breath, and causes, by 
 this occlusion of the mouth, a murmuring resonance of the 
 voice in the cavity of the chest and in the interior of the 
 head and mouth. The pressure of the lips, in the formation 
 of this sound, is increased to a maximum, or chief point, at 
 which the lips are suddenly opened, and a slight explosive 
 effect produced, which consummates the character of the 
 sound, and causes a " vocule," or slight and obscure vowel 
 sound, resembling e in err, to follow the eflfort of the organs. 
 
 1 This and the following element being formed by means both of the lower 
 lip and the upper teeth, are, on this account, sometimes called " labial- 
 Centals." 
 
ARTICULATION. 17 
 
 The " atonic " p is produced by an intense compression 
 of the lips, which prevents the possibility of any audible 
 sound till the forcible " aspirated," or whispering, explosion, 
 following the maximum of the pressure, is heard, accompa- 
 nied by the same " vocule " which attends the sound of b, 
 but in p is only an aspiration, or whisper. 
 
 The precision of these two elements of speech is de- 
 pendent wholly on the full force of the labial compression 
 and the intensity of the following explosion by which they 
 are produced. In impassioned utterance, the force of the 
 organic action, in the articulation of these sounds, must be 
 carried to the utmost degree, and executed with instanta- 
 neous precision and the most vivid effect. 
 
 The " subtonic " m is articulated by a very gentle com- 
 pression of the lips, attended by a murmur in the head and 
 chest, resembling somewhat that which forms the character 
 of the " subtonic " h, but differing from it in the sound, be- 
 ing accompanied by a free, steady, equable " expiration " 
 through the nostrils. In extremely impassioned utterance, 
 this gentle element is made to assume the character of in- 
 tensity by increasing the force of the labial compression to 
 a maximum, and exploding the sound in a manner similar 
 to that of b. This element is not followed, as b or p, by a 
 " vocule ; " its own distinctive character of sound, through- 
 out, being very nearly of the " tonic," or purely vocal nat- 
 ure. 
 
 The " subtonic " element w, as in woe, is formed by 
 rounding the lips, as in articulating oo in ooze, but slightly 
 compressing them, and holding them closer to the teeth ; a 
 brief vocal murmur is formed by the breath, as modified 
 by the larynx, escaping through this partial opening of 
 the lips, and at the same time, in a very slight degree, 
 through the nostrils. This sound has not, from its nature, 
 much independent energy ; neither does it admit of pro- 
 longation. But it becomes forcible and impassioned, to 
 some extent, by increasing the pressure of the lips, and ex- 
 
18 ORTHOPHONY. 
 
 ploding the sound, somewhat in the manner of m and b, 
 when rendered intense. 
 
 The "suhtonic" v is articulated by the sound of the 
 voice being modified by bringing the upper front teeth close 
 upon the ridge of the under lip, and at the same time 
 slightly raising the upper lip so as to prevent its interfering 
 with the contact of the upper front teeth and the lower lip. 
 A murmuring resonance, bordering on aspiration, is thus 
 produced in the head and chest, by the partial escape of 
 breath between the teeth and the lip. This element, as 
 mentioned before, has, on this account, been sometimes de- 
 nominated " labio-dental," from its dependence on both 
 these organs. 
 
 The " atonic " f is executed as v, with the difference only 
 arising from a closer compression of the teeth and the lip, a 
 more forcible expulsion of the breath, and an aspirated or 
 whispering character in the sound. This element, also, is 
 sometimes denominated " labio-dental," being formed as the 
 preceding. 
 
 II. " Dental " Sounds. 
 
 These are all modified, as their name imports, by the aid 
 of the teeth. But, like many other articulate sounds, they 
 are founded on and imply an action of the tongue, although 
 this circumstance is not indicated in the designation of such 
 elements. 
 
 1. DA-d. 
 
 2. T-en-t. 
 
 3. Th-ia. 
 
 4. 7!ffine. 
 
 Compound of 1 and 5. 
 9. J-oj. 
 
 5. A-«-ure. 
 
 6. Vvi-sh. 
 
 7. C-ea-«e. 
 
 8. ^one. 
 
 Compound of 2 and 6. 
 10. Ch-nv-ch. 
 
 The " subtonio " d is articulated by a partial vocal mur. 
 mur, modified by pressing the tip of the tongue with great 
 energy against the interior ridge of gum, immediately over 
 
ARTICULATION. 19 
 
 the upper front teeth. This pressure is but an instantane- 
 ous effort ; yet it evidently comes to a maximum just before 
 the explosion, from which it takes its peculiar character, is 
 executed. This explosion necessarily produces the " vo- 
 cule " e as in err. 
 
 The " atonic " t is executed in a simUar manner, except- 
 ing the absence of vocal murmur, an intense percussive 
 pressure of the tongue, and an aspirated explosion, which 
 takes place in the act of withdrawing the tongue from the 
 gum. 
 
 The " atonic " th, as in thin, is executed by a forcible 
 " aspiration," modified by a slight horizontal parting of the 
 lips and a forcible pressure of the end of the tongue against 
 the upper front teeth. 
 
 The " subtonic " Tlf, as in thine, is executed by a simi- 
 lar position of the organs, but a vocalized emission of the 
 breath forming a gentle resonance. 
 
 The " subtonic " z, as in azure, is formed by a partially 
 vocal sound, modified by gently raising the whole fore part 
 of the tongue towards the roof of the mouth, and allowing 
 the breath to escape between it and the teeth. 
 
 The " atonic " sh is formed in a similar manner, as re- 
 gards the position of the organs, but with more pressure, 
 and by means of " aspiration," not " vocality," in the emis- 
 sion of the breath. 
 
 The " atonic " sound of s, or the soft sound of c, as in the 
 word cease, is articulated by pressing, with intense force, the 
 tip of the tongue against the interior gum, immediately over 
 the front teeth. Through the extremely small aperture thus 
 formed, aided by the horizontal parting of the lips and the 
 cutting effect of the edges of the teeth, the sibilation, or 
 hiss, is formed, which gives the peculiar character of this 
 element. 
 
 The " subtonic " z, as in zone, is formed by nearly the 
 same position of the organs as the preceding element, but 
 with very slight pressure, and by means of " vocalized," not 
 " aspirated," sound. 
 
20 ORTHOPHONY. 
 
 III. " Palatic " Sounds. 
 
 These are so termed from their depending on the palate 
 for their distinctive character. They are enumerated as fol- 
 lows : — 
 
 1. G " hard," and K, as in (7-a-fe ; 2. G, as in G-a-ff ; 
 3. Y, as in ^e. 
 
 The " atonic '' c " hard," or k, is executed by opening the 
 mouth, retracting and curving the tongue with great force, 
 and exploding an aspiration against the palate. 
 
 The " subtonic " g, as in gaff, is formed by similar move- 
 ments and positions of the organs, but less forcible, and by 
 means of " vocality " instead of " aspiration." 
 
 The " subtonic "y is articulated by a similar process, still 
 less forcible, and by means of " expulsion," not " explosion," 
 as regards the character of the function and the sound. 
 
 IV. "Aspirated " Element. 
 
 H, as in II-&. 
 
 This sound is formed by a forcible emission of the 
 breath, in the style of a whisper, and a moderate opening 
 of all the organs of speech. 
 
 V. "Nasal" Sounds. 
 1. i^ as in N-n-n ; 2. Ng, as in ^i-ng ; or N, as iu 
 
 I-M-k. 
 
 The " subtonic " n is articulated by a vocalized breathing 
 through the nose, the lips parted freely, and the end of 
 the tongue pressing vigorously against the interior ridge of 
 gum immediately above the upper front teeth. 
 
 The " subtonic " ng is formed by a vocalized breathing, 
 directed against the nasal passage and the back part of the 
 veil of the palate, and by a retracted and elevated position 
 ef the lower part of the tongue, which partly shuts th« 
 
ARTICULATION. 21 
 
 nasal passage, and causes it, at the same moment, to become 
 resonant. 
 
 VI. " Lingual " Sounds. 
 
 These elements are so called from their special depend- 
 ence on the action of the tongue. They are the following: 
 
 1. Z, as in L-n-ll ; 2. R, as in -K-ap ; 3. R, as in F-a-r. 
 
 These are all " subtonic " elements. 
 
 The first is formed by a moderate opening of the mouth, 
 and the utterance of a vocalized sound, modified by raising 
 the tongue towards the roof of the mouth, and pressing the 
 end of it very gently against the interior ridge of gum 
 immediately above the upper front teeth. 
 
 The " subtonic " r, as in rap, is an element formed by 
 vivid and energetic vibration of the tip of the tongue 
 against the interior ridge of gum immediately over the up- 
 per front teeth, forming a partially vocalized sound, clear 
 and forcible, but very brief. It should never extend to a 
 prolonged trill, or roll. This element is sometimes desig- 
 nated as " initial " r, from its occurring at or near the begin- 
 ning of words and syllables ; and sometimes " hard," or 
 " rough," r, from its comparative force, as contrasted with r 
 at the end of a word, which is always soft in sound. This 
 element follows, but never precedes, a consonant ; thus, pray, 
 brass, crape, green, dread, tread, scream, spread, etc. 
 
 The "subtonic " r, as mfar, is a softer sound, of longer 
 duration, modified by a slight and gentle vibration of the 
 whole fore part of the tongue, retracted, and rising towards 
 the roof of the mouth, but not actually touching it. The 
 just observance of the true character of this and the preced- 
 ing element is, as was mentioned before, a point of great mo- 
 ment in enunciation, and decides its style, as regards taste 
 and culture. The designation of " soft," or " smooth," r is 
 sometimes given to the " final " r, as it is a more delicate 
 and liquid sound than the " hard," or " initial," r. This 
 element occurs at the end of words, and before, but never 
 
22 ORTHOPHONY. 
 
 afier, a consonant; iihxt&, war, star, fair, ire, ear, oar, farm, 
 barn, card, harp, part, mercy, servant, person, etc. 
 
 Note. — It is one of the great inconveniences of our lan- 
 guage, that we have so few letters or characters by which 
 to designate its sounds ; and it is not less a defect in it, that 
 we have the same element sometimes represented by a great 
 variety of letters, and the combination of letters. Thus, the 
 element a, in ale, is heard also in aid, lay, weigh, survey, etc. • 
 
 A, in arm, is heard, also, in aunt. 
 
 A, in all, is heard in awe, laud, etc. 
 
 A, in what, was, wash, etc., is used to represent the same 
 sound with o, as in on, or not. 
 
 A, as in rare, is heard, also, in air, prayer, etc. 
 
 E, as in eve, occurs, also, in the sound of ee in eel ; ea, in 
 eat; ie, m field; ei, in seize. 
 
 E, in end, occurs in the form of ea in head. 
 
 E, in err, is the same sound which occurs in heard, and in 
 firm. 
 
 T, except its peculiar sound in ye, is but a repetition of i, 
 long or short ; thus, rhyme, hymn, etc. 
 
 0, in old, is repeated in oak, course, own, etc. 
 
 Oo, in ooze, and oo, in foot, recur in the sounds of o in 
 move ; u, in true ; o, in wolf ; u, in pull; ui, m fruit, etc. 
 
 The diphthongal sound oi, as in oil, is heard, always, in 
 oy. The sound of u, in use, occurs also in the form of iew 
 in view ; eau, in beauty. 
 
 The diphthong ou, in our, is repeated in the sound of ow 
 in down, etc. 
 
 E, as a sound, recurs in the form of ph and gh ; as in 
 phrase, laugh, etc. 
 
 J, and g " soft," are, on the other hand, but combinations 
 of the sounds of d, and of z as in azure. 
 
 Gh, in church, are but repetitions of the sound of t and sh. 
 
 The sound of sh is found, also, in the words nation, gra 
 eious, ocean, etc. 
 
 O " soft " is identical with «. 
 
ENUNCIATION OF WOEDS. 23 
 
 S is, in multitudes of instances, but a repetition of z, as, 
 for example, in houses, diseases, etc. 
 
 The sound of k is repeated in the form of c " hard ; " ch, 
 as in chorus ; and q, as in queen. 
 
 N, in ink, is identical with ng, 
 
 X is but a repetition, in sound, of ks, gz, z, or ksh , thus, 
 ex, example, Xerxes, Alexia, etc. 
 
 It is unnecessary, however, to enlarge on these inconsis- 
 tencies in the forms of our language. It is sufficient, per- 
 haps, for our present purpose, to suggest the fact, that the 
 orthography of words may sometimes afford no guidance to 
 orthoepy, but, rather, may apparently mislead. The ear 
 should, in all cases, be trained to the utmost exactness and 
 precision, in detecting and seizing the true element of sound, 
 independently of the form or combination of letters, by 
 which it may be represented. 
 
 WORDS 
 
 to be practised in the same style as the exercises on sylla- 
 bles, each component element kept perfectly clear and dis- 
 tinct : — 
 
 I. Tonic Elements. — Simple Sounds. 
 
 One error, often made in the following class of words, is 
 to pronounce them nearly as if written oaU, etc. Some- 
 times we hear the coarse error of dividing the sound of a, 
 in such words, into two parts : thus, 0-ull, io-ull, etc. To a 
 cultivated ear, this sound is peculiarly displeasing, as asso- 
 ciated with low and slovenly habit. 
 
 1. A, as in .4-11. 
 all war law awful water 
 
 2. A, as in A-Tva. 
 
 The two current errors in this class of sounds are, 1st, as 
 in the local usage of New England, flattening it down to a 
 in an ; 2d, as in the custom of the Middle States, making it 
 
24 ORTHOPHONY. 
 
 as broad as a in all. The former style causes the pronunci- 
 ation of " farm," " part," " father ; " the latter, that of 
 " iawvva" " pawrt," " fawther." 
 
 harm bar mart balm daunt 
 
 3. A, as in A-n. 
 
 Common errors: 1st, a flattened down to e in end, 
 nearly ; thus, " dence," " pess," the local usage of the 
 Middle States ; 2d, a made as broad as a in arm ; thus, 
 "dance" (as if darnee), "pass," the customary fault of 
 New England. 
 
 add band mass last slant dance 
 
 had hand pass mast chant lance 
 
 mad land grass past grant glance 
 
 4. E, as in .S-ve. 
 
 There is seldom any error made in the enunciation of 
 such words as the following, except the slight one arising 
 from not distinguishing between the longer sound of ee be- 
 fore a "subtonic," as in feel, and the shorter before an 
 " atonic," as in feet. 
 
 The explosive force of the organic action in executing an 
 " atonic " compresses the preceding vowel ; the gentle and 
 gradual sliding of the ee info a " subtonic " allows it a 
 longer duration. 
 
 theme feel heed | week feet deep 
 
 5. 0, as iu Oo-ze ; 00, a,s in L-oo-k. 
 
 The sound of this element needs attention to the same 
 distinction as in case of the ee. Before a " tonic " element 
 it is prolonged ; before an " atonic," it is shortened. The 
 difference is exemplified for the former in tool, for the latter 
 iu took. 
 
 eool ' boom moon ] hook hoop foot 
 
ENUNCIATION OF WORDS. 25 
 
 Exceptions. Good, wood, stood, 
 »rhich have the oo short, though before a " subtonic." 
 
 6. E, as in Err. 
 
 The just, not overdone, distinction between urn and earn 
 is the object to be kept in view, in practising on the follow 
 ing words. This class of sounds is so liable to mispronuii 
 elation that it needs close and repeated attention. See re 
 marks on the " tonic " element, e in err,m the discussion o 
 elementary sounds. 
 
 err serve earth * firm ^ mercy merciful 
 
 erst verse earl gird person terminate 
 
 herb stern pearl girl servant perfectly 
 
 7. E, as in ^-nd. 
 
 The common error in the following class of words is that 
 of allowing the vowel to approach the sound of a in ale; 
 thus, "taill" for tell. Other errors are such as " stiddy," 
 for steady, " maysure," for measure. 
 
 elk hence let bell den bed 
 
 ready steady measure pleasure general genuine 
 
 8. I, as in I-n. 
 
 The common error of careless articulation in this element 
 makes it approach the^a of ale ; thus, " sainn," for sin. An 
 opposite error in foreign style, or in bad taste, gives "seen," 
 for sm ; " ceeiee," for city, etc. 
 
 din dim bid ill lip bit 
 
 9. A, as in Ai-r. 
 
 Sometimes carelessly enunciated as a in an, prolonged ; 
 thus, " aer," for air ; sometimes too fastidiously flattened, 
 
 I Tlie same element with e in err, though differently spelled. 
 
26 OETHOPHONY. 
 
 and reduced to a in ale ; thus, " aer," for air. The true 
 sound lies between. 
 
 bare fare hair stare barely aware 
 
 10. C^ as in C^p. 
 
 The error in enunciating this element is that of forming 
 the sound in a coarse, guttural style, which makes it ap- 
 proach the sound of o in on. This fault is prevalent in the 
 usage of the Middle States- 
 up bud gum dun but done 
 
 11. 0, as in 0-r. 
 
 Three errors are extensively prevalent in the mode of 
 enunciating this element : 1st, a local error of New Eng- 
 land, which gives a double sound for a single one, com- 
 mencing with o in old, and ending with u in wp, or a in an ; 
 thus, "nour," or "noar" for nor ; 2d, a local error of the 
 Middle States, which makes the sound too broad, and re- 
 sembling the a in arm ; thus, " ndr," for nor ; 3d, a long 
 and drawling sound, which has a coarse and slovenly char- 
 acter ; thus, cawrd, for cord. 
 
 orb ^ born cork sort form 
 
 12. 0, as in On. 
 
 A prevalent local error in Massachusetts, in the follow- 
 ing class of sounds, exists in the words loss, lost, soft, etc., 
 which are pronounced nearly with o as in old; thus, " loass," 
 " hast," " soaft," etc., and sometimes with a double instead 
 of a single sound ; thus, " lodst," etc., for lost. The local 
 error of usage in the State of Connecticut verges to the op- 
 posite extreme, in such words, and gives for o a sound too 
 nearly like that of a in an ; thus, " lass,'' etc., for loss. 
 
 1 The r of these words is soft, but never silent, as in the style of faultj 
 usage. 
 
ENUNCIATION OF WORDS. 
 
 27 
 
 on 
 
 mob 
 
 bog 
 
 rod 
 
 lop 
 
 loss 
 
 odd 
 
 rob 
 
 dog 
 
 godi 
 
 sop 
 
 toss 
 
 13. A, as in ^-le. 
 
 The common error in the enunciation of this element is 
 that of making its " vanish " too conspicuous ; thus, " aeel" 
 for ale. An opposite error is not uncommon : that of 
 omitting the delicate " vanishing " sound entirely, which 
 makes the style of enunciation coarse and negligent, 
 ace day hail lade make came 
 
 14. ^ as in Lee. 
 
 The two errors to be avoided in enunciating this element 
 are, 1st, that of commencing with too broad a sound ; thus, 
 " aece," for ice (aece) ; 2d, that of commencing it with too 
 flat a sound ; thus, " aece," for ice. See remarks on 
 
 "tonic" 
 
 elements. 
 
 
 
 
 
 dice 
 
 bide 
 
 life 
 
 lime 
 
 fight 
 
 dive 
 
 rice 
 
 ride 
 
 rife 
 
 time 
 
 light 
 
 hive 
 
 vice 
 
 side 
 
 wife 
 
 prime 
 
 might 
 
 rive 
 
 15. 0, as in 0-ld. 
 
 A prevalent error in the local usage of New England 
 makes this o too short ; thus, " horn," for home. A com- 
 mon error of the Middle States makes the sound too broad ; 
 thus, "farce " tor force. 
 
 oh 
 
 go 
 
 bold 
 
 home 
 
 lone 
 
 hope 
 
 lo 
 
 wo 
 
 cold 
 
 loam 
 
 bone 
 
 mope 
 
 so 
 
 foe 
 
 hold 
 
 foam 
 
 stone 
 
 grope 
 
 both 
 
 ford 
 
 fort 
 
 course 
 
 gore 
 
 boat 
 
 oath 
 
 sword 
 
 port 
 
 force 
 
 more 
 
 coat 
 
 sloth 
 
 forge 
 
 sport 
 
 source 
 
 pour 
 
 dote 
 
 16. Ou, as in Ou-t. 
 The prevailing errors on this element are " dur," " aur,' 
 1 Frequently mispronounced "gawd," "goad," "gOSd," ot "gad." 
 
28 ORTHOPHONY. 
 
 and " eur," for our (o sounding as in done). The first 
 two of these errors are current in the pronunciation of the 
 Southern and Middle States ; the last in that of New Eng- 
 land. 
 
 out how loud cow fowl crown 
 
 ounce now cloud count howl drown 
 
 owl vow proud gown growl frown 
 
 17. Oi, as in Oj-1. 
 
 The two errors usually exhibited in enunciating this ele- 
 ment are, 1st, beginning the diphthong with the sound of o 
 in own, instead of that of o in on ; 2d, closing with a sound 
 resembling a in ale, instead of i in in. 
 boil toil joy coin broil rejoice 
 
 coil soil hoy join spoil appoint 
 
 foil coy toy loin groin avoid 
 
 18. TJ, as in f-se (long, as in the verb ; short, as in the 
 nouri). 
 
 The common errors in articulating this compound ele- 
 ment consist in, 1st, turning the whole sound into oo as 
 in ooze ; 2d, making the diphthong commence with a in ale, 
 instead of e in eve, shortened, or of the sound of y in yet. 
 
 use tune feud cue human student constitution 
 cure dupe hew due useful stupid institution 
 lure fume few sue humor stewing revolution 
 
 II. " Subtonic " Elements. 
 
 1. i, as in L-vi-ll. 
 loll lie lad all weal dull 
 
 2. M, as in M-a.i-m. 
 The common error in the enunciation of this element 
 
ENUNCIATION OF WORDS. 29 
 
 is that of sounding it too slightly, and in a slack and lag- 
 ging style. 
 
 mine may move am him hum 
 
 3. JT, as in ^-u-m. 
 
 The common fault of enunciation in this, as in the pre- 
 ceding element, is a want of that force which belongs to 
 energetic and animated utterance. 
 
 nine nay now an den din 
 
 4. M, as in jB-ap (r initial, before a vowel, or after a 
 consonant'). 
 
 The error to be avoided in articulating this element is 
 that of prolonging it into a " roll," or that of substituting 
 for it the soft sound of r " final." A correct articulation in 
 this instance always presents to the ear a firm, clear, and 
 distinct, but very brief sound. 
 
 raw 
 
 red 
 
 rid 
 
 ream 
 
 robe 
 
 rude 
 
 rub 
 
 rye 
 
 rent 
 
 rim 
 
 reel 
 
 rose 
 
 rule 
 
 ruff 
 
 ray 
 
 rest 
 
 rip 
 
 reap 
 
 roam 
 
 rue 
 
 rust 
 
 brag 
 
 brave 
 
 grave 
 
 crane 
 
 pray 
 
 trade 
 
 stray 
 
 brass 
 
 brain 
 
 grim 
 
 crag 
 
 prate 
 
 track 
 
 stride 
 
 brad 
 
 braid 
 
 groan 
 
 cry 
 
 prone 
 
 tread 
 
 strut 
 
 5. E, as in Fa-r (r final, or hefore a consonant). 
 
 The error most frequent in the articulation of this ele- 
 ment is that of omitting it, through inadvertency. This 
 fault is one of the conspicuous peculiarities of the style of 
 pronunciation prevalent among the uncultivated classes of the 
 city of London. But it is not less so, even among educated 
 people, in the United States. The soft r, being one of the 
 few liquid consonants which our language possesses, should 
 never be omitted in enunciation. At the same time it 
 should never be converted into the opposite, r as in rap, as 
 it often is, in the style of foreigners ; neither should it ever 
 
30 
 
 ORTHOPHONY. 
 
 be dwelt upon, or prolonged in sound. It is properly but a 
 " vanish," in its effect on the ear, as its vibrating and mur- 
 muring articulation prevents it from becoming forcible or 
 distinct. The tongue should execute it with a delicate 
 motion adapted to its slight and evanescent character. 
 
 hare 
 
 bar 
 
 ear 
 
 ire 
 
 ore 
 
 lure 
 
 bur 
 
 dare 
 
 car 
 
 fear 
 
 hire 
 
 core 
 
 pure 
 
 cur 
 
 fare 
 
 mar 
 
 hear 
 
 mire 
 
 door 
 
 sure 
 
 pur 
 
 orb 
 
 arm 
 
 earn 
 
 dark 
 
 pear 
 
 art 
 
 butn 
 
 horn 
 
 harm 
 
 fern 
 
 hark 
 
 marl 
 
 dart 
 
 turn 
 
 form 
 
 farm 
 
 learn 
 
 lark 
 
 whirl 
 
 part 
 
 churn 
 
 murmur former charmer warmer warbler burner forlorn 
 
 Exercise on words containing both sounds of £. 
 
 (The difference in the sounds of the hard and the soji r 
 should be exactly observed.) 
 
 rare rear roar reared roared rarely drier 
 error horror terror brier prior truer crier 
 regular barrier terrier merrier farrier carrier courier 
 
 6. Nff, as in Si-n^r (or n, before g hard or k). 
 
 hung bank ink 
 
 tongue rank sink 
 
 sprung drank wink 
 mangling haranguing 
 dangling prolonging 
 wrangling besprinkling 
 
 7. £, as in B-a,-be. 
 
 The forcible execution of this and the two following ele- 
 ments in a very clear and compact form is often Indispen- 
 sable to the full effect of vivid emotion. 
 
 babe ball bead blab 
 
 king 
 
 gong 
 
 hang 
 
 ring 
 
 wrong 
 
 bang 
 
 wing 
 
 prong 
 
 rang 
 
 hanging 
 
 ringing 
 
 lancing 
 
 twanging 
 
 winging 
 
 glancing 
 
 swinging 
 
 bringing 
 
 dancing 
 
 lUd 
 
 dawn 
 
 8. jD, as in D-i-d. 
 den laid 
 
 mob 
 
 mad 
 
 curb 
 
 bea 
 
ENUNCUTION OF WORDS. 
 
 31 
 
 log 
 
 valve 
 
 zone 
 
 ye 
 
 way 
 
 they 
 
 ]oy 
 
 9. G, as in G-&-g. 
 ga.'VQ gall gull hag 
 
 10. V, as in F^al-i;e. 
 vaunt cave leave velvet survive 
 
 11. Z, as in ^one (or s flat), 
 maze has daisies 
 
 12. Z, as in A-z-ure (or i as in measure). 
 measure vision composure 
 
 13. T; as in T-e. 
 yes young yawn 
 you youth yell 
 
 14. W, as in JF-oe. 
 was ware wed 
 
 15. TH, as in TH-me. 
 than then thee bathe 
 
 16. .^ as in J-oj (and G soft), 
 jar jilt page giant 
 
 derision 
 
 yearly 
 yellow 
 
 wme 
 
 beneath 
 
 judge 
 
 III. " Atonic " Elements. 
 
 (All " atonies," from their utter want of vocality, need 
 great force and precision in their articulation.) 
 
 1. P, as in P-i-pe. 
 
 pulp pall pile yale paper pulpy 
 
 2. T, as in T-en-t. 
 
 tight tall top mat tatter total 
 
32 ORTHOPHONY. 
 
 3. C hard, and K, as in <7-a-ie ; and Q, as in ^-ueen. 
 key cane queen creak deck cork 
 
 4. F, as in FA-fe,. 
 fade feU file ofE hoof fly 
 
 5. /S sharp, and € soft, as in ,C-ea-se. 
 say see sauce mass source ceaseless 
 
 6. H, as in Zf e. 
 hail had heel hit hat hot 
 
 7. Th, as in Th-xa.. 
 
 thank through thong thrust hath breath 
 
 8. Sh, as in Pu-sA. 
 
 sham shine share shroud ash hush 
 
 9. Ch, as in Oh-\xr-ch. 
 chair check march chine fetch 
 
 IV. SyllcMc Gowibinations. 
 1. Initial Syllables. 
 
 The common faults in the enunciation of syllables con- 
 sist in a slack, obscure articulation of the single elements 
 of which they are composed, and in addition the fault of 
 negligently allowing a vowel sound to intervene between 
 the consonants ; thus, " hala," for hla. True taste will 
 never allow a slovenly style of articulation, but wiU always 
 maintain a neat, clear, and exact sound of every element, in 
 whatever combination it mdy occur. 
 
 Bl, cl, fl, gl, pi, si, spl. 
 Blame, bleed, blow, blest. Claim, clean, clime, clos^ 
 
ENUNCIATION OF WORDS. 33 
 
 clot. Flame, flee, fly, flit. Glare, gleam, glide, gloss. 
 Place, plea, ply, please. Slay, sleep, slide, slew. Spleen, 
 splice, splay. 
 
 Br, cr, dr, fr, gr, pr, spr, tr, sir, shr. 
 
 (The following words need attention to a clear, distinct 
 enunciation of the hard r, free, however, from prolonga- 
 tion and roll.) 
 
 Brave, bread, brink. Crave, creep, cried, crust. Drain, 
 dream, dry, drop. Frame, free, fro, freeze. Grain, green, 
 grind, ground. Pray, preach, pry, proud. Spray, spring, 
 sprung, sprang. Trace, tree, try, trust, track, tread, trip, 
 true. Stray, street, strife, strength. Shrine, shroud, shrub, 
 shriek. 
 
 Sm, sn, sp, St. 
 
 Small, smite, smote. Snare, sneer, snow, snug. Space, 
 speed, spike, spear. Stay, steer, stile, stop. 
 
 2. Final Syllahles, 
 Ld, If, Ik, Im, Ip, Is, It, he. 
 
 Bold, hailed, tolled. Elf, wolf, gulf, sylph. Milk, silk, 
 bulk, hulk. Elm, helm, whelm, film. Help, gulp, alp, 
 scalp. Falls, tells, toils. Fault, melt, bolt, hilt. Elve, 
 delve, revolve. 
 
 M'd, ms, nd, ns, nk, nee, nt. 
 
 Maim'd, claim'd, climb'd, gloom'd. Gleams, streams, 
 climes, stems. And, band, hand, land, lined, moaned. 
 Gains, dens, gleans, suns. Bank, dank, drink, link. 
 Dance, glance, hence, ounce. Ant, want, gaunt, point. 
 
 Eb, rd, rk, rm, m, rse, rs (rz), rt, roe, rh'd, rk'd, rm'd, rnd, 
 rst, rv'd. 
 
 Barb, orb, herb, curb; barb'd, orb'd, curb'd, disturb'd. 
 Hard, herd, bir'd, board, lord, gourd, bar'd, barr'd. Hark. 
 3 
 
84 ORTHOPHONY. 
 
 lark, jerk, stork, work ; mark'd, jerk'd, work'd. Arm, harm, 
 farm, alarm ; arm'd, harm'd, alarm'd. Earn, learn, scorn, 
 thorn, burn, turn, worn, shorn; earn'd, scorn'd, burn'd, 
 turn'd. Hearse, verse, force, horse ; dar'st, burst, first, 
 worst, hears'd, vers'd, forc'd, hors'd. Bars, bears, hears, 
 wears, pairs, tares, snares, repairs. Mart, dart, start, hurt, 
 pert, girt. Carve, curve, serve, starve ; carv'd, curv'd, serv'd, 
 starv'd. 
 
 Sm, s'n, sp, St, ss'd, ks, ct, k'd, ft, fd, pt, p'd, p'n, k'n, I'n, 
 v'n, fn. 
 Chasm, schism, prism, criticism, witticism, patriotism. 
 * Eeas'n, seas'n, ris'n, chos'n. Asp, clasp, grasp, wasp, lisp, 
 crisp. Vast, mast, lest, dost, must, lost, mist ; pass'd, bless'd, 
 gloss'd, miss'd. Makes, quakes, likes, looks, streaks, rocks, 
 crooks. Act, fact, respect, reject ; wak'd, lik'd, look'd, 
 rock'd. "Waft, oft, left, sift; quafi'd, scoff'd, laugh'd. Apt, 
 wept, crept ; sipp'd, supp'd, slop'd, pip'd, popp'd. ^ Op'n, 
 rip'n, weap'n, happ'n. Tak'n, wak'n, weak'n, tok'n, drunk'n. 
 Sadd'n, gladd'n, lad'n, burd'n, hard'n, gard'n. Grav'n, 
 heav'n, riv'n, ov'n, ev'n, giv'n, wov'n. Bright'n, tight'n, 
 whit'n. 
 
 Lst, mst, nst, rst, dst, rdst, rmdst, rndst. 
 
 Call'st, heal'st, till'st, fill'st, roll'st, puU'st. Arm'st, 
 charm'st, form'st, harm'st. Canst, runn'st, gain'st, against 
 [agensf). Durst, worst, erst, first, bar'st, barr'st, hir'st. 
 Midst, call'dst, flll'dst, roU'dst. Heard'st, guard'st, reward'st, 
 discard'st. Arm'dst, harm'dst, form'dst, churm'dst. Learn'dst 
 scorn'dst, burn'dst, turn'dst. 
 
 Ble, pie, die, rl, hl'd, dl'd, pl'd, rid. 
 
 Able, feeble, bible, double ; troubl'd, babbl'd, bubbl'd, 
 doubl'd. Ample, steeple, triple, topple ; tripl'd, toppl'd, 
 
 1 and E should never be heard, in these and similar words, unless in 
 ■inging, and then only when a verse demands the syllable as a requisite 
 to metre. 
 
ENUNCIATION OF WORDS. 
 
 36 
 
 dappl'd, crippl'd. Cradle, saddle, idle, bridle; cradl'd, 
 saddl'd, idl'd, swaddl'd. Marl, hurl, whirl ; world, hurl'd, 
 whirl'd, furl'd. 
 
 Ngs, ngst, ng'd, ngdst. 
 
 Rings, wrongs, hangs, songs ; hang'dst, sing'st, wrong'st, 
 bring'st ; wrong'd, hang'd, clang'd ; wrong'dst, throng'dst. 
 
 V. Exercise in transition from one class of Elements to 
 another. 
 
 The design of this exercise is to impress vividly on the 
 mind the distinctive quality of each species of sound, and 
 the effect of each on the organic action. The columns ar« 
 to be read across the page. 
 
 " Tonics." 
 
 " Subtonics." 
 
 "Atonies." 
 
 ^-11 
 
 JB-a-be 
 
 P-i^e 
 
 A-m. 
 
 D-i-d 
 
 r-en-« 
 
 J-n 
 
 G-a-g 
 
 aa.-ke 
 
 ^-ve 
 
 F-al-i;e 
 
 F-i-fe 
 
 Oo-ze 
 
 ^-one 
 
 <7-ea-se 
 
 E-TT 
 
 A-z-ure 
 
 Fa-sh 
 
 End 
 
 TH-en 
 
 7%-in 
 
 /-n 
 
 J-nd-ge 
 
 Ch-nr-ch, 
 
 VI. Exercise in transition from one class of Organic Ac- 
 tions to another. 
 
 Labials. 
 
 Dentals. 
 
 Aspirate. 
 
 B-a.-be 
 
 DA-d 
 
 ff-e 
 
 F-i-pe 
 
 T-en-t 
 
 Nasals. 
 
 M-ai-m 
 
 Th-in 
 
 N-u-n 
 
 W-oe 
 
 TH-ine 
 
 Si-ng 
 
 V-al-ve 
 
 J-OJ 
 
 Linguals. 
 
 F-ife 
 
 Ch-uT-ch 
 
 Z-VL-ll 
 
 Palatics. 
 
 A-«-ure 
 
 i2-a-p 
 
 C-a-ie 
 
 ■'Pvi-sh 
 
 F-a-r 
 
 G-Srg 
 
 0-ea-se 
 
 
 r-e 
 
 Z-oae 
 
 
36 
 
 ORTHOPHONY. 
 
 VII. Exercise in difficult Oombinations of Elements. 
 
 1. U, as in Use. 
 
 Lucwbration Institution AccMmwlate Incalcalably 
 
 lugubrious 
 
 constitzttion manipwlate 
 
 ! SMperiority 
 
 -acalcwlable 
 
 revolMtion deglutition 
 
 sMpremacy 
 
 
 2. Words of many syllables-. 
 
 absolutely 
 
 necessarily 
 
 coextensively 
 
 abstinently 
 
 ordinarily 
 
 annihilation 
 
 accessory 
 
 momentarily 
 
 annunciation 
 
 accurately 
 
 temporarily 
 
 appreciation 
 
 agitated 
 
 voluntarily 
 
 apologetic 
 
 adequately 
 
 obediently 
 
 association 
 
 angularly 
 
 immediately 
 
 circumlocutioii 
 
 antepenult 
 
 innumerable 
 
 apocalyptic 
 
 architecture 
 
 intolerable 
 
 circumvolution 
 
 agriculture 
 
 dishonorable 
 
 coagulation 
 
 annihilate 
 
 ambiguously 
 
 colonization 
 
 antipathy 
 
 articulately 
 
 commemoratioft 
 
 apocrypha 
 
 collaterally 
 
 congratulatory 
 
 apostatize 
 
 colloquially 
 
 authoritatively 
 
 appropriate 
 
 affability 
 
 ■disinterestedly 
 
 assiduous 
 
 agricultural 
 
 expostnlatory 
 
 assimilate 
 
 allegorical 
 
 dietetically 
 
 associate 
 
 alimentary 
 
 disingenuousnesi 
 
 auricular 
 
 astrological 
 
 immutability 
 
 acquiescence 
 
 atmospherical 
 
 compatibility 
 
 acquisition 
 
 Christianity 
 
 ecclesiastical 
 
 alienation 
 
 chronological 
 
 spirituality 
 
 3. Repetition of Elements. 
 H&W ! heavenly Aarmony. 
 Up the Aigh Aill Ae Aeaved a ^uge round stone. 
 Heaven's &cst stax alike ye see. 
 
ENUNCIATION OF WORDS. 37 
 
 Let it wave proudly o'er the good and brave. 
 
 The supply lasts still. 
 
 And gleaming and streamiu^r and steamin^r and beaming', 
 
 And rushin^r and flushin^r anrf brushing and gushingr, 
 
 And flappin^r and rappin^r anrf clappin^r anrf slapping, 
 
 Anrf curling' anc? whirlingi and purlingi anrf twirling', 
 
 Retreating' anc? beating' anc? meeting' and sheetingr. 
 
 Delaying anc? strayingr and playing' and spraying'. 
 
 Advancing' anrf glancing anc? prancing' and dancing', 
 
 Recoilingr, turmoiling anrf toiling' and boiling', 
 
 And thumping' and flumpingr and bumpingr and jumpingr, 
 
 Anrf dashing and flashing and splashing an«? clashing', 
 
 And so never endingr, but always descending', 
 
 Sounds and motions for ever and ever are blending. 
 
 All at once and all o'er, with a mighty uproar ; 
 
 Anrf this way the water comes down at Lodore. 
 
 It is the firsi s<ep that costs. 
 
 The deed was rfone in broarf rfay. 
 
 None now was left to tell the mournful tale. 
 
 Take care that you be not deceived, — rfear friends. 
 
 Zie lightly on her, earth ! her step was fight on thee. 
 
 Thou wast struck dumb with amazement. 
 
 Can no one be found faithful enough to warn him of 
 
 his danger ? No one darerf do it. 
 A goorf rfeal of disturbance ensued. 
 He gave ^im good advice which he did not take. 
 A darA cloud spread over the heavens. 
 Had he but heeded the counsel of Ais friend, he might 
 
 Jave been saved. 
 
 He came at las< too late to be of any service. 
 The magistrates stood on an elevated platform. 
 
88 ORTHOPHONY. 
 
 THE SIEGE OP BELGRADE. 
 
 {Alliterative use of the Elements.) 
 
 An Austrian army, awfully arrayed, 
 
 Boldly, by battery, besieged Belgrade ; 
 
 Cossack commanders cannonading come — 
 
 Dealing destruction's devastating doom ; 
 
 Every endeavor, engineers essay, 
 
 For fame, for fortune, fighting furious fray ! 
 
 Generals 'gainst generals grapple, grasping good. 
 
 How honors Heaven heroic hardihood ! 
 
 Infuriate, indiscriminate in ill, 
 
 Kindred kill kinsmen, kinsmen kindred kill ! 
 
 Labor low levels loftiest longest lines — 
 
 Men march 'mid mounds, 'mid moles, 'mid murderous mines; 
 
 Now noisy, noxious, noticed nought 
 
 Of outward obstacles opposing ought. 
 
 Poor patriots, partly purchased, partly pressed ; 
 
 Quite quaking, quickly quarter, quarter quest, 
 
 Eeason returns, religious right redounds, 
 
 Suwarrow stops such sanguinary sounds. 
 
 Truce to thee, Turkey, triumph to thy train ! 
 
 Unjust, unwise, unmerciful Ukraine ! 
 
 Vanish vain victory, vanish victory vain ! 
 
 Why wish ye warfare ? Wherefore welcome were 
 
 Xerxes, Ximenes, Xanthus, Xaviere? 
 
 Yield, ye youths ! ye yeomen, yield your yrtl ! 
 
 Zeno's Zapater's Zoroaster's zeal. 
 
 And all attracting, arms against acts appeal. 
 
 It is a fact familiar in the experience of most teachers, 
 that after the utmost care in the sytematic cultivation of the 
 utterance of young readers, by regular analytic exercises, 
 such as the preceding, the influence of colloquial negligence 
 
ENUNCIATION OF WORDS. 39 
 
 in habit is so powerful, that the same individual who has 
 just articulated with perfect exactness the elements on a 
 column, while he is kept mechanically on his guard against 
 error by express attention to details, will immediately, on 
 beginning to read a page of continuous expression of 
 thought, relapse into his wonted errors of enunciation. To 
 correct this tendency no resort is so effectual as that of 
 studying analytically a few lines previous to commenc- 
 ing the usual practice of a reading lesson. The attention 
 must first be turned to the words as such, as forms of ar- 
 ticulation, — then to their sounds in connection with their 
 sense. 
 
 The following will be found useful modes of practising 
 such exercises as are now suggested. Begin at the end of 
 a line, sentence, or paragraph, so as to prevent the possi- 
 bility of reading negligently, then, 1st, articulate every ele- 
 ment in every word, separately and very distinctly, through- 
 out the line or sentence ; 2d, enunciate every syllable of 
 each word, throughout the liiie or sentence, clearly and ex- 
 actly ; 3d, pronounce every word in the same style ; 4th, 
 read the line or sentence from the beginning forward, with 
 strict attention to the manner of pronouncing every word ; 
 5th, read the whole line or sentence with an easy jluent 
 enunciation, paying strict attention to the expression of the 
 meaning, but without losing correctness in the style of pro- 
 nunciation. 
 
 This is, apparently, a merely mechanical drill ; but its 
 effects are strikingly beneficial in a very short time. The 
 habits of classes of youug readers have thus been, in some 
 instances, effectually changed within a very few weeks from 
 slovenliness and indistinctness to perfect precision and pro- 
 priety, united to fluency and freedom of style. 
 
 To adults, also, the practice of such exercises as have 
 been mentioned proves in the highest degree useful, as an 
 effectual means of correcting erroneous habit, and of ac- 
 quiring that distinctness of utterance which is so important 
 
40 OETHOPHOWf. 
 
 in the exercise of public speaking, or in that of private 
 reading for social and literary purposes. 
 
 An exercise of great practical value, as regards the for- 
 mation of habits in enunciation, is to select from every 
 reading lesson, before and after the regular consecutive 
 reading of a piece, all words and phrases which contain 
 difficult combinations, and repeat them often. 
 
 PEONUNCIATION. 
 
 A full statement of the rules of usage in pronunciation, 
 as regards the accent of polysyllables, does not properly 
 fall within the scope of this work, which is designed rather 
 for the cultivation of the voice and the discipline of the 
 organs than as a manual of orthoepy. The most impor- 
 tant classes of errors in pronunciation have beeli already 
 indicated. But this branch of the subject is discussed at 
 greater length in several of the other elocutionary treatises 
 prepared by the author of the present volume. A profitable 
 daily exercise would be the reading aloud of those words 
 in either of our standard national dictionaries in which the 
 various authorities are found to differ, and to adopt as cor- 
 rect the pronunciation in which the greater number of or- 
 thoepists agree. 
 
 CHAPTER in. 
 
 MODE OF UTTERANCE. 
 
 EvEET sound of the human voice is characterized by one 
 of three modes of utterance, or delivery of the breath. 
 The utterance may be fully vocalized in resonant sound, or 
 it may be entirely aspirated as in a whisper, and it may 
 apply to any degree of force, pitch, movement, etc. The 
 *iiree modes of utterance are — 
 
MODE OF UTTERANCE. 41 
 
 1. Effusive, in which the breath is gently effused or 
 breathed out, without voluntary or conscious effort or im- 
 pulse ; as in all tranquil emotions, or where the depth o£ 
 feeling overcomes the ordinary activity and variety in the 
 expression, — in solemnity, reverence, melancholy, gloom, 
 etc. Refer to examples of these feelings in the succeeding 
 pages, for practice. Read aloud, also, with similar effusive 
 utterance, the table of Tonic Elements, page 7. 
 
 2. Uxpulsive, which demands more of energy and im- 
 pulse in the action of the vocal organs than in effusive ut- 
 terance. It is used with all degrees of force, from the 
 utterance of some quiet, moral sentiment or poetic de- 
 scription to the greatest energy of impulsive feeling. Il- 
 lustrations will be found on pp. 73-75. Repeat, also, the 
 table of Subtonic Elements energetically, on page 11. 
 
 3. Explosive, which is abrupt, and at times violent in 
 percussive effect as the sound strikes the ear. The power to 
 produce the breath or voice with this clear, incisive percus- 
 sion is one of the results of practice. Very few have the 
 power to produce, at will, the distinct .ictus of the unim- 
 passioned explosive, as in the quiet uses of the Radical 
 Stress, or the abrupt shock of the louder utterances of ex- 
 plosion. Examples will be found on pp. 77, 78. Repeat, 
 also, with explosive utterances, the table of Atonies. Fi- 
 nally, review the three tables, giving each table with the 
 three modes of utterance. 
 
42 ORTHOPHONY. 
 
 CHAPTER rV. 
 
 QUALITY OF VOICE. 
 WHISPERING. 
 
 The progressive discipline of the organs, for the purposes 
 of utterance, comprises the practice of every stage of audi- 
 ble voice, from whispering to shouting and calling. We 
 proceed now to the first stage of utterance, that of whis- 
 pering, which is the nearest in style and effect to breath- 
 ing, and forms the extreme of " aspirated " or breathing 
 « quality." 
 
 Whispering differs from even the " explosive," or strong- 
 est form of the breathing exercises, in being articulated as 
 a mode of speech, and in taking on, to a certain extent, the 
 qualities of " expression ; " thus we not only use the whis- 
 per for secret communication, but for the utterance of ex- 
 cessive fear, or of deep awe, suppressed anger, or any other 
 naturally violent emotion when it is kept down by some 
 overawing restraint. 
 
 Whispering, therefore, as a discipline of the organs of 
 voice, carries on to a greater extent, and with more special 
 effect, all the beneficial results of the exercises in full, deep, 
 and forcible breathing. The whisper, even in its gentlest or 
 " effusive " form, should, as a vocal exercise, be practised on 
 the scale of public speaking, — that is to say, with a force 
 sufficient to create full and distinct articulation and intelli- 
 gible utterance in a large hall, or any similar apartment. In 
 this form it is sometimes termed " the stage whisper." 
 
 The function of whispering on this scale demands the 
 full expansion of the chest, a deep inspiration, a powerful ex- 
 pulsion of the breath, the practice of frequent pausing and re- 
 newing the supply of breath, without which a forcible whisper 
 cannot be sustained. It trains the student to close attentioQ 
 
WHISPERING. 43 
 
 to his habit of breathing, and to the position of the body 
 and the action of the organs. It thus facilitates the acquisi- 
 tion of a perfect control over the organs of speech, — the 
 prime requisite to easy and effective utterance. 
 
 A subsidiary advantage attending this process of power- 
 ful whispering consists in the greatly increased intensity 
 which it produces in the organic function of articulation. 
 The whisper being performed as if addressed to a person at 
 the distance of a hundred feet from the speaker, compels a 
 force of percussion in the tongue and the other minor or- 
 gans of speech sufficient to compensate for the absence of 
 the common round tone of the voice. The style of enunci- 
 ation accordingly becomes that of the most intense earn- 
 estness. The exercise now prescribed, therefore, is of im- 
 mense advantage as a preparatory discipline to the organs 
 of speech, as well as a process of training for full-toned 
 and energetic use of the voice. 
 
 1. " Mffusive " Whispering. 
 
 This mode of utterance belongs to tranquil emotion 
 when expressed in the language of deep-felt awe or profound 
 repose, which represses, by an approach to fear, at the same 
 time that it excites the voice by its intensity. The ex- 
 tracts below are used simply as a convenient drill-exercise, 
 and not necessarily indicating the full expression. 
 
 Practise with the effusive whisper upon the table of Ele- 
 ments and words. 
 
 Exercise. 
 Stillness of JTight. — Byron. 
 
 All heaven and earth are still, — though not in sleep. 
 But breathless, as we grow when feeling most ; 
 
 And silent, as we stand in thoughts too deep : — 
 All heaven and earth are still : From the high host 
 Of stars to the lulled lake, and mountain coast, 
 
 All is concenter'd in a life intensOi 
 
44 OETHOPHONY. 
 
 Pathos. 
 Dying Request. — Mrs. Remans. 
 
 Leave me ! — thy footstep with its lightest sound, 
 
 The very shadow of thy waving hair, 
 Wakes in my soul a feeling too profound, 
 
 Too strong for aught that lives and dies, to bear : — 
 Oh ! bid the conflict cease ! 
 
 2. " Expulsive " Whispering. 
 
 This species of exercise, being much more forcible than 
 the preceding, and corresponding in energy to the style of 
 bold declamatory utterance, it should be repeatedly per- 
 formed with the utmost force of the whisper which the 
 student can command, on the elements, syllables, and words, 
 and on the following example, the tone of which implies 
 the intensest force of earnest utterance, suppressed by appre- 
 hension approaching to fear. 
 
 Exercise. 
 
 Military Command. — Anonymous. 
 
 Soldiers ! You are now within a few steps of the en- 
 emy's outpost. Our scouts report them as slumbering in 
 parties around their watch-fires, and utterly unprepared for 
 our approach. One disorderly noise or motion may leave 
 us at the mercy of their advanced guard. Let every man 
 keep the strictest silence, under pain of instant death ! 
 
 Awe and Terror, 
 
 Fate of MaoGeegok. — Sogg. 
 
 All silent they went, for the time was approaching, 
 The moon the blue zenith already was touching ; 
 No foot was abroad on the forest or hill, 
 No sound but the lullaby sung by the rill. 
 
PURE TONE. 45 
 
 3. " Explosive " Whispering. 
 The " explosive " whisper, like the " explosive " breath- 
 ing, imparts a still greater power to the vocal organs by 
 the vivid, abrupt, and instantaneous force with which it 
 bursts out. The explosive intensity of articulation, which 
 it produces, calls at the same time for the utmost precision 
 in the functions of the tongue, the lips, and all the minor 
 instruments of enunciation. This style of whispering should 
 be repeatedly practised on the elements, syllables, and 
 words, and on the following exercise, which exemplifies 
 the utterance of the most abrupt and intense alarm, at once 
 exciting and suppressing the voice. 
 
 Exercise. 
 
 Military Command Anonymom. 
 
 Hark ! I hear the bugles of the enemy ! They are on 
 their march along the bank of the river. We must re- 
 treat instantly, or be cut off from our boats. I see the 
 head of their column already rising over the height. Our 
 only safety is in the screen of this hedge. Keep close to 
 it ; be silent ; and stoop as you run. For the boats ! For- 
 ward! 
 
 The exercises in whispering may now be repeated, on the 
 preceding examples, in the form of a half whisper, which, 
 as its name imports, lies half way between a whisper and 
 the ordinary " quality " of the voice, or " pure tone." 
 
 Pure Tone. 
 
 True musical cultivation proceeds upon the assumption, 
 and insists, with inevitable authority on the primary rule, 
 that every human voice can and must utter " pure " tone. 
 No failure, no remissness in this respect, is ever tolerated 
 in appropriate training in vocal music. The result, as 
 might be expected, corresponds to the pains taken to regu- 
 
46 ORTHOPHONT. 
 
 late the position and action of the organs in elementary 
 practice. All who are recognized as even tolerable singers 
 utter every sound of the voice in the form of pure tone ; 
 entirely free from pectoral gruffness, guttural suffocation, 
 nasal twang, or oral thinness of quality ; and among pro- 
 ficients in the art, whatever personal peculiarity of voice is 
 suifered to exist, is such only as keeps within the limits of 
 perfect purity, and serves rather to form a crowning grace 
 from the hand of nature than in any sense a defect. A 
 similar result wUl always be found to attend the diligent 
 cultivation of the voice in the modes of utterance appro- 
 priate in reading and conversation. 
 
 Elements of Quality, which used separately in excess, and to 
 the exclusion of other elements, impair Purity of Tone. 
 
 1. A hollow and false pectoral murmur, arising from an 
 imperfect habit of breathing, in consequence of which the 
 lungs are not furnished with a sufficient supply of air to 
 produce full and clear tone. Another cause of this fault in 
 utterance usually is the feeble action of the abdominal 
 muscles, and therefore an inadequate expulsion of the 
 breath, and a smothered or muffled quality of voice, which 
 makes its sound appear buried within the frame or issuing 
 directly from the chest. Full inspiration, the expulsive ac- 
 tion of the abdominal muscles, and the cultivation of the 
 middle notes of the voice, together with habits of healthful 
 exercise and cheerful emotions, are the best remedies for a 
 tendency to hollow pectoral tone. 
 
 2. A fault which bears a resemblance to the preceding is 
 that of aspirated quality, by which a half-whispering efTect 
 of fear is imparted to every sound of the voice. This de- 
 fect of utterance arises in part from the want of full and 
 deep inspiration ; it arises sometimes from organic weak- 
 ness, or from embarrassment, which causes a slight " rigor " 
 of the organic parts, and consequently allows more breath 
 to escape from the trachea than is converted into soun(} 
 
PURE TONE. 47 
 
 by the larynx. The condition of pure tone is that much 
 breath should be drawn in, but little given out, and that the 
 whole of what is suffered to escape should be converted into 
 sound ; while in " aspirated quality " little is drawn in and 
 much is given out. A due attention to the full expansion 
 of the chest, to deep inspiration, and to the vigorous action 
 of the abdominal muscles, is the chief preventive of the 
 faulty habit of aspirated utterance. 
 
 3. Another bad quality of voice consists in what is termed 
 guttural tone, a mode of utterance which seems to make 
 the voice issue from an obstructed throat. This fault is of 
 a twofold character : first, the soft, choked sound not un- 
 usual in the utterance of persons inclined to fulness of 
 habit and corpulence ; second, the hard, dry, and barking 
 voice, which sometimes characterizes persons of an opposite 
 habit and frame. The immediate organic cause of this bad 
 quality of tone is an improper pressure of the itiuscles 
 around the larynx, and the root of the tongue ; causing 
 the voice in the one case apparently to issue from the 
 pharynx or swallow instead of the larynx, and in the other 
 to originate in the upper part of the throat only, cut off 
 from all communication with either the chest or the mouth. 
 The free expansion of the chest and the energetic action 
 of the abdominal muscles, with the habit of opening the 
 mouth freely when reading or speaking, are the surest 
 means of avoiding or removing this great hindrance to pur- 
 ity of tone. 
 
 4. Another fault is that commonly termed nasal tone, 
 which makes the voice sound as if it came only through 
 the nose. The chief security against this consists in the 
 habit of fully expanding the chest, and the free opening of 
 the mouth, not only in front, but in the back part, by rais- 
 ing the veil of the palate, as is mechanically done in the 
 act of coughing,' in consequence of which the voice escapes 
 in its proper direction, instead of being allowed to drift 
 with force against the nasal passages while they remain 
 
48 ORTHOPHONY. 
 
 partially shut. At the same time care must be taken not 
 to raise the veil of the palate so high as to stop the nasal 
 passage entirely, in the style of obstruction caused by a cold, 
 producing the utterance of " Cub id," for " Come in." A 
 due degree of nasal ring is one of the component elements 
 of a good voice. 
 
 5. Both the guttural and the nasal tones are combined, in 
 the utterance of some readers and speakers ; and the effect 
 is of course rendered, in such cases, doubly injurious. 
 Sometimes the pectoral to6e is blended with the other two, 
 causing the extreme of impure tone in all its bad proper- 
 ties. The efEect of this species of voice is a grunting utter- 
 ance, resembling that of the inferior animals, instead of the 
 clear, resonant tone of the human being. 
 
 6. There is still another fault of utterance, which is yet 
 more prevalent than those which have been described. It 
 consists in what may be termed oral tone. It is the slight, 
 ineffective voice of indifEerence, of feebleness, or fatigue, or 
 the mincing tone of false taste. Oral tone is always as- 
 cribed to the languid beauty or the trifling fop. It causes 
 the vocal sound to issue from the mouth in a style which 
 seems to make it lose all connection with the throat and the 
 chest, and consequently to lose all its natural depth and ful- 
 ness. The full expansion of the chest and the vigorous, 
 appulsive action of the abdominal muscles which insures 
 the energetic expulsion of the breath, together with the 
 cultivation of the lower notes of the scale, in the habits of 
 utterance, are the chief correctives of the tendency to the 
 fault of the slender " oral " tone. 
 
 False utterance, or impure tone, arises in all instances 
 from the exclusive or undue, or it may be the imperfect 
 use of one portion of the vocal organs, as is intimated in 
 the designation of " pectoral," " guttural," or " nasal " 
 tone. 
 
 These terms, however, are used not in strict propriety, 
 BS the larynx is the immediate source of all vocal sounds, 
 
PURE TONE. 49 
 
 but for the description of apparent effects. The sound of 
 the voice is made up of a note, or tone, and its resonance. 
 The former comes directly from the larynx ; the latter from 
 the adjoining cavities of the chest, the pharynx, the mouth, 
 the nostrils, and the interior of the head. True utterance 
 and " pure tone " employ the whole apparatus of voice in 
 one consentaneous act, combining in one perfect sphere of 
 sound, if it may be so expressed, the depth of efEect pro- 
 duced by the resonance of the chest, the force and firmness 
 imparted by the due compression of the throat, the clear, 
 ringing property, caused by the due proportion of nasal 
 effect, and the softening and sweetening influence of the 
 head and mouth. The lightest effects of Pure Tone are 
 chiefly the result of head and mouth resonance, and may 
 properly be termed " Head Tone." — . 
 
 The following exercises should be practised with the 
 closest attention to the perfect purity of vocal sound, as 
 associated with the spirit of deep-felt but gentle emotion. 
 The perfect tranquillity and regularity of the breathing and 
 the cautious and sparing emission of the breath are points 
 of the utmost moment to the pure and perfectly liquid for- 
 mation of voice. The mode of utterance required in the 
 following exercises is " effusion," — not " expulsion " or 
 " explosion," — a gentle, continuous emission of sound, ar- 
 ticulate, but very soft ; as it always is in the utterance of 
 subdued and chastened emotion. 
 
 EXAMPLES OF PURE TONE. 
 I. SUBDUED OR SOFTENED FOKOE. 
 
 1. Pathos. 
 Elegy. — Gray. 
 Here rests his head/ upon the lap of ea^hl 
 
 A youth,l to Fortune 'and to Fame unknown j 
 Fair Sciencejfrown'd not[on his humble birth,^ 
 And Melancholy mark'd himifor her own. 
 
50 ORTHOPHONY. 
 
 (1 << 
 
 Large Was his bounty/ and his soul sincere, 
 
 Heaven i did a recompense ^s largely send : 
 
 He; gave to misery ^all he had — a tear, 
 
 He Igain'dl from Heaven — 't was all he wish'd — a friend,] 
 1 
 No farther seek| his merits jto disclose,,' 
 
 Or draw [his frailties (from their dread abode,: 
 (There (they alike I in trembling hope|jrepose,)j 
 
 The bosom 'pf his Father and his God. 
 
 2. Solemnity. 
 
 Essay on Man Pc^e. 
 
 Heaven 'from all creatures Ihides the book of fate, 
 All'but the page prescribed, |their present state: 
 From brtites whEit mfen, from men jwhat spims Iknow : 
 Or who (could suffer bein^i here below ? 1 
 The Iambi thy riot 'dooms to bleed lto-day,| 
 Had he py reason, jwould heskipjand play?( 
 Pleasedlto the last,|he (crops [the flowery food, I 
 And lickslthe handnustlraised to shed this bloody 
 Oh, blindness 'to thfi future Ilkinoly given,! 
 That eachpnay fill (the circle|mark'd py Heaven: 
 Who sees with equal eye, as God of all, 
 A hero perish, or a sparrow fall, 
 Atoms or systems into ruin hurl'd. 
 And now a bubble burst, and now a world. 
 '-' ' Hope humbly then ; with trembling pinions soars 
 "Wait the great teacher Death ; and God adore. 
 "What future bliss, hp gives not thee to know. 
 But gives that hope to be thy blessing now. 
 Hope springs eternal in the human breast: 
 Man never is, but always to be, blest. 
 The soul, uneasy and confined, from home. 
 Bests and expatiates in a Ufe to come. 
 
PURE TONK. 61 
 
 3. Tranquillity. 
 
 Life. — Mrs. Bwrhauld. 
 
 Ljfe ! rwe have been long^together. 
 Through pleasant and through cloudy weather. 
 'Tis hard to part whpji frifttids are deaff 
 Perhaps|'t will cost ajughJ a tear; 
 
 Then steal^awayj give little warning. 
 Choose thine pwn t ime ; 
 Say irot jgo^ju^ ; but in that^2pier.clime 
 
 Bidlalel good-morning I 
 
 4. Tranquillity. ~^ 
 CoTjNTKT Parson. — Goldsmith. j 
 
 Near yonder copse^ where once the garden smil'd, 
 
 And stiU, Where many a garden flower grows wildj^' 
 
 There, where a few torn shrubsjthe place) discloSfT 
 
 The village preaSher's| modest mansion| ro&e. 
 
 A man he was Ito all the country dea^ 
 
 And passing rich| with f orty pa£md3 ja year ; 
 
 Eemote from towns he ran his godly race^ 
 
 Nor e'er had chang'd, nor wish'd to change his place ; 
 
 Unskilful Jielto fawn, or seek for power, 
 
 By doctrines Ifashion'd/to the varying hour; 
 
 Far other aims; his heart had learnt to prize. 
 
 More bent to raise the wretfched than to rise. 
 
 His house Vas knownlto all the vagrant train,^ 
 
 He chid their wanderings, but reliev'd their pain ; 
 
 The long-remember'd beggar Iwas his guestj 
 
 Whose beard descendingf swept his aged breast; 
 
 The ruin'd spendthrift,! now no longer proud,/ 
 
 Claim 'd kindred ther^.'and had his claims allow'd; 
 
 The broken soldier) kindly bade to stay, \ 
 
 Sat by his fire J and talk'd the night away ; 
 
 "Wept o'er his wounds,lor tales of sorrow done, ) 
 
 Shoulder'd his crutch, ^nd show'd how fields were won. 
 
52 ORTHOPHONY. 
 
 Pleas'd with his guests,|the good man learn'd to glow, 
 And quite forgot their vice^in their woe ; 
 Careless Cheir merits[|0r their faultslto scan, 
 His pity gave||ere charity began.) 
 
 At church, Vith meek and unaffected grace, 
 His looks adorned the venerable place ; j 
 Truthffrom his lips prevail'd ^ith double sway, 
 And fools, who c^me to scoff, [remaiu'd to pray. 
 The service past,jaround the pious man, 
 With steady zeal^ jeach honest rustic ran ;^ 
 E'en children follbw'd teith endearing wile,j 
 And pluck'd his gown,' to share the good man's smile. \ 
 His ready smile ja parent's warmthjjexpressed. 
 Their welfare pleas'd him,|aud their cares distressed ;| 
 To them his heart,]his love,'ihis griefs were given, ' 
 But all^his serious thoughts had restl in heaven. , 
 As some tall cliff that lifts its a,wful form,// 
 Swells from the vale,land midway leaves the storm, 
 ^ Though round, its breast] the rolling clouds are spread J 
 Eternal sunshine settles on its head. 
 
 II. "moderate" force. 
 
 Perfect purity of tone is indispensable not only to the 
 effect of " subdued " force, which corresponds to the gentle 
 style of passages marked '■'■piano" in music, and has been 
 exemplified in the preceding exercises, but likewise to that 
 degree of force which may be termed moderate, in contra- 
 distinction to the energetic style of declamation, the bold 
 tones of impassioned recitation, or, on the other hand, 
 the suppressed or softened utterance of subdued emotion. 
 " Moderate force " is a convenient designation of the usual 
 utterance of didactic sentiment, in the form of essays or 
 scientific and literary discourses, doctrinal and practical ser- 
 mons, and other forms of address, not distinguished by vivid 
 narration, graphic description, or impassioned feeling. 
 
 The style of utterance in the " moderate " force of " purs 
 
PURE TONE. 53 
 
 tone " is gentle " expulsion," with a clear " radical move- 
 ment," which keeps it from subsiding into mere " effusion," 
 and yet does not extend to " explosion." The degree of 
 force implied in this technical use of the word " moderate," 
 is merely that which audible utterance, distinct articulation, 
 and intelligible expression, demand for the ordinary pur- 
 poses of public speaking, in those forms which address 
 themselves to the understanding rather than the heart, and 
 in which the speaker's great object in communication is to 
 be understood, rather than to be felt. 
 
 " Moderate force," as a technical designation in elocu- 
 tion, exhibits pure tone in the following gradations. 
 
 1. " Grave" Style. 
 
 The " grave " style differs from the " solemn " in the fact 
 that the former is not marked by " effusive " or " subdued " 
 force, but on the contrary assumes something of the " ex- 
 pulsive " tone of firmness and authority, although in a gentle 
 and moderate style. ^ 
 
 1. 
 
 Eternity of God. — Greenwood. 
 
 The Throne of Eternity is a throne of mercy and love. 
 God has permitted and invited us to repose ourselves and 
 our hopes on that which alone is everlasting and unchangea- 
 ble. We shall shortly finish our allotted time on earth, even 
 if it should be unusually prolonged. We shall leave behind 
 us all which is now familiar and beloved ; and a world of 
 other days and other men will be entirely ignorant that 
 once we lived. But the same unalterable Being will still 
 preside over the universe, through all its changes ; and from 
 his remembrance we shall never be blotted. We can never 
 be where He is not, nor where He sees and loves and up- 
 holds us not. He is our Father and our God, forever. He 
 takes us from earth, that He may lead us to heaven, that 
 He may refine our nature from all its principles of corrup 
 
64 OETHOPHONT. 
 
 tion, share with us his own immortality, admit us to his ey- 
 erlasting habitation, and crown us with his, eternity. 
 
 2. 
 
 Defence of Greenleaf. — G. S. Hillard, 
 There is another class of considerations, in this case, which 
 might be urged, — another class of emotions which might 
 be addressed in my client's behalf. I might speak to you 
 of the gloom which an unfavorable verdict will spread among 
 a large circle of friends and relatives, of the anguish of his 
 broken-hearted wife, of the withering blight which will fall 
 upon his innocent children, of the deep, unmoving shadow 
 which will settle upon his once cheerful hearth. 
 
 But that stern fibre, which the mind and character de- 
 rive from our northern skies, rebukes such attempts, and 
 insures their failure, if made. • Such chords, if skilfully 
 struck, will tremble and vibrate for a moment, but will not 
 draw/the judgment from its place. Justice is deaf, passion:^ 
 less/an&coralila,'' Upon the guilty head|the great axe must 
 falh' no matter what chords of love/it severs /b its sweep. 
 
 The Seven Ages. — Shakespewre. 
 All the world's a stage. 
 And all the men and women merely players : 
 They have their exits and their entrances ; 
 And on§ man in his time plays many parts,! 
 His acts\being seven agesjf At first, the intaut, 
 Mewliog and puking in the nurse's arms : 
 And then,! the whining scho,ol-boy with his satchel, 
 And shining moroing-fac^, 'creeping like snail 
 Unwillingly to school : And then the lover ; 
 Sighing like furnace, with a woful ballad 
 Made to his mistress' eyebrow : Then, a soldier ; 
 Full of strange oaths, and bearded like the pard. 
 Jealous in honor, sudden and quick in quarrel, 
 
PURE TONE. 55 
 
 Seeking the bubble reputation 
 
 Even in the cannon's mouth : And then, the justice ; 
 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 shifts 
 Into the lean and slipper'd pantaloon ; 
 With spectacles on nose and pouch on side : 
 His youthful ho8e,(welLsaYea\ a world too wide 
 ^ > For his shrunk shank ; and his big manly voice, 
 Turning again toward childish treble, pipes 
 And whistles in his sound : Last sc^ne of all, 
 That ends this strange eventful history. 
 Is second childishness and mere oblivion : 
 Sans teeth, sans eyes, sans taste, sans eierjthing. 
 
 The learner, after having practised the example of 
 " grave " style, should repeat, in that tone all the " tonic " 
 elements, — then a selection from the tabular exercises on 
 words ; so as to acquire a perfect command of the force and 
 pitch of " grave " style, as differing from the " solemn," on 
 the one hand, and from the " serious," on the other. 
 
 2. " Seriom " Style. 
 
 This form of utterance differs from the preceding, in not 
 possessing so low a pitch, — a milder form of the same gen- 
 eral effect. The fault usually exhibited in " serious " style 
 substitutes the deep and full-toned notes of the " grave " 
 style for the moderate and less-marked character of the 
 merely " serious." The purity of tone in this style is usu- 
 ally marred by the same cause as in the preceding instance 
 of the " grave " utterance. The beauty and gentleness of 
 the tone of serious feeling are thus lost ; and the " expres- 
 sion " is untrue to the intended effect. 
 
 When the " serious " tone has come fully under the stu- 
 dent's command, by practice on the exercise subjoined, the 
 
56 ORTHOPHONY. 
 
 repetition of the elements, syllables, and words will serve 
 to fix it definitely in the memory. 
 
 Thb Beauty of Virtue. — Blair. 
 
 There is no virtue without a characteristic beauty to 
 make it particularly loved of the good, and to make the bad 
 ashamed of their neglect of it. To do what is right, argues 
 superior taste as well as morals ; and those whose practice 
 is evil feel an inferiority of intellectual power and enjoy- 
 ment, even where they take no concern for a principle. 
 
 Doing well has something more in it than the fulfilling of 
 a duty. It is the cause of a just sense of elevation of char- 
 aeter ; it clears and strengthens the spirits'; it gives higher 
 reaches of thought ; it widens our benevolencef^nd makes 
 the current of our peculiar affections swift and deep. 
 
 Haml&t moralizes upon the Disgraceful Custom of Carousing 
 BY THE Kino. — i 
 
 Hora. Is it a custom ? 
 
 Ham. Ay, marry is 't ; 
 
 But to my mind, though I am native here 
 And to the manner born, it is a custom 
 More honor'd in the breach than the observance. 
 This heavy-headed revel east and west 
 Makes us traduced and tax'd of other nations : 
 They clepe us drunkards, and with swinish phrase 
 Soil our addition, and indeed it takes 
 From our achievements, though perform'd at height, 
 The pith and marrow of our attribute. 
 So, oft it chances in particular men, 
 That for some vicious mole of nature in them, 
 As in their birth, — wherein they are not guUtyj, 
 Since nature cannot choose his origin ; — 
 By the o'ergrowth of some complexion 
 
PURE TONE. 67 
 
 Oft breaking down the pales and forts of reason ; 
 
 Or by some habit that too much o'er-leavens 
 
 The form of plausive manners ; — that these men, — 
 
 Carrying, I say, the stamp of one defect, ' 
 
 Being nature's livery, or fortune's star, — 
 
 Their virtues else — be they as pure as grace, f < ' 
 
 As infinite as man may undergo — '"\ ' I 
 
 Shall in the general censure take corruption 
 
 From that particular fault ; the dram of leav'n 
 
 Doth all the noble substance of 'em sour. 
 
 To his own scandal. 
 
 The Music of the Human Voice. — WillU. 
 I remember listening, in the midst of a crowd, many 
 years ago, to the voice of a girl, — a mere child of sixteen 
 summers, — till I was bewildered. She was a pure, high- 
 hearted, impassioned creature, without the least knowledge . 
 of the world or her peculiar gift ; but her own thoughts had 
 wrought upon her like the hush of a sanctuary, and she spoke 
 low, as if with an unconscious awe. I could never trifle in 
 her presence. My nonsense seemed out of place ; and my 
 practised assurance forsook me utterly. She is changed now. 
 She has been admired, and has found out her beauty ; and 
 the music of her tone is gone ! She will recover it by and 
 by, when the delirium of the world is over, and she begins 
 to rely once more upon her own thoughts for company ; 
 but her extravagant spirits have broken over the thrilling 
 timidity of childhood, and the charm is unwound. 
 
 4. 
 
 Defence of Gkeenleaf. — G. 8. Hillard. 
 
 I presume that no advocate, in a capital cause, was ever 
 
 satisfied with his efforts in his client's behalf ; who did not 
 
 feel, or fancy, on a sober reconsideration of his argument, 
 
 that he might have done better. I am prepared to be dis- 
 
58 ORTHOPHONY. 
 
 turbed by this reflection hereafter ; and, if so, I must draw 
 what comfort I can, from that I now feel, — that I have 
 done what I could. 
 
 I have endeavored to argue this cause fairly. I am not 
 conscious of having misstated the facts in evidence, or laid 
 down the law incorrectly ; and if I have, I shall be sure to 
 hear of it before the case is through. In such cases, how- 
 ever, there is no great difference between what can be ac- 
 complished by the highest or the tew^fegt. faculties. The 
 prisoner is saved, if at all, by the law and facts ; and by 
 these, and these alone, do I solicit my client's acquittal. If I 
 have failed, or been wanting, let them speak for me, and 
 make uplfor my deficiencies. 
 
 3. '■^Animated" or Lively, Style. 
 
 This mode of voice differs in three respects from the 
 " serious ; " it has more force, a higher pitch, and a quicker 
 movement ; and the comparatively greater force renders the 
 purity of the tone still more conspicuous. 
 
 The exercise in " animated " utterance should be ex- 
 tended, as a matter of practice, to the elementary sounds, 
 and to the repetition of the tables of words as far and as 
 often as individuals or classes may seera to require. 
 
 Ahimai Happiness. — Paley. 
 
 The air, the earth, the water, teem with delighted exist- 
 ence. In a spring noon, or a summer evening, on which- 
 ever side we turn our eyes, nQyrifl4ja, of happy beings crowd 
 upon our view. " The insect youth are on the wing." 
 Swarms of new-born flies are trying their pinions in the air. 
 Their sportive motions, their gratuitous activity, their con- 
 tinual change of place,(without use or purpose, jtestify their 
 joy, and the exultation which they feel in their lately discoT« 
 erad faculties. 
 
PURE TONE. 59 
 
 HuDiBEAs. — Butler. 
 He was in logic a great critic, 
 Profoundly skill'd inanaljtic ; 
 He could distinguish, and divide, 
 A hair 'twixt south and south-west side ; 
 On either whichlhe would dispute, 
 Confute, change hands, and .fiiJU. confute: 
 He 'd undertake to prove, by force 
 Of argument, a man's no horse ; 
 He 'd prove a buzzard is no fowl, 
 And that a lord may be an owl ; 
 A calf an alderman, a goose a justice, 
 And rooks Committee-men and Trustees. 
 He 'd run in debt by disputation. 
 And pay with ratiocination : 
 All this by syllogism, true 
 In mood and figure he would do. 
 For rhetoric, he could not ope 
 His mouth, but out there flew a trope ; 
 And, when he happen'd to break off 
 I' th' middle of his speech, or cough, 
 H' had hard words ready to show why. 
 And tell what rules he did it by. 
 
 3. 
 Sib Roger de Coverley. — Spectator. 
 
 As Sir Roger is landlord to the whole congregation, he 
 keeps them in very good order, and will suffer nobody to 
 sleep in it besides himself ; for if by chance he has been 
 surprised into a short nap at sermon, upon recovering out 
 of it he stands up and looks about him, and if he sees any- 
 bodyj;else nodding, either wakes them himself, or sends his 
 servants to them. Several other of the old knight's partic- 
 ularities break out upon these occasions. Sometimes, he 
 
60 ORTHOPHONY. 
 
 will be lengthening out a verse in the singing psalms, half a 
 minute after the rest of the congregation have done with it ; 
 sometimes, when he is pleased with the matter of his devo- 
 tion, he pronounces Amen three or four times to the same 
 prayer ; and sometimes stands up when everybody else is 
 upon their kneesJ to count the congregation, or see if any 
 of his tenants are missing. 
 
 I was yesterday very much surprised to hear my old 
 friend, in the midst of the service, calling out to one John 
 Matthews, to mind what he was about, and not disturb the 
 congregation. This John Matthews, it seems, is remarka- 
 ble for being an idle fellow, and at that time was kicking 
 his heels for his diversion. This authority of the knight, 
 though exerted in that odd manner which accompanies him 
 in all the circumstances of life, has a very good effect upon 
 the parish, who are not polite enough to see anything ridic- 
 ulous in his behavior ; besides that, the general good sense 
 and worthiness of his character make his friends observe 
 these little singularities as foils that rather ^t _off, than 
 blemish his good qualities. 
 
 As ¥ou Like It. — Shakespeare. 
 Jaeq. de B. Let me have audience for a word or two. 
 I am the second son of old Sir Koland, 
 That bring these tidings to this fair assembly : 
 Duke Frederick, hearing how that every day 
 Men of great worth resorted to this forest, 
 Address'd a mighty power, which were on foot 
 In his own conduct, purposely to take 
 His brother here, and put him to the sword : 
 And to the skirts of this wild wood he came ; 
 Where, meeting with an old religious man, 
 After some question with him, was converted 
 Both from his enterprise and from the world ; 
 His crown bequeathing to his banish'd brother, 
 
PUBE TONt. 61 
 
 And all their lands restor'd to them again 
 That were with him exil'd. This to be true, 
 I do engage my life. 
 
 4. " Gay," or Brisk, Style. '^ ^ 
 
 This mode of utterance has all the characteristics of the 
 " animated " style, carried to a greater extent. The tone to 
 which we now refer, being that of exhilarated feeling, its 
 pitch is higher, its force is greater, and its " movement " 
 quicker than that of an utterance, which, as in the preced- 
 ing instance, does not go beyond the style of animation or 
 liveliness, merely. 
 
 Gayety and vividness of expression are in their proper 
 sphere as important to appropriate effect in reading, as any 
 of the opposite qualities of seriousness and gravity are in 
 theirs. We can never, without these properties of voice, 
 give natural expression to many of the most pleasing forms 
 of composition, — to such in particular as derive their power 
 over sympathy from their presenting to us what the poet 
 has termed '*the gayest, happiest attitude of things," or 
 from the glowing and exhilarating colors in which lan- 
 guage sometimes delights to invest the forms of thought. 
 Dramatic scenes, sketches of life and manners, vivid delin- 
 eations of character, all demand the utterance of exhila- 
 rated emotion. Unaided by the effect of such expression, 
 the finest compositions fall flat and dead upon the ear, and 
 leave our feelings unmoved or disappointed. 
 
 The exercise of brisk and exhilarated utterance should 
 be repeatedly practised on the elements, syllables, and 
 words contained in the tables, as a means of fixing definitely 
 and permanently in the ear the requisite properties of voice. 
 A clear and perfectly pure, ringing voice, corresponding to 
 what the musician terms " head tone," is the standard of 
 practice in this branch of elocution. 
 
62 ORTHOPHONY, 
 
 L'Allegko. — Milton. 
 Haste thee, Nymph, and bring with thee 
 Jest and youthful Jollity, 
 Quips and Cranks, and wanton Wiles, 
 Nods and Becks and wreathed Smiles, 
 Such as hang on Hebe's cheek. 
 And love to live in dimple sleek ; 
 Sport that wrinkled Care derides. 
 And Laughter holding both his sides. 
 Come, and trip it, as you go, 
 On the light fantastic toe ; 
 And in thy right hand lead with thee 
 The mountain-nymph, sweet Liberty ; 
 And, if I give thee honor due, 
 Mirth, admit me of thy crew. 
 To live with her, and live with thee, 
 In unreproved pleasures free. 
 To hear the lark begin his flight. 
 And singing startle the dull Night, 
 From his watch-tower in the skies, 
 Till the dappled Dawn doth rise ; 
 Then to come in spite of sorrow. 
 And at my window bid good-morrow. 
 Through the sweet-brier or the vine, 
 Or the twisted eglantine. 
 
 2. 
 
 Queen Mab. — Drayton. 
 She mounts her chariot with a trice, 
 Nor would she stay for no advice, 
 Until her maids, that were so nice. 
 
 To wait on her were fitted. 
 But ran herself away alone ; 
 
PURE TONE. 63 
 
 Which Iwhen they heard, there was not one 
 But hasted after to be gone. 
 As she had been diswitted. 
 
 Hop, and Mop, and Drap so clear, 
 Pip, and Trip, and Skip, that were 
 To Mab their sovereign dear, 
 
 Her special maids of honor ; 
 Fib, and Tib, and Pinck, and Pin, 
 Tick, and Quick, and Jill, and Jin, 
 Tit, and Nit, and Wap, and Win, 
 
 The train that wait upon her. 
 
 Upon a grasshopper they got. 
 
 And what with amble and with trot, 
 
 For hedge nor ditch they spared not, 
 
 But after her they hie them. 
 A cobweb over them they throw. 
 To shield the wind if it should blow, 
 Themselves they wisely could bestow, 
 
 Lest any should espy them. 
 
 5. "Humorous," or Playful, Style. 
 
 Perfect purity of tone is indispensable to the utterance of 
 fanciful and humorous emotion. The playful and the mirth- 
 ful style of utterance seems to be voice let loose from all 
 restraints which would impose upon it any rigidness, dry- 
 ness, or hardness of sound. 
 
 Humor goes beyond mere gayety or exhilaration, in the 
 unbounded scope which it gives to the voice : its tones are 
 higher, louder, and quicker in " movement." 
 
 The following exercises should be practised with all the 
 playful, half-laughing style of voice which naturally belongs 
 to this vivid eflfusion of blended humor and fancy. The 
 practice of the elements, in the same style, in sounds, and 
 words, will be of the greatest service for imparting the en- 
 
64 ORTHOPHONY. 
 
 tire and free command of the appropriate tone of humor ; 
 and even a frequent repetition of the act of laughter will be 
 found highly useful, as a preparative for this style of ex- 
 pression, by suggesting and infusing the perfect purity of 
 tone which naturally belongs to hearty and joyous emotion. 
 
 Mekcutio's Description op Queen Mab. — Shakespeare. 
 Oh ! then, I see Queen Mab hath been with you. 
 
 She comes 
 In shape no bigger than an agate stone 
 On the forefinger of an alderman, 
 Drawn by a team of little atomies 
 Athwart men's noses, as they lie asleep ij^ 
 Her wagon-spokes made of long spinners' legs, 
 The cover, of the wings of grasshoppers ; 
 The traces, of the smallest spider's web. 
 The collars, of the moonshine's watery beams : 
 Her whip of cricket's bone ; the lash of film ; 
 Her wagoner, a small gray-coated gnat ; 
 Her chariot is an empty hazel-nut, 
 Made by the joiner squirrel, or old grub. 
 Time out of mind the fairies' coachmakers^ --' 
 And in this state she gallops, night by night, 
 Through lovers' brains, and then they dream of love,/ 
 O'er lawyers' fingers, who straight dream on fees, '' 
 O'er ladies' lips, who straight on kisses dream ; 
 Sometimes she gallops o'er a courtier's nose. 
 And then dreams he of smelling out a suit ; '-' 
 And sometimes comes she with a tithe-pig's tail 
 Tickling a parson's nose, as 'a lies asleep, 
 Then dreams he of another benefice : 
 Sometimes she driveth o'er a soldier's neck, 
 And then dreams he of cutting foreign throats, 
 Of breaches, ambnscadoes, Spanish blades. 
 Of healths five fathom deep/, and then anon 
 
PUKE TONE. 66 
 
 Drums in his ear ; at which he starts and wakes ; 
 And, being thus frighted, swears a prayer or two, 
 And sleeps again,x 
 
 2. 
 
 Humor and Mirth. 
 
 / Jacqites, in As You Like It — SAfflfcespeore. 
 
 A fool, a fool ! I met a fool i' the forest, 
 A motley fool ; — a miserable world j. --■ 
 As I do live by food, I met a fool ; 
 Who laid him down, and basked Tiim in the sun, 
 And railed on lady Fortune in good terms, 
 In good set terms, and yet a motley fool ! 
 
 3. 
 
 Quiet Humor. 
 Vicar op Wakefield. — Goldsmith. 
 ' As we lived near the road, we often had the traveller 
 or stranger visit us, to taste our gooseberry-wine, for which 
 we had great reputation ; and I profess, with the veracity 
 of an historian, that I never knew one of them find fault 
 with it. Our cousins, too, even to the fortieth remove, all 
 remembered their affinity without any help from (the Her- 
 ald's Office, and came very frequently to see us. Some of 
 them did us no great honor by these claims of kindred; 
 as we had the blind, the maimed, and the halt among the 
 number. However, my wife always insisted that, as they 
 were the same flesh and blood, they should sit with us at 
 the same table ; so that if we had not very rich, we gener- 
 ally had very happy friends about us ; for this remark will 
 hold good through life, that the poorer the guest the better 
 pleased he ever is with being treated ; and as some men 
 gaze with admiration at the colors of a tulip, or the wing of 
 a butterfly, so I was by nature an admirer of happy human 
 faces. However, when any one of our relations was found 
 5 
 
66 ORTHOPHONY. 
 
 to be a person of a very bad character, a troublesome guest, 
 or one we desired to get rid of, — upon his leaving my 
 house, I ever took care to lend him a riding-coat, or a pair 
 of boots, or sometimes a horse of small value; and I al- 
 ways had the satisfaction to find he never came back to re- 
 turn them. By this the house was cleared of such as we 
 did not like ; but never was the family of Wakefield known 
 to turn the traveller or the poor dependent out of doors. 
 
 III. " SUSTAINED " FORCE. 
 
 Calling. 
 
 A call is the highest and intensest form of " pure tone," 
 and, when extended to a vast distance, becomes, it is univer- 
 sally known, similar to music in the style of its utterance. 
 
 A high note is required in order to reach to remote dis- 
 tance ; and perfect purity of tone is also indispensable, as a 
 condition of the easy emission of the prodigious force of 
 voice which calling demands, and which, in continuous ef- 
 fort, it must sustain. It is the maximum, or highest degree 
 of vocal force. But if unaccompanied by perfectly pure 
 quality of sound, it pains and injures the organs. Its true 
 mode is a long-sustained and exceedingly powerful singing 
 tone. In this form its use in strengthening the organs, and 
 giving firmness, compactness, and clearness to the voice, is 
 very great. 
 
 The student, in practising the call as a vocal exercise, 
 must see to it that the utmost purity of tone is kept up, as 
 the exercise will otherwise be injurious. The more atten- 
 tive he is to sing his words, in such exercises, the more easy 
 is the effort, and the more salutary the result. The style 
 of utterance in this exercise is that of vigorous, sustained, 
 and intense " effusion," but should never become abruptly 
 " explosive." 
 
 The following example should be practised on the scale 
 indicated, not on the stage, but in historical fact, as when 
 
OEOTUND QUALITY. 67 
 
 the herald stood on the plain at such a distance as to be out 
 of bow-shot, and called out his message so as to be fully 
 audible and distinctly intelligible to the listeners on the 
 distant city wall. 
 
 The elementary tables of sounds and words should be 
 repeatedly practised, in the form of calling, till the student 
 can command a full, cle&r, ringing, and musical call, or any 
 form of sound which admits this function of the voice. 
 
 Exampk. 
 
 The Herald's Call. — ShaJeespeare. 
 
 Rejoice, you men of Anglers ! ring your bells : 
 
 King John, your king and England's, doth approach : — 
 
 Open your gates, and give the victors way ! 
 
 Orotund Quality. , . 
 
 The " orotund quality " is produced by the wide and 
 free opening of the mouth, especially the pharynx, — the 
 back part of the interior mouth, — and requires full and 
 deep inspiration and expiration of the breath, in order to 
 assist in opening all the resonant chambers of the chest, 
 throat, and head. Purity of sound is also one of its con- 
 stituent elements. It is expressive of the utmost depth, 
 intensity, and sublimity of emotion, and of the noblest 
 moral sentiments. The audible expression of masculine 
 force, courage, energy, delight, and admiration depends for 
 expression upon this quality. It is the natural voice for 
 public speaking " when great interests are at stake and 
 strong passions excited " ; and is justly regarded by Dr- 
 Bush as the highest perfection of the cultivated utterance 
 of the public speaker. 
 
 In forming this quality the fullest resonance of the head, 
 throat, and chest voices is heard. In some degrees of feel- 
 ing one or another of these resonances may be heard above 
 the others, as in reverence, where the chest resonance pre- 
 
68 ORTHOPHONY. 
 
 dominates, or as in admiration, which is uttered with a fuller 
 mingling of the head voice in the sound. 
 
 The property of voice defined by the term " orotund " 
 exists, also, in certain physical and mechanical relations of 
 the corporeal organs. Thus we hear it in the audible func- 
 tions of yawning, coughing, and laughing ; all of wiich, 
 when forcibly performed, are attended with a sudden and 
 powerful expansion of the organic parts, and a ringing ful- 
 ness, roundness, and smoothness of sound. 
 
 The effect of " eflfusive orotund " on the voice is identi- 
 cal in its quality with the soft, but round and deep tone 
 of a prolonged yawn, — a form of voice which comes, ob- 
 viously, from the peculiarly wide and free position of the 
 organs in that act. Hence arises the suggestion to repeat 
 voluntarily the effort of loud and prolonged yawning, and 
 watch its peculiar effect on the sound of the voice, and con- 
 tinue and prolong the sound in the form of the yawn, till it 
 can be executed at pleasure ; and practise, also, upon the 
 tables of the elements. 
 
 I. " EFFUSIVE OROTUND." 
 
 This designation is applied to that species of utterance 
 in which the voice is not sent forth from the organs by any 
 obvious voluntary expulsion, but is rather suffered to effuse 
 itself from the mouth into the surrounding air. It resem- 
 bles the insensible and unconscious act of tranquil breath- 
 ing, as contrasted with the effort of panting. " Effusive ' 
 pure tone " is obtained chiefly by skilful withholding of the 
 breath, and using the larynx so gently and so skilfully that 
 every particle of air passing through it is converted into 
 sound. " Effusive orotund " demands a wider opening of 
 the organs, and a freer and firmer use of them, so as to 
 produce a bolder and rounder tone, with a gentle and sus- 
 tained swell of utterance, as contrasted with the " exput 
 iive " and " explosive " forms of this quality. 
 
EFFUSIVE OROTUND. 69 
 
 The modes of feeling or emotion which are expressed by 
 "effusive orotund voice" are pathos, when mingled with 
 grandeur and sublimity, and solemnity and reverence, when 
 expressed in similar circumstances. Pathos, divested of 
 grandeur, subsides into " pure tone," merely. The same 
 result takes place in the utterance of solemnity, if unaccom- 
 panied by sublimity. But reverence, always implying grand- 
 eur or elevation in its source, is uniformly uttered by the 
 "orotund" voice. 
 
 Gray's " Elegy," for example, if read without " orotund," 
 becomes feeble and trite in its style ; Milton's " Paradise 
 Lost," if so read, becomes dry and flat ; and the language 
 of devotion, uttered in the same defective style in prayer, 
 or in psalms and hymns, becomes irreverent in its effect. 
 The mode of securing the advantages of " orotund " utter- 
 ance is, in the first place, to give up the whole soul to the 
 feeling of what is read or spoken in the language of grave 
 and sublime emotion. The mere superficial impression of 
 a sentiment is not adequate to the effects of genuine and 
 inspiring expression. 
 
 But few readers seem fully to feel the difference between 
 the quiet and passive state, in which we sit and give up our 
 imagination to be impressed by the language of an author, 
 and the communicative and active energy requisite, to stamp 
 even such an impression on the minds of others. In the 
 former case we are but involuntary, or at the most con- 
 sentaneous recipients ; in the latter we are the positive and 
 voluntary creators of effect. 
 
 EXAMPLES OF "EFFUSIVE OROTUND." 
 
 1. Pathos and Gloom, or Melancholy, united with 
 
 Grandeur. 
 
 Ossian's Apostrophe to the Sun. — Maepherson. 
 
 O thou that roUest above, round as the shield of my 
 
 fathers ! whence are thy beams, O sun ! thy everlasting 
 
70 ORTHOPHONY. 
 
 light ? Thou comest forth in thy awful beauty : the stars 
 hide themselves in the sky ; the moon, cold and pale, sinks 
 in the western wave. But thou thyself movest alone : who 
 can be a companion of thy course ? The oaks of the 
 mountains fall ; the mountains themselves decay with years ; 
 the ocean shrinks and grows again ; the moon herself is lost 
 in the heavens ; but thou art forever the same, rejoicing in 
 the brightness of thy course. When the world is dark with 
 tempests, when thunders roll and lightnings fly, thou look- 
 est in thy beauty from the clouds, and laughest at the 
 storm. — But to Ossian thou lookest in vain ; for he be- 
 holds thy beams no more ; whether thy yellow hair floats 
 on the eastern clouds, or thou tremblest at the gates of the 
 west. But thou art, perhaps, like me, — for a season : thy 
 years will have an end. Thou wilt sleep in thy clouds, 
 careless of the voice of the morning. 
 
 2. Sublimity and Awe. 
 Niagara. — Brainard. 
 The thoughts are strange that crowd into my brain, 
 "While I look upward to thee. — It would seem 
 As if God poured thee from his " hollow hand," 
 And hung his bow upon thine awful front ; 
 And spake in that loud voice, which seemed to him 
 Who dwelt in Patmos for his Saviour's sake, 
 " The souad of many waters ; " and had bid 
 Thy flood to chronicle the ages back. 
 And notch his centuries in the eternal rock ! 
 
 Deep calleth unto deep ! — And what are we, 
 That hear the question of that voice sublime ? 
 Oh ! what are all the notes that ever rang 
 From war's vain trumpet, by thy thundering side ? 
 Yea, what is all the riot man can make. 
 In his short life to thy unceasing roar ? 
 And yet, bold babbler, what art thou to Him 
 
EFFUSIVE OROTUND. 71 
 
 "Who drowned a world, and heaped the waters far 
 Above its loftiest mountains ? -^ a light wave, 
 That breaks, and whispers of its Maker's might ! 
 
 3. Pathos and Sublimity. 
 Rome. — Byron. 
 O Rome ! my country ! city of the soul! 
 The orphans of the heart must turn to thee. 
 Lone mother of dead empires ! and control 
 In their shut breasts, their petty misery. 
 What are our wo^s and sufEerauce ? — Come and see 
 The cypres^^ear the owI,'*anapibd'your way 
 O'er steps of broken thrones and temples, Ye ! 
 Whose agonies are evils of a day : — 
 A world is at our feet as fragile as our clay. 
 
 The Niobe of nations ! there she stands, 
 Childless and crownless, in her voiceless woe ; 
 An empty urn within her withered hands, 
 Whose holy dust was scattered long ago ; — 
 TheScigips'' tomb contains no ashes now ; 
 TEevery sepulchres lie tenantless 
 Of their heroic dwellers : — dost thou flow, 
 Old Tiber ! through a marble wilderness ? 
 Rise, with thy yellow waves, and mantle her distress ! 
 
 4. Solemnity and Sublimity combined. 
 Milton's Invocation of Light. 
 Hail ! holy Light, — offspring of Heaven, first-born, 
 Oi*/of the Eternal coeternal beam 
 May I express thee unblamed ? \since Grod is light. 
 And never but in unapproached light. 
 Dwelt from eternity, — dwelt then in thee. 
 Bright effluence of bright Essence increate ! 
 Or hear'st thou, rather, pureiethereal stream, 
 
72 . ' OETHOPHOHY. 
 
 Whose fountain who shall tell ? — Before the sun, 
 Before the heavens thou wert, and, at the voice 
 Of God, as with a mantle did'st invest 
 The rising world o| waters, jdark and deepi 
 Won from the void and forinles&'infinite. 
 
 i'l 
 II. "expulsive oeotund." 
 
 For description of expulsive utterance, see page 41. 
 
 " Expulsive orotund " belongs appropriately to earnest or 
 vehement declamation, to impassioned and poetic excitement 
 of emotion, and consequently to whatever language is ut- 
 tered in the form of shouting. It arises from the forcible 
 action of the abdominal muscles, added to a full expansion 
 of the chest, and deep inspiration. 
 
 The first-mentioned of these styles, — the declamatory, is 
 exemplified in public address or debate, on exciting occa- 
 sions. The second is heard in the utterance of the lighter 
 degrees of passion. 
 
 The third form of " expulsive orotund " is the impas- 
 sioned and the voluntary burst of emotion, which transcends 
 the customary forms and effects of speech, and, in the spirit 
 of enthusiastic excitement, utters itself in shouts and excla- 
 mations. 
 
 The forcible and manly eloquence of Demosthenes, or of 
 Chatham, divested of the full " expulsive " utterance of 
 deep and powerful emotion, would become ridiculous in its 
 effect on the ear and the imagination. The same would be 
 true of the style of our own eminent countryman, Webster. 
 Depth, weight, and fulness of tone formed a powerful ef- 
 fect in all his utterance on great and exciting occasions, in 
 marked contrast with his impassive and almost apathetic ut- 
 terance when not aroused by interest or feieling. 
 
 To form the voice to the extent of the full property of 
 " expulsive orotund," care should be taken to maintain a 
 perfectly erect attitude of body, the chest fully expanded 
 
EXPULSIVE OROTUND. 73 
 
 tod projected, and the shoulders depressed, — to maintain, 
 also, a vigorous play of the abdominal muscles, and to prac- 
 tise the organic act of prolonged coughing, in a moderate 
 form, which is the natural mechanical function most nearly 
 resembling " expulsive orotund." The elements of the lan- 
 guage should he practised in a similar style ; and to these 
 exercises should be added the repeated and energetic prac- 
 tice of the following examples. 
 
 Practice on the " crying " voice, or weeping utterance of 
 sorrow, is another expedient for rendering nature's processes 
 conducive to culture ; the act of crying being, in its mech- 
 anism, a perfect " expulsive orotund." 
 
 EXAMPLES OF " EXPULSIVE OKOTUND." 
 
 1. " Declamatory " Style. 
 Webstek's Speech of John Adams. 
 
 Sink or swim, live or die, survive or perish, I give my 
 hand and my heart to this vote ! 
 
 Sir, before God, I believe the hour is come. My judg- 
 ment approves this measure ; and my whole heart is in it. 
 All that I have, and all that I am, and all that I hope, in , 
 this life, I am now ready here to stake upon it ; and I leave 
 off, as I began, that, live or die, survive or perish, I am for 
 the declaration. It is my living sentiment ; and, by the 
 blessing of God, it shall be my dying sentiment: — inde- 
 pendence now and independence forever ! 
 
 2. Oratorical Invective. 
 Against Wakren Hastinos. — Burke. 
 
 By the order of the House of Commons of Great Brit- 
 ain, I impeach Warren Hastings of high crimes and misde- 
 meanors. 
 
 I impeach him in the name of the Commons of Great 
 Britain in Parliament assembled, whose parliamentary trust 
 he has abused. 
 
74 OETHOPHONT. 
 
 I impeacli him in the name of the Commons of Great 
 Britain, whose national character he has dishonored. 
 
 I impeach him in the name of the people of India, whose 
 laws, rights, and liberties he has subverted. 
 
 I impeach him in the name of the people of India, whose 
 property he has destroyed, whose country he has laid waste 
 and desolate. 
 
 I impeach him in the name of human nature itself, 
 which he has cruelly outraged, injured, and oppressed, in 
 both sexes. And I impeach him in the name and by the 
 virtue of those eternal laws of justice, which ought equally 
 to pervade every age, condition, rank, and situation, in the 
 world. 
 
 Hotspur. — Shakespeare. 
 
 Send danger from the east unto the west, 
 
 So honor cross it from the north to south, 
 
 And let them grapple. — Oh ! the blood more stirs. 
 
 To rouse a lion, than to start a hare. 
 
 By heaven, methinks it were an easy leap. 
 To pluck bright honor from the pale-faced moon ; 
 Or dive into the bottom of the deep. 
 Where fathom-line could never touch the ground, 
 And pluck up drowned honor by the locks ; 
 ■' 1 So he, that doth redeem her thence, might wear, i 
 Without corrivalj all her dignities. 
 But out upon this half-faced fellowship ! 
 
 3. "Impassioned" Poetic Style. 
 Caret's Ode on Eloquence. 
 Where rests the sword ? — where sleep the brave ? 
 Awake ! Ceccopia's ally save 
 From the fury of the blast ! 
 , Burst the storm on Phocis' walls, — 
 Rise ! or Greece forever falls ; 
 
 Up ! or Freedom breathes her last ! 
 
EXPULSIVE OROTUND. 75 
 
 4. " ^passioned Expression," — Poetic Invective : 
 Epic Style. 
 
 Moloch's Addeess. — Milton. 
 
 My sentence is for open war : of wiles, 
 More nnexpertfll boast not : lEem let those 
 Contrive who neei, or when they need, — not_nQHL. 
 For, while they sit contriving, shall the rest. 
 Millions that stand in arms, and, longing, wait 
 The signal to ascend, sit lingering here, 
 Heaven's fugitives, and for their dwelling-place 
 Accept this dark opprobrious den of shame, 
 The prison of his tyranny who reigns 
 By our delay ? No ! let us rather choose, 
 " Armed with nell flames and fury, all at once 
 O'er heaven's high towers to force resistless way, 
 Turning our tortures into horrid arms 
 Against the Torturer ; when, to meet the noise 
 Of his almighty engine, he shall hear 
 Infernal thunder, and, for lightning, see 
 Black fire and horrornshot, with equal rage. 
 Among his angels, and his throne itseK 
 Mixed with Tartarean sulphur and strange fire, — 
 His own invented torments. 
 
 6. Ecstatic Joy. 
 
 WiLUAM Tell, to the Mountains on regaining his Libebtt. — 
 J. B. Knowles. 
 
 Ye crags and peaks,\I 'm with you once again ! 
 I hold to you the hands you first beheld, 
 To show they still are free^ 
 
 Ye guards of liberty, 
 I 'm with you, once again ! I call to you 
 With all my voice ! — I hold my hands to you 
 To show they still are free I 
 
^6 ORTHOPHONY. 
 
 III. "explosive okotund." 
 
 The " explosive " form of the " orotund " utterance bear* 
 the same relation to " effusive " and " expulsive orotund " 
 that " explosion " in breathing, or whispering, bears to " ef- 
 fusion " and " expulsion " in those forms. It implies an in- 
 stantaneous burst of voice with a quick, clear, Sharp, and 
 cutting effect on the ear. See Modes of Utterance, p. 40. 
 
 This mode of voice proceeds from a violent and abrupt 
 exertion of the abdominal muscles, acting on the diaphragm, 
 and thus discharging a large volume of air previously in- 
 haled. The breath, in this process, is as it were dashed 
 against the glottis or lips of the larynx, causing a loud and 
 instantaneous explosion. 
 
 " Explosive orotund " is the language of intense passion ; 
 it is heard when the violence of emotion is beyond the con- 
 trol of the will, and a sudden ecstasy of terror, anger, or any 
 other form of intensely excited feeling, causes the voice to 
 burst forth involuntarily from the organs, with a sudden and 
 startling effect. It exists only in the extremes of abrupt 
 emotion, as in the burst of anger, or the shout of courage, 
 and admits of no gradations. 
 
 This form of the human voice is one of the most impres- 
 sive in its effect. By a law of our constitution it acts with 
 an instantaneous shock on the sympathetic nerve, and rouses 
 the sensibility of the whole frame ; it summons to instant 
 action all the senses ; and in the thrill which it sends from 
 nerve to brain, we feel its awakening and inciting power 
 over the mind. With the rapidity of lightning it penetrates 
 every faculty and sets it instinctively on the alert. 
 
 We hear the " explosive orotund quality ". exemplified in 
 the sudden alarm of fire, in the short and sharp cry of 
 terror or of warning, at the approach of instant and great 
 danger, in the eruptive curse of furious anger, in the abrupt 
 exclamation of high-wrought courage, and in the burst of 
 frantic grief. In reading and recitation, it belongs appro. 
 
EXPLOSIVE. OROTUND. 77 
 
 priately to the highest ecstatic effects of lyric and dramatic poe- 
 try, as the language of intense passion. 
 
 To gain the full command of " explosive orotund " voice, 
 the practice of the elements, of syllables and words, in the 
 tones of anger and terror, should be frequently repeated, 
 along vrith the following and similar examples. The me- 
 chanical and moderate practice of the acts of coughing and 
 laughing is one of the most efficacious modes of imparting 
 to the organs the power of instantaneous " explosion." 
 
 Like all other powerful forms of exertion, it should not, at 
 first, be carried very far ; neither should it be practised with- 
 out a due interspersing of the gentler and softer exercises 
 of voice. Pursued exclusively, it would harden the voice, 
 and render it dry and uupleasing in its quality. Intermin- 
 gled with the other modes of practice, it secures thorough- 
 going force and clearness of voice, and permanent vigor and 
 elasticity of organs. 
 
 EXAMPLES OF "EXPLOSIVE OROTUND." 
 
 1. Courage. 
 
 ("Explosive" Shouting.) 
 
 BOZZARIS TO HIS BAND OF StJLIOTES. — EalUcTc. 
 
 Strike till the last armed foe expires ! 
 Strike for your altars and your fires ! 
 Strike for the green graves of your sires, 
 God and your native land ! 
 
 2. Scorn and Defiance. 
 Paradise Lost. — Milton. 
 
 Satan {to Death). Whence and what art thou, execrable 
 shape ! 
 That dar'st, though grim and terrible, advance 
 Thy miscreated front athwart my way 
 To yonder gates ? Through them I mean to pass, — 
 That be assured, — without leave asked of thee : 
 
78 ORTEOPHONY. 
 
 Retire ! or taste thy folly ; and learn by proof, 
 Hell-born ! not to contend with spirits of heaTen. 
 
 Wrath and Threatening. 
 
 Death (in reply). Back to thy punishment, 
 False fugitive ! and to thy speed add wings ; 
 Lest with a whip of scorpions I pursue 
 Thy lingering, or, with one stroke of this dart, 
 Strange horror seize thee, and pangs unfelt before ! 
 
 3. Infuriate Anger. 
 The Doge of Venice, on the eve of his execution, in the con> 
 
 CLUDINO WOKDS OF HIS CURSE ON THE CITY. — Byroti's Marino Fa. 
 lieri. 
 
 Thoa den of drunkards with the blood of princes ! 
 
 Gehenna of the waters ! thou sea Sodom ! 
 _Thus I devote thee to the infernal gods ! 
 
 The^ and thy serpent seed ! 
 
 ( To the executioner.) Slave, do thine office ! 
 
 Strike as I struck the foe ! Strike as I would 
 
 Have struck those tyrants ! Strike deep as my curse ! 
 
 Stnke — and but once ! 
 
 4. Anger. 
 
 Antony, to the conspirators. — Shakespeare. 
 
 Villains ! you did not threat, when your vile daggers 
 
 Hacked one another in the sides of Csesar ! 
 
 You showed your teeth like apes, and fa wned like hounds, 
 
 And bowed like bondmen, kissing Csesar's feet ; 
 
 Whilst damned Casca, like a.cur, behind, 
 
 Struck Caesar on the neck. — Oh ! flatterers 1 
 
 Aspirated and Pectoral Quality. 
 
 The emotions which are- naturally expressed by the 
 strongest form of " aspirated quality '' are principally of 
 that class which an eminent writer on the passions lias de- 
 
ASPIRATED AND PECTOEAL QUALITY, 79 
 
 nominated " malignant," from their peculiar character and 
 effect, as contrasted with those of others which he denom- 
 inates "genial." The former class includes fear, haired, 
 aversion, horror, anger, and all similar feelings ; the latter, 
 love, joy, sereniti/, tenderness, pity, etc. 
 
 PECTORAL QUALITY. 
 
 The resonance in " pectoral quality " is confined to the 
 chest. Like all other vocal sounds it is vocalized in the 
 larynx, but is made to vibrate entirely in the chest. In its 
 purity of sound it is confined to low notes, but when aspi- 
 rated may be forced to a high pitch. It is used in the 
 expression of gloom, despair (not frenzied), awe, deep 
 solemnity, profoundest reverence, etc. 
 
 The " aspirated quality," in the " pectoral " form, belongs 
 usually to despair, deep-seated anger, revenge, excessive fear, 
 horror, and other deep and powerful emotions. 
 
 Other emotions, however, besides those which may be 
 designated as " malignant," partake of " aspirated quality." 
 Awe may be mentioned as an example, which, when pro- 
 found, is always marked by a alight aspiration and a " pec- 
 toral quality." Joy and grief, too, become " aspiraled " 
 when highly characterized. Ardor and intense earnestness 
 of emotion are always " aspirated." The fervent expres- 
 sion of love, and even of devotion, admits, accordingly, of 
 " aspirated " utterance. " Aspiration," like " tremor," thus 
 becomes a natural sign of extremes in feeling ; and these 
 two properties united, form the acme or highest point of 
 " expression." 
 
 The " aspirated quality," in the " guttural " form, be- 
 longs in various degrees to all malignant emotions. In" its . 
 stronger expression it gives a harsh, animal, and sometimes 
 even fiend-like character to human utterance, as in the mal- 
 ice and revenge of Shylock. In a reduced, though still 
 highly impassioned degree, it gives its peculiar choking 
 BiFect to the utterance of anger. 
 
80 ORTHOPHONY. 
 
 In the yeU of rage and fury " aspiration " is displaced bj 
 perfectly " pure tone " of the loudest sound, — by a law of 
 man's organization, which it is unnecessary here to analyze, 
 but which seems to make all the extremes, or utmost 
 reaches of human feeling, musical in their effect. Joy and 
 the extremes of both grief and anger may be mentioned as 
 illustrations. 
 
 Aversion, disgust, displeasure, impatience, dissatisfaction, 
 and discontent, all, in various degrees, combine " aspirated " 
 utterance and " guttural quality." 
 
 It will be of great service to power of '.' expression," to 
 render the command of " aspiration " easy by frequent rep- 
 etition on elements, syllables, and words, selected for tha 
 purpose. 
 
 1. " EFFUSIVE " UTTEKANCB. 
 
 1. Gloom. 
 
 Shipwkeck Wilson. 
 
 Now is the ocean's bosom bare. 
 Unbroken as the floating air ; 
 " The ship hath melted quite away, 
 
 Like a struggling dream at break of day. 
 
 No image meets my wandering eye. 
 
 But the new-risen sun and the sunny sky* 
 
 Though the night-shades are gone, yet a vapor dull 
 
 Bedims the waves so beautiful ; 
 
 WhUe a low and melancholy moan 
 
 Mourns for the glory that hath flown. 
 
 2. Despair and Melancholy. 
 
 The Ancient Mariner. — Coleridge. 
 
 Alohe, alone, all, all alone, 
 Alone on a wide, wide sea ! 
 And never a saint/ took pity\on 
 My soul in agony. 
 
ASPIRATED AND PECTORAL QUALITY. 81 
 
 3. Horror and Awe. 
 
 Ghost, to Hamlet. — Shalcespeare. 
 
 I am thy father's spirit, 
 Doom'd for a certain term to walk the night, 
 And for the day confined to fast in fires, 
 Till the foul crimes done in my days of nature 
 Are burnt and purged away. But that I am forbid 
 To tell the secrets of my prison-house, 
 I could a tale unfold whose lightest word 
 Would harrow up thy soul ; freeze thy young blood ; 
 Make thy two eyes, like stars, start from their spheres 5 
 Thy knotted and combined locks to part, 
 And each particular hair to stand on end, 
 Like quills upon the fretful porcupine : 
 But this eternal blazon must not be 
 To ears of flesh and blood. List, list, O list ! 
 If thou didst ever thy dear father love. 
 
 4. Horror and Fear : the effect transcending thai of awe } 
 
 the " aspiration " nearly a whisper. 
 
 Macbeth, meditating the mubder of Dokcan. — Shahespeart. 
 
 Now o'er the one half world 
 Nature seems dead, and wicked dreams abuse 
 The curtain'd sleep ; now witchcraft celebrates 
 Pale Hecate's offerings ; and wither'd murder, 
 Alarum'd by his sentinel, the wolf, 
 Whose howl 's his watch, thus with his stealthy pace, 
 With Targuials ravishing strides, towards his design 
 Moves like a ghost. — Thou sure and firm-set earth ! 
 Hear not my steps, which way they walk, for fear 
 The very stones prate of my whereabout, 
 And take the present horror from the time, 
 Which now suits with it. 
 
 6 
 
82 ORTHOPHONY. 
 
 II. "expuesive" utteeance. 
 
 1. Horror and Amazement : "aeration " increased bp 
 " expulsion." 
 
 Hamlet, to the Ghost of his Father. — Shakespeare. 
 
 What may this mean, 
 That thou, dead corse, again, in complete steel 
 Revisitest thus the glimpses of the moon, 
 Making night hideous ; and we fools of nature 
 So horridly to shake our disposition 
 "With thoughts beyond the reaches of our souls ? 
 
 2. Fear and Awe. 
 The Mourning Bride. — Johnson. 
 
 Almeria. It was a fanciful noise, for all is hush'd. 
 
 Leonora. It bore the accent of a human voice. 
 
 Almeria. It was thy fear ; or else some transient wind 
 ■ Whistling through hollows of this vaulted aisle. 
 We '11 listen ! — 
 
 Leonora. Hark ! 
 
 Almeria. No ! All is hushed and still as death. 'T is 
 dreadful ! 
 How reverend is the face of this tall pUe, 
 Whose ancient pillars rear their marble heads 
 To bear aloft its arch'd and ponderous roof, 
 Looking tranquillity. It strikes an awe 
 And terror on my aching sight. The tombs 
 And monumental caves of death look cold. 
 And shoot a chillness to my trembling heart. 
 Give me thy hand, and let me hear thy voice. 
 Nay, quickly speak to me, and let me hear — 
 My (y?fn affrights me with its echoes. 
 
ASPIRATED AND PECTORAL QUALITY. 88 
 
 3. Fear. 
 (Whispering Voice: "Guttural Quality.") 
 
 Calibau, conductihg Stephano kso Trlnculo to the cell of 
 Prospeeo. — Shaiespeare. 
 
 Pray you tread softly, — that the blind mole may not 
 Hear a foot fall : we are now near his cell. 
 
 Speak softly ! 
 All 's hushed as midnight yet. 
 
 See'st thou here ? 
 This is the mouth o' the cell : no noise ! and enter. 
 
 HI. "explosive" utterance. 
 
 ("Guttural and Pectoral Quality.") 
 
 1. Hatred. 
 Shylock, beoabdlnq Antonio. 
 
 How like a fawning publican he looks ! 
 I hate him for he is a Christian ; 
 But more, for that, in low simplicity 
 He lends out money gratis, and brings down 
 The rate of usance here with us in Venice. 
 If I can catch him once upon the hip, 
 I will feed fat the ancient grudge I bear him ! 
 He hates our sacred nation ; and he rails, 
 Even there where merchants most do congregate, 
 On me, my bargains, and my well-won thrift, 
 Which he calls interest. Cursed be my tribe, 
 If I forgive him ! 
 
 2. Hatred. 
 Shtlock, to Antonio. — ShaJcespeare. 
 
 Signior Antonio, many a time and oft, 
 In the Rialto, you have rated me 
 About my moneys and my usances ; 
 Still have I borne it with a patient shrug ; 
 
84 ORTHOPHONY. 
 
 For sufferance is the badge of all our tribe. 
 You call me — misbeliever, cut-throat, dog, 
 And spit upon my Jewish gaberdine, 
 And all for use of that which is mine own. 
 Well then, it now appears, you need my help : 
 Go to then ; you come to me, and you say, 
 " Shylock, we would have moneys : " you say so j 
 You, that did void your rheum upon my beard, 
 And foot me, as you spurn a stranger cur 
 Over your threshold : moneys is your suit. 
 What should I say to you ? Should I not say, 
 " Hath a dog money ? Is it possible 
 A cur can lend three thousand ducats ? " Or 
 Shall I bend low, and in a bondman's key. 
 With bated breath and whisp'ring humbleness, 
 Say this : 
 
 " Fair sir, you spit on me oa Wednesday last ; 
 You spurn'd me such a day ; another time 
 You call'd me dog ; and for these courtesies 
 I '11 lend you thus much moneys." 
 
 3. Horror, Terror, and Alarm. 
 Macbeth, to the Ghost op Banqdo. — Shakespeare. 
 Avaunt ! and quit my sight ! Let the earth hide thee I 
 Thy bones are marrowless, thy blood is cold ! 
 Thou hast no speculation in those eyes 
 Which thou dost glare with ! 
 
 Hence, horrible shadow ! 
 Unreal mockery, hence ! 
 
 4. Mevenge. 
 
 ("Guttural, Aspirated, and Pectoral Quality.") 
 
 Shtlock, befbrrino to the potjnd of flesh, the penalty at- 
 tached TO Antonio's bond. — Shakespeare. 
 
 If it will feed nothing else it will feed my revenga 
 He hath disgraced me, and hindered me of half a million; 
 
FORCE. 85 
 
 laughed at my losses, mocked at my gains, scorned my na- 
 tion, thwarted my bargains, cooled my friends, heated my 
 enemies. And what 's his reason ? I am a Jew ! Hath not a 
 Jew eyes ? Hath not a Jew hands, organs, dimensions, 
 senses, affections, passions ? Is he not fed with the same 
 food, hurt with the same weapons, subject to the same dis- 
 eases, healed by the same means, warmed and cooled by the 
 same summer and winter, as a Christian is ? If you stab 
 usr do we not bleed ? If you tickle us, do we not laugh ? 
 If you poison us, do we not die ? And if you wrong us, 
 shall we not revenge ? If we are like you in the rest, we 
 will resemble you in that. If a Jew wrong a Christian, 
 what is his humility ? Revenge. If a Christian wrong a 
 Jew, what should his sufferance be by Christian example ? 
 Why, revenge. The villany you teach me, I will execute ; 
 and it shall go hard, but I will better the instruction. 
 
 CHAPTER V. 
 
 FORCE. 
 
 ■r 
 
 A PEIMAKT characteristic of utterance, as expressive of 
 emotion, is the degree of its energy or force. The effect of 
 any feeling on sympathy is naturally inferred from the de- 
 gree of force with which the sound of the voice, in the utter- 
 ance of that feeling, falls upon the ear of the hearer. The 
 cause of this impression upon the mindys obviously the 
 law of organic sympathy, by which one part of the human 
 frame naturally responds to another. A powerful emotion 
 not only affects the heart and the lungs, and the other invol- 
 untary agents of life and of expression, but starts the ex- 
 pulsory muscles into voluntary action, and produces voice, 
 the natural indication and language of feeling. The degree 
 of force, therefore, in a vocal sound, is intuitively taken as 
 
86 ORTHOPHONY. 
 
 the measure of the emotion which causes it. Except only 
 those cases in which the force of feeling paralyzes as it 
 were the organs of the voice, and suggests the opposite 
 measure of inference, by which a choked and struggling ut- 
 terance, a suppressed or inarticulate voice, or even absolute 
 silence, becomes the index to the heart. 
 
 The command of all degrees of force of voice must evi- 
 dently be essential to true and natural expression, whether 
 in reading or speaking. Appropriate utterance ranges 
 through all stages of vocal sound, from the whisper of fear 
 and the murmur of repose to the boldest swell of vehe- 
 ment declamation and the shout of triumphant courage. 
 But to give forth any one of these or the intermediate 
 tones with just and impressive effect, the organs must be 
 disciplined by appropriate exercise and frequent practice. 
 
 The want of due training for the exercise of public read« 
 ing or speaking, is evinced in the habitual undue loudness of 
 some speakers and the inadequate force of others. 
 
 Force of utterance, however, has other claims on the at- 
 tention of students of elocution besides those which are in- 
 volved in correct expression. It is, in its various gradations, 
 the chief means of imparting strength to the vocal organs, 
 and power to the voice itself. The due practice of exer- 
 cises in force of utterance does for the voice what athletic 
 exercise does for the muscles of the body ; it imparts the 
 two great_ conditions of power, vigor and pliancy. 
 
 It is a matter of great moment, in practising the exercise 
 in force, to observe at first with the utmost strictness, tl ■ 
 rule of commencing with the slightest and advancing to the 
 most energetic forms of utterance. When practice has im- 
 parted due vigor and facility, it will be a useful variation of 
 order to commence with the more powerful exertions of the 
 voice and descend to the more gentle. It is a valuable at- 
 tainment, also, to be able to strike at once, and with perfect 
 ease and precision, into any degree of force, from whisper- 
 ing to shouting. 
 
FORCE. 8T 
 
 The perfect command of every degree of force, and an 
 exact discrimination of its stages, as classified by degree and 
 character of emotion, are indispensable to correct and im- 
 pressive elocution. Extensive and varied practice on force, 
 in all its gradations, becomes therefore an important point 
 in the vocal culture connected with elocution. For drill ex- 
 ercises repeSt tables of Elements in the musical gradations 
 of " pianissimo " (very soft), " piano " (soft), " mezzo pi- 
 ano " (moderately soft), " mezzo " (moderate), " mezzo 
 forte" (moderately loud), "forte" (loud), and "fortis- 
 simo " (very loud), in successive stages, commencing with 
 the slightest and most delicate sound that can be uttered in 
 " pure tone," and extending to the most vehement force of 
 shouting and calling in the open air and with all the power 
 that the voice can yield. 
 
 Persons who practise such exercises several times a day,"^ 
 for ten or fifteen minutes at a time, will find a daily gain in 
 vocal power and organic vigor to be the invariable result : 
 every day will enable them to add a degree to their scale of 
 force. 
 
 The kind of exercise now recommended, if presented in a 
 form addressed to the eye, might be marked thus : — 
 
 Each dot represents in this scale, one and the same sound, 
 
 1 It may not be improper to remark here, that vocal exercise should be 
 practised at a point of time as nearly as may be intermediate to the hours 
 assigned for meals; as- the organs are then in their best condition, — 
 neither embarrassed nor exhausted, as regards the state of the circulation. 
 The rule of the Italian vocal training, which prescribes powerful and con- 
 tinued exertion of voice, be/ore breahfast, with a view to deepen the " reg- 
 ister," implies a state of organs already inured to fatigue ; and the stereo- 
 type direction of the old physicians, to declaim after dinner, with a view to 
 promote digestion, implies either a meal in the poet's style of "spare fast, 
 that oft with gods doth diet," or a strength of the digestive organ that can 
 render it callous to the powerful shocks which energetic declamation always 
 imparts by impassioned emotion to that chief "local habitation" of the 
 'sympathetic " nerve. 
 
88 ORTHOPHONY. 
 
 er word, repeated with a gradually increasing force. The 
 repetition of the same sound, for at least a dozen times, is 
 preferred to a change of elements, because by repetition 
 the ear becomes as it were a more exact judge of the suc- 
 cessive degrees of force, when not distracted by attention 
 to anything else than the one point of mere loudness. 
 
 EXERCISES IN FORCE. 
 1. " SUPPRESSED " FOECE.* 
 
 (" Efiusire " Utterance.) 
 
 Pathos. 
 
 Dying Request. — Mrs. Eemam. 
 
 Leave me^ thy footstep with its lightest sound, 
 
 The very shadow/of thy waving hairl 
 Wakes in my soul a feeling too profound! ^ 
 
 Too strong for aught that lives and dies,|to bear — 
 Oh ! [bid the conflict cease ! 
 
 ("Expulsive" Utterance.) 
 
 Rapture. 
 
 The Dtino Christian. — Pope. 
 
 Hark ! they whisper, — angels say, 
 " Sister spirit ! come away ! " 
 
 1 " Suppressed " force is not limited exclusively to the forms of the tehh- 
 per, or the Jialf-^liisper. Still, it is usually found in one or other of these ; 
 and, on this account, although sometimes intensely earnest and energetic in 
 the expression of feeling, it is a gradation of utterance which, in point of 
 " vocality," ranks below even the " moderate " and " subdued " forms of 
 " pure tone." We regard, at present, its value in vocal Jorce, — not it 
 " expression." 
 
FOECE. 89 
 
 (" Explosive " Utterance.) 
 Terror. 
 Likes oh the Eve of Watekloo. — Syron. 
 The foe ! they come, they come ! 
 
 Effusive Half-whisper. 
 
 Awe and Tenderness. 
 
 Evening Pkater at a Gibl's School. — Mrs. Bemans. 
 
 Hush ! 't is a holy hour : — the quiet room 
 
 Seems like a temple, while yon soft lamp sheds 
 
 A faint and starry radiance through the gloom 
 
 And the sweet stillness, down on young bright heads, 
 
 With all their clustering locks, untouched by care. 
 
 And bowed — as flowers are bowed with night — in 
 prayer. 
 
 Euyiulsive Half-whisper. 
 
 Horror. 
 
 Eugene Aram. — Eood. 
 
 Down went the corse with a hollow plunge, 
 
 And vanished in the pool ; 
 Anon I cleansed my bloody hands, 
 
 And washed my forehead cool, 
 And sat among the urchins, young 
 
 That evening, in the school. 
 
 Explosive Half-whisper. 
 
 Frenzied Fear. 
 
 Ancient Mariner. — Cohridge. 
 
 About, about,! in reel .and rout, \ 
 The c(eath-fir€!S danced lat night; 
 
90 • ORTHOPHONY. 
 
 The waterjvlike a witch's oils,/ 
 Burnt greenland blue J and white.] 
 
 And every tongue, through utter drought, 
 Was withered] at the root 3' 
 We could not 'speak, /no more /than if 
 We had been choked with soot. 
 
 II. " SUBDUED " FOECB. 
 
 ("Pare Tone: " " Efeusive " Utterance.) 
 
 1. Tranquillity. 
 
 Night. — Montgomery. 
 
 Behold the bed of death, — 
 
 This pale and lovely clay ! 
 Heard ye the sob of parting breath ? 
 
 Marked ye the eye's last ray ? 
 No ; — life so sweetly ceased to be, 
 It lapsed in immortality. 
 
 2. Profound Repose. 
 Evening in a Grave-yakd — Bailey. 
 
 I 've seen the moon climb the mountain's brow, 
 1 've watched the mists p'er the river^i stealing ; 
 
 But ne'er did I feel in my breast, till now. 
 So deep, eo calm, and so holy a feeling : 
 
 'T is soft as the thrill which memory throws 
 
 Athwart the soul /in the hour of repose. 
 
 Thou Father of all ! in the worlds of light. 
 Fain would my spirit aspire to Thee ; 
 
 And, through the scenes of this gentle night, 
 Behold the dawn of eternity : 
 
 For this is the path which Thou hast given, 
 
 The only path to the bliss of heaven. 
 
FORCE. 91 
 
 3. Tenderness. 
 To AN Infant. — Coleridge. 
 Poor stumbler on the rocky coast of woe, 
 Tutored by pain each source of pain to know ! 
 Alike the foodful fruit and scorching fire 
 Awake thy eager grasp and young desire ; 
 Alike the good, the ill, offend thy sight, 
 A.nd rouse the stormy sense of shrill affright. 
 Untaught, yet wise ! mid all thy brief alarms 
 Thou closely clingest to thy mother's arms, 
 Nestling thy little face in that fond breast 
 Whose anxious heavings lull thee to thy rest ! 
 
 (" Orotund Quality: " " Effusive " Utterance.) 
 
 J- 1 ^ ■ 1. Pathos and Sublimity. 
 
 J WoLSEY, ON HIS DOWNFALL. — Shahespeore. 
 
 Farewell, a lofig farewell, to all my greatness ! 
 This is the state of man : To-day he pats forth 
 The tender leaves of hope, tormorrow blossoms. 
 And bears his blushing honors thi^-upon him : 
 The third j3ay comes a frost, a killia^ frost ; 
 And — when he thinks, good easy man, full surely 
 His greatness is a ripening — nips his root ; 
 And then he falls as I do. / I have ventured, — 
 Like little wanton boys that swim on bladders, — 
 This many summers, in a sea of glory. 
 But far beyond my depth : my high-blown pride 
 At length broke under me, and now has left me 
 Weary and old with service, to the ijaercy 
 Of a rude stream that must forever hide me ! 
 
 2. Heverence. 
 The Hymn of the Seasons. — Thomson. 
 These, as they change. Almighty Father ! these 
 Are but the varied God. The rolling year 
 
92 ORTHOPHONY. 
 Is full of Thee. 
 
 And oft Thy voice in dreadful thunder speaks ; 
 And oft at dawn, deep noon, or falling eve, 
 By brooks and groves, in hollow-whispering gales. — 
 In Wirifer, a"^l Thou ! with clouds and storms 
 Around Thee throTni, tempest o'er tempest rollM, — 
 Majestic Sarfeness ! On the whirlwind's wing, 
 Riding sublime. Thou bidd'st the world adore, 
 And humblest Nature, with Thy northern blast. 
 
 III. "moderate" force. 
 
 ("Pure Tone: " "Expulsive" Utterance.) 
 
 « Grave" Style. 
 
 Undue Indulgence. — Alison. 
 
 The inordinate love of pleasure is equally fatal to hap- 
 piness as to virtue. To the wise and virtuous, to those who 
 use the pleasures of life only as a temporary relaxation, as 
 a resting-place to animate them on the great journey on 
 which they are travelling, the hours of amusement bring 
 real pleasure : to them the well of joy is ever full ; while 
 to those who linger by its side, its waters are soon dried and 
 exhausted. 
 
 I speak not now of those bitter waters which must min- 
 gle themselves with the well of unhallowed pleasure, — of 
 the secret reproaches of accusing conscience, — of the sad 
 sense of shame and dishonor, — and of that degraded spirit, 
 which must bend itself beneath the scorn of the world : I 
 speak only of the simple and natural effect of unwise in- 
 dulgence ; that it renders the mind callous to enjoyment ; 
 and that even though the " fountain were full of water," 
 the feverish lip is incapable of satiating its thirst. Alas ! 
 here, too, we may see the examples of human folly: we 
 may see around us, everywhere, the fatal effects of unre- 
 strained pleasure ; the young, sickening in the midst of 
 every pure and genuine enjoyment ; the mature, hastening 
 
FORCE. 93 
 
 with hopeless step, to fill up the hours of a vitiated being ; 
 and, what is still more wretched, the hoary head wandering 
 in the way of folly, and with an unhallowed dotage, return- 
 ing again to the trifles and the amusements of childhood. 
 
 i\i " Serious " Style. 
 
 Lf \ Influence of Leakning. — Moodie. 
 
 If learned men are to be esteemed for the assistance 
 they give to active minds in their schemes, they are not less 
 to be valued for their endeavors to give them a right di- 
 rection, and moderate their too great ardor. The study of 
 history will teach the legislator by what means ; states have 
 become powerful ; and in the private citizen.it will inculcate 
 the love/ of liberty and order. The writings of sages point 
 out a private path of virtue, and show that the best empire 
 is self-government, and that subduing our passions is the 
 noblest of conquests. 
 
 " Animated," or Lively, Style. 
 
 Cheerfulness. 
 
 As You Like It. — Shakespeare. 
 
 Duke Senior. Now, my co-mates, and brothers in exil«, 
 Hath not old custom made this life more sweet 
 Than that of painted pomp ? Are not these woods 
 More free from peril than the envious court ? 
 Here feel we not the penalty of Adam, 
 The seasons' difference ; as the ioy fang, 
 And churlish chiding of the winter's wind, 
 "Which when it bites and blows upon my body, 
 Even till I shrink with cold, I smile, and say, — 
 This is no flattery ; these are counsellors, 
 That feelingly persuade me what I am. 
 ji I '"Sweet are the uses of adversity ; 
 
 Which, like the toad, ugly and venomous, 
 
94 ORTHOPHONY. 
 
 Wears yet a precious jewel in his head ; 
 And this our life, exempt from public haunt, 
 Finds tongues in trees, books in the running brooks, 
 Sermons in stones, and good in everything. 
 
 " Gay^' or Brisk, Style. ~* 
 
 Habits of Expression. — Spectator. 
 Next to those whose elocution is absorbed in action, 
 and who converse chiefly with their arms and legs, we may 
 consider the professed speakers, — and, first, the emphatical, 
 — who squeeze and press and ram down every syllable with 
 excessive vehemence and energy. These orators are re- 
 markable for their distinct elocution and force of expres- 
 sion : they dwell on the important particles of and the, and 
 the significant conjunction and, — which they seemi to 
 hawk up, with much difficulty, out of their own throats, 
 and to cram, — with no less pain, — into the ears of their 
 auditors. These should be suffered only to syringe (as it 
 were) th^ ears of a deaf man, through a hearing trumpet; 
 though I must confess that I am equally offended with the 
 whisperers, or low speakers, who seem to fancy all their ac- 
 quaintance deaf, and come up so close to you that they 
 may be said to measure noses with you. I would have 
 these oracular gentry obliged to talk at a distance, through 
 a speaking trumpet, or apply their lips to the walls of a 
 whispering gallery. The wits, who will not condescend to 
 utter anything but a hon mot, and the whistlers, or tune- 
 hummers, who never talk at all, may be joined very agreea- 
 bly together in a concert ; and to these " tinkling cymbals " 
 I would also add the " sounding brass," the bawler, who 
 mquires after your health with the bellowing of a town- 
 crier. 
 
 " Humorous " Style. 
 
 The Critic. — Sterne. 
 " And what of this new book the whole world makes 
 such a noise about ? " " Oh I 't is out of all plumb, my 
 
FOBCE. 95 
 
 lord, — quite an irregular thing ! — not one of the angles at 
 the four corners was a right angle. I h^^^y rule and 
 compasses, my lord, in my pocket ! " " KxcellSt critic ! " 
 " And for the epic poem your lordship bid me look at — 
 upon taking the length, breadth, height, and depth of it, and 
 trying them at home upon an exact scale of Bossu's — 'tjs 
 out, my lord, in every one of its dimensions." " AdEoira-^ 
 ble~ connoisseur ! ^ And did you step in to take a look at 
 the great picture, on your way back ? " " 'T is a melan- 
 choly daub, my lord ! ^not one principle of the ' pyramid,' 
 in any one group ! — and what a price ! — for there is noth- 
 ing of the coloring of Titian, — the expression of Ilubens, 
 — the grace of Raphael, — the purity of DomenicBino, — 
 the corregiescity of Corregio, — the learning of Poussin, — 
 the airs of Gflloo^ — the taste of Caracci, — or the grand 
 contour of Angelo ! " 
 
 vj^^ IV. " DECLAMATORY " FORCE. 
 
 The Amekican Union. — Webster. 
 
 While the Union lasts, we have high, exciting, gratify- 
 ing prospects spread out before us, for us and for our chil- 
 dren. Beyond that I seek not to penetrate the veil. God 
 grant that, in my day, at least, that curtain may not rise ! 
 God grant that on my vision never may be opened what lies 
 behind. When my eyes shall be turned to behold, for the 
 last time, the sun in the heaven, may I not see him shining 
 on the broken and dishonored fragments of a once glorious 
 Union ; on States dissevered, discordant, belligerent ; on 
 a land rent with civil feuds, or drenched, it may be, in fra- 
 ternal bloody Let their last feeble and lingering glance 
 rather behold the gorgeous ensign of the republic, now 
 known and honored throughout the earth, still " full high 
 advanced," — its arms and trophies streaming in their 
 original lustre, — not a stripe erased or polluted, nor a sin- 
 gle star obscured ; bearing, for its motto, no such misera- 
 
96 ORTHOPHONY. 
 
 ble interrogatory as, " What is all this worth? " nor those 
 other words of delusion and folly, " Liberty first, and Union 
 afterwards," — but everywhere, spread all over, in characters 
 of living light, blazing on all its ample folds, as they float 
 over the sea and over the land, and in every wind under 
 the whole heavens, that other sentiment, dear to every true 
 American heart, — " Liberty and Union, now and forever, 
 one and inseparable ! " 
 
 yj V. " IMPASSIONED " FOECE. 
 ("Aspirated Pectoral" and "Explosive Orotund.") 
 Imprecation and Wrath. 
 The Curse of Maeino Faueeo. — Byron. 
 Ye elements ! in which to be resolved 
 I hasten, let my voice be as a spirit 
 Upon you ! — Ye blue waves ! which bore my banner, 
 Ye winds ! which fluttered o'er as if ye loved it, 
 And filled my swelling sails, as they were wafted 
 To many a triumph ! Thou, my native earth, 
 Which I have bled for ! and thou foreign earth, 
 Which drank this wUling blood from many a wound ! 
 Ye stones, in which my gore will not sink, but 
 Reek up to heaven ! Ye skies, which will receive it I 
 Thou sun ! which shinest on these things, and Thou 1 
 Who kindlest and who quenchest suns ! — attest I 
 I am not innocent, but are these guiltless ? 
 I perish, but not unavenged ; far ages 
 Float up from the abyss of time to be, 
 And show these eyes, before they close, the doom 
 Of this proud city ; and I leave my curse 
 On her and hers forever. 
 
FORCE. 97 
 
 yi. SHOUTING. 
 ("Expulsive Orotund:" Intense Force.) 
 
 ElEMZI, TO THE CONSPIBATORS. — ByrOtl. 
 
 Hark, — the bell, the bell ! 
 The knell of tyranny, — the mighty voice 
 That to the city and the plain, to earth 
 And listening heaven, proclaims the glorious tale 
 Of Borne re-born, and freedom ! 
 
 vn. SHOUTING AND CALLING. 
 
 ("Expulsive Orotund:" "Pure Tone:" Intense "Sustained" Force.) 
 
 Macduff's Outcry on the Murder of Duncan. — SAaiespeore, 
 
 , , Awake ! av^ake ! 
 
 Ring the alarm-bell : — Murder ! and treason ! — 
 
 Banquo, and Donalbain ! Malcolm ! awake ! 
 
 EXAMPLES OF "TRANSITION" IN FORCE. 
 
 1. From Tranquillity and Reverence to Terror. 
 
 (From "Subdued" to "Impassioned.") 
 
 Mariner's Dream. — Dimond. 
 
 Subdued. 
 
 His hardships seem o'er ; 
 And a murmur of happiness steals through his rest ; — 
 " God ! Thou hast blest me ; — I ask for no more." 
 
 Impassioned. 
 
 Ah ! what is that flame which now bursts on his eye ? 
 
 Ah ! what is that sound that now larums his ear ? 
 'T is the lightning's red glare, painting wrath on the sky ! 
 
 'T is the crashing of thunders, the groan of the sphere ! 
 He springs from his hammock, — he flies to the deck, — 
 
 Amazement confronts him. with images dire ; 
 Wild winds and mad waves drive the vessel a wreck, — 
 
 The masts fly in splinters, — the shrouds are on fire I 
 7 
 
98 ORTHOPHONY. 
 
 2. Joy, Awe, and Terror. 
 Shipwreck. — WiUan. 
 
 Joy. 
 ("Loud" Force.) 
 
 Many ports will exult at the gleam of her mast. 
 
 Awe. 
 
 ("Subdued" Force.) 
 
 Hush ! hush ! thou vain dreamer ! this hour is her last 
 
 Terror. 
 ("Impassioned" Force.) 
 Her keel hath struck on a hidden rock ; 
 
 And her planks are torn asunder ; 
 And down come her masts with a reeling shock, 
 And a hideous crash like thunder ! 
 
 3. From Terror to Awe. 
 (From "Impassioned" to " Subdued.") 
 
 Makikee's Dkeam. — Dimond. 
 Impassioned. 
 
 Like mountains the billows tremendously swell, — 
 In vain the lost wretch calls on Mercy to save ; — 
 
 Subdued. 
 Unseen hands of spirits are ringing his knell ; 
 And the death-angel flaps his broad wing o'er the wave ! 
 
 4. From Pathos to Authoritative Command. 
 (From " Subdued " to " Loud.") 
 Treasures of the Deep. — Mrs. Remans. 
 To thee the love of woman hath gone down, 
 
 Dark flow thy tides o'er manhood's noble head. 
 O'er youth's bright locks and beauty's flowery crown : —> 
 
TRANSITION IN FORCE. 99 
 
 Authoritative Command. 
 ("Loud" Force.) 
 Tet must thou hear a voice — Restore the Dead ! 
 Earth shall reclaim her precious things from thee — 
 Restore the Dead, thou Sea ! 
 
 5. From Reverence to Terror, then from Horror to Ea- 
 gerness, returning to Horror, then from Reverence to Horror, 
 and from Eagerness to Horror, Oonstemation, and Awe. 
 
 (From " Suppressed " and " Subdued " to "Impassioned.") 
 
 Bernardo del Carpio, the son of an imprisoned sire, being as- 
 sured BY HIS FALSE KING THAT HE SHALL AGAIN SEE HIS FATHER, 
 MEETS HOT THE LIVING PERSON BUT HIS LIFELESS BODY : HENCE THE 
 ALTERNATIONS OF EXCITED AND CONFLICTISQ FEELINGS. — Mrt. Hem- 
 
 ans. 
 
 Reverence. 
 
 ("Subdued" Force.) 
 
 A lowly knee to earth he bent, — his father's hand he 
 
 took — 
 
 Terror. 
 
 ("Impassioned" Force.) 
 
 What was there in its touch that all his fiery spirit shook ! 
 
 Horror. 
 
 ("Subdued" Force.) 
 
 That hand was cold ! a frozen thing : — it dropped from 
 his like lead ! 
 
 Eagerness. 
 (" Suppressed " Force.) 
 
 He looked up to the face above — 
 
 Horror. 
 ("Subdued" Force.) 
 
 the face was of the dead ; 
 
100 ORTHOPHONY. 
 
 Reverence. 
 ("Subdued" Force.) 
 
 A plume waved o'er the noble brow — 
 Horror. 
 
 ("Subdued" Force.) 
 
 that brow was fixed and white: 
 
 Eagerness. 
 ("Suppressed" Force.) 
 
 He met at last his father's eyes — 
 
 Horror. 
 
 ("Subdued" Force.) 
 
 but in them was no sight I 
 
 Oonstemation. 
 ("Loud" Force.) 
 Up from the ground he sprang, and gazed — 
 
 Awe. 
 ("Subdued" Force.) 
 
 but who could paint that gaze ? 
 
 They hushed their very hearts, that saw its horror and 
 amaze. 
 
STRESS. 101 
 
 CHAPTER VI. 
 
 / "STRESS." 
 
 y ■ 
 
 The force of utterance, in a sentence or a clause, may be 
 on one phrase, or even on a single word. In the pronunci- 
 ation of a word, it may be exclusively on one syllable. In 
 the enunciation of a syllable, the organic force may lie 
 chiefly on a single letter. In the sound of a letter, the force 
 of the voice may lie conspicuously on the first, or on the 
 last part of the sound, on the middle, or on both extremes ; 
 or it may be distributed, with an approach to equalizing 
 force, over all parts of the sound. It is these modes of ap- 
 plying the force to different parts of a syllable which con- 
 stitutes " stress.'' 
 
 The classification of the forms of stress which may be 
 used with any degree of force, is as follows : — 
 
 1st, " Radical Stress," or that in which the force of utter- 
 ance is, usually, more or less " explosive," and falls on the 
 "radical" (initial or first) part of a sound. 
 
 2d, " Median stress," that in which the force is " expul- 
 sive " or " effusive," and swells out, whether slowly or rap- 
 idly, at the middle of a sound. 
 
 3d, " Vanishing stress," or that which withholds the " ex- 
 pulsive " or " explosive " force tUl the " vanish," or last mo- 
 ment of the sound. 
 
 4th, " Compound stress," or that in which the voice, with 
 more or less of " explosive " force, touches forcefully and 
 distinctly on both the initial ar\d the j^raaZ points of a sound, 
 but passes slightly and almost imperceptibly over the mid- 
 dle part. 
 
 5th, " Thorough stress,'' in which the initial, middle, and 
 ^wai portions of a sound are all distinctively and impressively 
 marked by special " expulsive force " of voice. 
 
 6th, " Tremor,'' tremulous, or " intermittent stress." 
 
102 ORTHOPHONY. 
 
 I. "kadical stress." 
 
 This form of vocal force is exemplified in the mechanical 
 act of coughing.^ It imparts a percussive and abrupt open- 
 ing to every syllable. In speech its highest form consists in 
 the utterance of all sounds which embody startling and ab- 
 rupt emotions, as fear, anger, etc. It exists also, although 
 in a reduced form, in the tones of determined will, earnest 
 argument, emphatic and distinct or exact communication, 
 and other unimpassioned modes of expression. It addresses 
 in clear, distinct style, the_ear-and-tlxa_uiidftrstanding. The 
 deflniteness and decision of the speaker's intention, the clear 
 conviction of his judgment, the distinctness of his percep- 
 tions, and the energy of his will, are all indicated in this nat- 
 ural language of voice. Carried to ,e xcess, it becomes, of 
 course, ajajjlt : it savors of dogmatical arrogance and as- 
 sumption, of selfish wilfulness and self-conceit._ Persuasion, 
 not intimidation, is the soul of eloquence ; argument, not as- 
 sertion, the instrument of conviction : sympathy, not oppo- 
 
 1 " There are so few speakers able to give a radical stress to syllabic ut- 
 terance, with this momentary burst, which I here mean to describe, that I 
 must draw an illustration from the effort of coughing. It will be perceived 
 that a single impulse of coughing, is not, in all points, exactly like the 
 abrupt voice on syllables ; for that single impulse is a forcing out of almost 
 all the breath; yet if the tonic element ' o-we ' be employed as the vocallty 
 of coughing, its abrupt opening will truly represent the function of radical 
 stress when used in discourse." 
 
 " The clear and forcible radical stress can take place only after an inter- 
 ruption of the voice. It would seem as if there is some momentarj- occlu- 
 sion in the larynx, by which the breath is barred and accumulated for the 
 purpose of a full and sudden discharge. This occlusion is most under com- 
 mand, and the explosion is most powerful, on syllables beginning with a 
 tonic element, or with an abrupt one preceding atonic; for, in this last 
 case, an obstruction in the organs of articulation is combined with the 
 function of the larynx above supposed." — Dr. Rush. 
 
 *'It is this " (radical stress) " which draws the cutting edge of words 
 across the ear, and startles even stupor into attention : — this which lessens 
 the fatigue of listening, and outvoices the stir and rustle of an assembly: 
 — and it is the sensibility to this, through a general instinct of the animal 
 ear, which gives authority to the groom and makes the horse submissive to 
 his angry accent." — lb. 
 
STRESS. 103 
 
 fiition, the avenue to the heart. A uniform, hard " radical 
 stress," therefore, can effect none of the best purposes of 
 speech, and must ever be regarded as allied to violence and 
 vulgarity, or the slang of party invective. 
 
 The practice of the following examples should be accom- 
 panied by an extensive and thorough course of discipline on 
 all degrees of " explosion," in elements, syllables, and words, 
 — advancing from the very slightest to the intensest form, 
 and occasionally reversing the order, so as to reduce the 
 function of explosion from its most impassioned to its merely 
 Intellectual character and expression. 
 
 EXAMPLES OF "RADICAL STRESS." 
 
 1. " IMPASSIONED RADICAL." 
 
 1. Anger and Scorn. 
 ("Explosive" Utterance: "Aspirated Pectoral Quality.") 
 CoKioLANUs, TO THE PEOPLE. — Shakespeare. 
 You common cry of curs ! whose breath I hate 
 As reek o' the rotten fens, — whose loves I prize 
 As the dead carcasses of unburied men. 
 That do corrupt my air, — /banish you ! 
 
 2. Anger, excited to Rage. 
 The Lobd op the Isles. — Scott. 
 Lorn (about to assault Bruce'). Talk not to me 
 Of odds or match ! — When Comyn died, 
 Three daggers clashed within his side. 
 Talk not to me of sheltering hall ! — 
 The Church of God saw Comyn fall ! 
 On God's own altar streamed his blood ; 
 While o'er my prostrate kinsman^tood 
 The ruthless murderer, even as now, — 
 With armed hand and scornful brow, — 
 Up ! all who love me ! — blow on blow I 
 And lay the outlawed ifelons low 1 
 
104 ORTHOPHONY. 
 
 n. " TJNIMPASSIONED RADICAL. ' 
 
 In these examples the " radical stress " is merely of that 
 gentle kind which gives distinctness and life to articulation, 
 by a firm and clear " radical movement," and preserves the 
 serious style from verging on the solemn, by " swell " and 
 prolongation, or by drawling. The slightest form of a clear 
 cough is the mechanical standard of organic action in this 
 degree of " stress ; " and this distinction should be carefully 
 observed ; for, when strong feeling is expressed in " grave," 
 or in " serious," or in " animated " style, especially in po- 
 etry, the " stress " changes to " median," for greater ex- 
 pressive effect. 
 
 1. Animation. 
 Meeting at Night. — Browning. 
 A tap at the pane, — the quick, sharp scratch 
 And blue spurt of a lighted match. 
 
 2. Didactic Composition : Grave Style. 
 
 ("Pure Tone:" "Moderate Force;" " Grave " Style, —usual style of 
 a Sermon^ or of a Moral or PoHUcal Discourse. ) 
 
 Immortality of the Soul. — Addison. 
 How can it enter into the thoughts of man, that the 
 soul, which is capable of such immense perfections, and of 
 receiving new improvements to all eternity, shall fall away 
 into nothing almost as soon as it is created ? Are such 
 abilities made for no purpose ? A brute arrives at a point 
 of perfection that he can never pass : in a few years he has 
 all the endowments he is capable of ; and were he to live 
 ten thousand more, would be the same thing he is at pres- 
 ent. Were a human soul thus at a stand in her accomplish- 
 ments, were her faculties to be full blown, and incapable of 
 farther enlargement, I could imagine it might fall away in- 
 sensibly, and drop at once into a state of annihilation. But 
 ean we believe that a thinking being which is in a perpetual 
 
STRESS. 105 
 
 progress of improvements, and travelling on from perfec- 
 tion to perfection, — after having just looked abroad into 
 the works of its Creator, and made a few discoveries of his 
 infinite goodness, wisdom, and power, — must perish at her 
 first setting out, and in the very beginning of her in- 
 quiries ? 
 
 3. Poetic Composition .- Animated Styh. 
 ("Pure Tone:" "Moderate Force:" "Lively" Style.) 
 Speing. — Bryant. 
 Is this a time to be gloomy and sad, 
 
 When our mother Nature laughs around ; 
 When even the deep blue heavens look glad, 
 
 And gladness Ijjeathes from the blossoming grofind ? 
 
 The clouds are at play, in the azure space, 
 
 And their shadows at play on the bright green vale, 
 
 And here they stretch to the frolic chase. 
 And there they rgU on the easy gale. 
 
 And look at the broad-faced sun^ how he smiles 
 
 On the dewy eartl^ that smiles on his ray. 
 
 On the leaping waters and gay young isles, — 
 
 ,,Ay, look, and he '11 smile thy gloom^away. 
 
 4. Poetic Composition : Gay Style. 
 Spring. — Bryant. 
 There 's a dance of leaves in that aspen bower. 
 
 There 's a titter of winds in that beechen tree. 
 There 's a smile on the fruit, and a smile on the flower 
 And a laugh} from the brook that runs to the sea ! 
 
106 ORTHOPHONY. 
 
 II. " MEDIAN STRESS." 
 
 This form of " stress " Dr. Kush describes as " a gradual 
 strengtheniDg and subsequent reduction of the voice, similar 
 to what is called a swell (swell and diminish) in the lan- 
 guage of musical expression." 
 
 " Median stress " has the form of " effusive " utterance in 
 sublime, solemn, and pathetic emotions : it becomes " expul- 
 sive " in thosp which combine force with grandeur, as in 
 admiration, courage, authoritative command, indignation, 
 and similar feelings. But its effect is utterly incompatible 
 with the abruptness of " explosion," Its comparatively mu- 
 sical character adapts it, with special felicity of effect, to 
 the melody of verse, and the natural " swell " of po.etic ex- 
 pression. 
 
 This mode of " stress " is one of the most important in 
 its effect on language, whether in the form of speaking or 
 of reading. Destitute of its ennobling and expansive sound, 
 the recitation of poetry sinks into the style of dry prose, the 
 language of devotion loses its sacredness, the tones of ora- 
 tory lose their power over the heart. 
 
 There is a danger of this natural beauty of vocal expres- 
 sion being converted into a fault by being overdone. The 
 habit recognized under the name of " mouthing " has an ex- 
 cessively increased and prolonged " median swell " for one 
 of its chief characteristics. In this shape it becomes a 
 great deformity in utterance, — particularly when combined 
 with what is no infrequent concomitant, the faulty mode of 
 voice known as " chanting " or " singing." 
 
 The practice of " median stress," therefore, requires very 
 close attention. The spirit of poetry and the language of 
 eloquence — the highest effects of human utterance — 
 render it indispensable as an accomplishment in elocution. 
 But a chaste and discriminating ear is requisite to decida 
 the just degree of its extent. 
 
STRESS. 107 
 
 EXAMPLES OF "MEDIAN STKESS." 
 I. " EFFUSIVE " TTTTEEANCE. 
 
 1. Pathos. 
 
 3"PureTone:" "Subdued Force:" Gentlest fonn of "Median Stress, "- 
 a barely perceptible swell.) 
 
 In Memokiam. — Tennyson. 
 
 Calm is the morn without a sound, 
 
 Calm as to suit a calmer grief, 
 
 And only through the faded leaf 
 The chestnut pattering to the ground : 
 
 Calm and deep peace in this wide air, 
 These leaves that redden to the fall ; 
 And in my heart if calm at all, 
 
 If any calm, a calm despair : 
 
 Calm on the seas, and silver sleep, 
 And waves that sway themselves in rest, 
 And dead calm iu that noble breast 
 
 "Which heaves but with the heaving deep. 
 
 2. Solemnity. (" Swell " moderately increased.) 
 
 Night Thoughts. — Young. 
 
 The bell strikes one. "We take no note of time 
 
 But from its loss. To give it then a tongue, 
 
 Is wise in man. As if an angel spoke, 
 
 I feel the solemn sound. If heard aright, 
 
 It is the knell of my departed hours : 
 
 "Where are they ? "With the years beyond the food. 
 
 It is the signal that demands dispatch : 
 
 How much is to be done ! My hopes and fears 
 
 Start up alarm'd, and o'er life's narrow verge 
 
 Look down — on what ? A fathomless abyss ; 
 
108 ORTHOPHONY. 
 
 A dread eternity ! how surely mine ! 
 
 And can eternity belong to me, 
 
 Poor pensioner on the bounties of an hour? 
 
 f I, 3. Composure. 
 
 Cabdinal Wolset after his Downfall. — Shahe^eare. 
 
 Cromwell. How does your grace ? 
 
 Wolsey, Why well ; 
 
 Never so truly happy, my good Cromwell. 
 I know myself now ; and I feel within me 
 A peace above all earthly dignities, 
 A still and quiet conscience. The king has cured me, 
 I humbly thank his grace ; and from these shoulders. 
 These ruined pillars, out of pitn taken 
 A load w ould sin k a navy, — too much honor. 
 Oh, 't is a burden, Cromwell, 't is a burden, 
 Too heavy for a man that hopes for heaven. 
 
 4. Pathos and Sublimity. ( Full and prolonged " swell." ) 
 
 Tkeasuhes of the Deep. — Mrs. Bemans. 
 
 Yet niorg^! the biUflws and the depths have more ! 
 High hearts and brave are gathered to thy breasi ! 
 They hear not now the Ijoamiag waters roar, 
 The battle-thunders will not break their rest ; — 
 Keep thy red gold and gems, thou stormy grave — 
 Give back the true and brave ! 
 
 5. Solemnity, Sublimity, and Fervor. ( " Fullest swell." ) 
 Fkom the Book of Psalms. 
 O sing unto the Lord a new song ; for He hath done mar- 
 vellous things : his right hand and his holy arm hath gotten 
 Him the victory. Make a joyful noise unto the Lord, all 
 the earth : make a loud noise, and rejoice, and sing praisa 
 Sing unto the Lord with the harp ; with the harp, and the 
 voice of a psalm. "With trumpets and sound of cornet, make 
 
STRESS. 109 
 
 a joyful noise before the Lord the King. Let the sea roar, 
 and the fulness thereof; the world, and they that dwell 
 therein. Let the floods clap their hands : let the hills be 
 joyful together. 
 
 II. " EXPULSIVE " UTTERANCE. 
 
 " Pure Tone : " " Moderate " Force. 
 
 1. Grave Style. 
 
 (Gtentle and pure " Median Stress," without prolongation.) 
 
 The Neglect of Religion. — Alison. 
 
 The excuses of youth for the neglect of religion ar* 
 those which are most frequently ofiered and most easily 
 admitted. The restrictions of religion, though proper 
 enough for maturer age, are too severe, it is said, for this 
 frolicsome and gladsome period. Its consolations, too, they 
 do not want. Leave these to prop the feeble limbs of old 
 age or to cheer the sinking spirits of adversity. False and 
 pernicious maxim ! As if, at the end of a stated number of 
 years, a man could become religious in a moment ! As if 
 the husbandman, at the end of a summer, could call up a 
 harvest from the soil which he had never tilled ! As if man- 
 hood, too, would have no excuses ! And what are they ? 
 That he has grown too old to amend. That his parents 
 took no pains with his religious education, and therefore his 
 ignorance is not his own fault. That he must be making 
 provision for old age ; and the pressure of cares will allow 
 him no time to attend to the evidences, or learn the rules of 
 religion. Thus life is spent in framing apologies, in making 
 and breaking resolutions, and deferring amendment, till 
 death places his cold hand on the mouth open to make its 
 last excuse, and one more is added to the crowded congre- 
 gation of the dead. 
 
1110 OETHOPHONT. 
 
 2. Serious Style. 
 
 Tenderness. 
 
 A Brother's Love. — Browning. 
 
 Mildred, I do believe a^rotJl^'s love 
 For a sole sistgr must exceed them all ! 
 
 U^ 
 
 For see now, only see ! there 's no alloy 
 
 Of earth that creeps into the perfect'st gold 
 
 Of other loves — no gratitude to claim ; 
 
 You never gave her life — not even aught 
 
 That keeps life — never tended her, instructed, 
 
 Enriched her, — so your love can claim no right 
 
 O'er hers, save pure love's claim — that 's what I call 
 
 Freedo^_from earthliness. You '11 never hope 
 
 To be such friends, for instance, she and you, 
 
 As when you hunted cowslips in the woods, 
 
 Or ^lay§4 together in the meadow hay. 
 
 Oh, yes — with age, respect comes, and your worth 
 
 Is felt, there 's growing sympathy of tastes. 
 
 There 's ripened friendship, there 's confirmed esteem, 
 
 — Much head these make against the new-comer ! 
 The startling apparition — the strange youth — 
 Whom one half-hour's conversation with, or, say. 
 Mere gazing at, shall change (beyond all change 
 This Ovid ever sang about ! ) your soul — 
 
 — Her soul, that is, — the sister's soul ! With her 
 'T was winter yesterday ; now, all is warmth, Y 
 The green leaf's springing and the turtle's voice, 
 
 " Arise, and come away ! " Come whither ? — far 
 
 Enough from the esteem, respect, and all 
 
 The brother's somewhat insignificant 
 
 Array of rights ! all which he knows before — 
 
 Has calculated on so long ago 1 
 
 I think such love, (apart from yours and mine,) 
 
 Contented with its little term of life. 
 
STRESS. Ill 
 
 Intending to retire betimes, aware 
 How soon the back-ground must be place for it, 
 I think, am sure, a brother's love exceeds 
 All the world's in its unworldliness. 
 
 3. Delight. 
 
 The Baed. — Gray. 
 
 Fair laughs the morn, and soft the zephyr blows, 
 
 WhUe proudly rising o'er the azure realm, 
 In gallant trim the gilded vessel goes ; 
 
 Youth on the prow, and Pleasure at the helm. 
 
 4. Declamatory Force. 
 
 Besistance to Oppression Sheridan. 
 
 Shall we be told that the exasperated feelings of a 
 whole people, goaded and spurred on to clamor and resist- 
 ance, were excited by the poor and feeble influence of their 
 secluded princesses ? or that they could inspire this enthusi- 
 asm and this despair into the breasts of a people who felt 
 no grievance, and had suffered no torture ? What motive, 
 then, could have such influence in their bosoms? What 
 motive ! That which Nature, the common parent, plants in 
 the bosom of man, and which is congenial with, and makes 
 part of his being, — that feeling which tells him that man 
 was never made to be the property of man ; but that, when 
 through pride and insolence of power, one human creature 
 dares to tyrannize over another, it is a power usurped, and 
 resistance is a duty, — that principle which tells him that 
 resistance to power usurped is not merely a duty which he 
 owes to himself and to his 'neighbor, but a duty which he 
 owes to his God, in asserting and maintaining the rank 
 which He gave him in the creation ! — to that common God, 
 who, where He gives the form of man, whatever may be the 
 complexion, gives also the feelings and the rights of man, — 
 that principle which neither the rudeness of ignorance can 
 Btifle, nor the enervatica of refinement extinguish, — that 
 
112 OETHOPHONY. 
 
 principle which makes it base for a man to suffer when he 
 ought to act ; which, tending to preserve to the species the 
 original designations of Providence, spurns at the arrogant 
 distinctions of man and vindicates the independent quality 
 of his race. 
 
 5. Impassioned Force. 
 
 (A full and gushing " swell " of grief.) 
 
 Antony, befoee the Conspibatoes. — Shakespeare. 
 
 That I did love thee, Caesar, oh I 't is true. 
 If then thy spirit look upon us now, 
 Shall it not grieve thee, dearer than thy death. 
 To see thy Antony making his peace. 
 Shaking the bloody fingers of thy foes. 
 Most noble ! in the presence of thy corse ?, 
 Had I as many eyes as thou hast wounds, 
 "Weeping as fast as they stream forth thy blood. 
 It would become me better, than to close 
 In terms of friendship with thine enemies. 
 Pardon me, Julius ! — Here wast thou bayed, brave hart, 
 Here didst thou fall ; and here thy hunters stand, 
 Signed in thy spoil, and crimsoned in thylethe.- 
 O world ! thou wast the forest to this hart ; 
 And this, indeed, O world, the heart of thee ! 
 How like a deer, stricken by many princes, 
 Dost thou here lie ! 
 
 6. Shouting and Galling. 
 .The strongest "swell" of which the vqice is capahle, the note prolonged.) 
 
 ClKNA, AFTER THE ASSASSINATION OF C^SAR. — Skokespeart. 
 
 Liberty ! Freedom ! Tyranny is dead ! — 
 Run hence ! proclaim, cry it about the streets ! 
 
 Oassius. Some to the common pulpits ! and cry out, 
 lAherty, freedom, and enfranchisement ! 
 
STRESS. 113 
 
 III. "VANISHING STRESS." 
 
 The word " vanishing," in this use of it, is divested en- 
 tirely of its usual meaning. It refers, as a technical term, 
 merely to the last audible moment, or vanish of a vocal 
 sound, — as the word " vanish " was technically used in 
 speaking of the " vanishing movement " in the utterance of 
 a sound or the enunciation of a letter. 
 
 The force of utterance in the expression of emotions 
 marked by " vanishing stress " begins with a light and gen- 
 tie, and ends with a heavy and violent sound, which leaves 
 off instantly and abruptly. 
 
 It is exemplified, in its moral effect, in the language of a 
 child stung to a high pitch of impatience or peevish feeling, 
 and uttering, in the tone of the most violent ill-temper, its 
 appropriate " I won't ! " or " You 'shan't ! " In such cir- 
 cumstances the " explosion " of passion is deferred, or 
 hangs for a moment on the ear, till the " vanish " or final 
 part of the sound bursts out from the chest, throat, and 
 mouth with furious vehemence ; leaving, in its abrupt ter- 
 mination, an effect directly contrary to the dying wail of 
 grief, or the gentle vanish of the tone of love. 
 
 The obvious preparation of the organs for the vocal effect, 
 in the expression of " vanishing stress," implies its compar- 
 ative dependence on volition. Hence it is the natural 
 utterance of determined purpose, of earnest resolve, of stern 
 rebuke, of contempt, of astonishment and horror, of fierce 
 and obstinate will, of dogged sullenness of temper, of stubborn 
 passion, and all similar moods. It is the language, also, of 
 peevishness and irnpatience, and, sometimes, of excessive 
 grief. 
 
114 OBTHOPHONT. 
 
 EXAMPLES OF "VANISHING STRESS." 
 
 1. Determined Purpose and Earnest Resolve. 
 
 ("Pectoral Quality:" "Declamatory" Force: Bold "Stress.") 
 
 Webster, os Freedom or Debate. 
 
 On such occasions, I will place myself on the extreme 
 
 boundary of my right, and bid defiance to the arm that 
 
 would push me from it. 
 
 2. ("Quality" and Force, as in Examplel: "Stress " more deliberate.) 
 Otis, against "Wkits of Assistance." 
 Let the consequences be what they will, I am deter- 
 mined to proceed. The only principles of public conduct 
 which are worthy of a gentleman or a man, are, to sacrifice 
 estate, health, ease, applause, and even life, at the sacred 
 call of his country. 
 
 3. Shame and Self- Reproach. 
 (" Aspirated Quality : " "Loud" Force: Emphatic " Vanishing Stress.") 
 Cassio. — Shakespeare. 
 I will rather sue to be despised, than to deceive so good 
 a commander, with so slight, so drunken, and so indiscreet 
 an officer. Drunk! and speak parrot? and squabble? 
 swagger? swear? and discourse fustian with one's own 
 shadow ? O thou invisible spirit of wine, if thou hast no 
 name to be known by, let us call thee — devil ! 
 
 4. Stern Rebuke. 
 
 ("Aspirated Pectoral Quality:" " Impassioned " Force : Vehement 
 
 "Stress.") 
 
 Kxsa Hemry V., to Lord Scroop oh the detection of his Trea.' 
 
 soH. — ShaJcespeare. 
 
 But oh .' 
 "What shall I say to thee. Lord Scroop, thoa cruel, 
 Ungrateful, savage, and inhuman creature ! 
 Thou that didst bear the keys of all my counsels, 
 That knew'st the very bottom of my soul, 
 That almost might'st have coined me into gold, 
 Wouldst thou have practised on me for thy use? 
 
STRESS. 115 
 
 5. Violent Grief and Desperation. 
 
 J" Aspirated Quality:" " Impassioned " Force : Violent "Stress.") 
 EoMEO's Death. — Shakespeare. 
 
 Oh, here 
 Will I set up my everlasting rest; 
 And shake the yoke of inauspicious stars 
 From this world-wearied flesh. — Eyes, look your last 2 
 Arms, take your last embrace ! and lips, oh, you 
 The doors of breath, seal with a righteous kiss 
 A dateless bargain to engrossing death ! — 
 Come, bitter conduct, come unsavory^guide ! 
 Thou desperate pilot, now at once run on 
 The dashing rocks thy seasick, weary bark ! 
 
 6. Astonishment and Horror. 
 
 (Extremely "Aspirated Pectoral Quality:" "Impassioned" Force: 
 
 Excessive " Stress.") 
 
 Macduff, ok discovering the Mubder of Duncan. — Shakespeare. 
 Oh ! horror ! horror ! horror ! — Tongue nor heart, 
 Cannot conceive, nor name thee ! 
 
 Confusion now hath made his masterpiece ! 
 Most sacrilegious murder hath broke ope 
 The Lord's anointed temple, and stole thence 
 The life o' the building. 
 
 Approach the chamber, and destroy your sight 
 With a new Gorgon ! 
 
 7. Fierce and Stubborn Will. 
 
 "Aspirated, Pectoral, and Gruttural Quality:" "Impassioned" Vehoi 
 mence : Excessive "Stress.") 
 
 Shtlock, refusing to listen to Antonio. — Shakespeare. 
 
 I '11 have my bond ; I wUl not hear thee speak. 
 
 I '11 have my bond ; and therefore speak no more. 
 
116 OETHOPHONY. 
 
 I 'II not be made a soft and dull-eyed fool, 
 To shake the head, relent, and sigh, and yield 
 To Christian intercessors. Follow not, 
 I '11 have no speaking ! I will have my bond." 
 
 8. Impatience. 
 
 (Expressive elements as above, but increased.) 
 HoTSPUK MADDENED AGAINST THE KiMG. — Shahespearc. 
 
 Wor. Those same noble Scots, 
 
 That are your prisoners, — 
 
 Hot. I '11 keep them all ; 
 
 By heaven, he shall not have a Scot of them. 
 No, if a Scot would save his soul, he shall not. 
 I '11 keep them, by this hand. 
 
 Wor. You start away. 
 
 And lend no ear unto my purposes. — 
 Those prisoners you shall keep. 
 
 Hot. Nay, I will ; that 's flat. — • 
 
 He said, he would not ransom Mortimer ; 
 Forbade my tongue to speak of Mortimer ; 
 But I will find him when he lies asleep, ^ 
 And in his ear I '11 holla — Mortimer ! 
 Nay, 
 
 I '11 have a starling shall be taught to speak 
 Nothing but Mortimer, and give it him, 
 To keep his anger still in motion. 
 
 IV. " COMPOUND STRESS." 
 
 This designation is applied to that form of " stress " 
 which throws out the voice forcibly on the first and the 
 last part of a sound, but slights, comparatively, the inter- 
 mediate portion. It is, then, the application of a " radical " 
 and a "vanishing" stress on the same sound, without an 
 intervening " median." 
 
 It is the natural mode of " expression," in the utterance 
 
STRESS. 117 
 
 of surprise, and sometimes, though less frequently, of other 
 emotions, as contempt and mockery, sarcasm and raillery. 
 The repetition of the exclamation indeed ! with the voice 
 of extren\p surprise, and, with the rising inflection, will 
 show the use of compound stress upon the syllable deed. 
 
 The careful and repeated practice of " compound stress " 
 on elements, syllables, and words, should accompany the 
 repetition of the following examples. To give these last, 
 however, their true character and fuU effect, the imagina- 
 tion must be wholly given up to the supposed situation of 
 the speaker, so as to receive a full sympathetic impression 
 of the feeling to be uttered. Vivid emotion only can 
 prompt true expressive tone. 
 
 EXAMPLES OF "COMPOUND STRESS." 
 
 1. Extreme Surprise. 
 
 ("Aspirated, Guttural, and Oral Quality:" "Impassioned" Force.) 
 
 Queen Constance, when confounded with the intelligence of 
 
 THE UNION op LEWIS AND BLANCHE, AND THE CONSEQUENT IHJUKY 
 
 TO HER SON Akthur. — Shakespeare. 
 
 Gone to be married ! Gone to swear a peace ! 
 False blood to false blood joined ! Gone to be friends ! 
 Shall Lewis have Blanche, and Blanche these provinces ? 
 It is not so ; thou hast niiss^gke, roisheard, — 
 Be well advised, tell o'er thy tale again : 
 It j^annQt be ; — thou dost but say 't is so. 
 
 2. Surprise, Perplexity, and Contempt. 
 The examples of "compound stress" occur in the words 
 
 WHICH the SERVANT REPEATS AFTER CORIOLANUS. He HAS EN- 
 TERED, POORLY CLAD, AND UNRECOGNIZED, THE MANSION OF AUFID- 
 lUS, AND IS ILL RECEIVED BY THE DOMESTICS, WHOM HE TREATS 
 
 WITH HARSHNESS AND DISDAIN. — Shalce^eart. 
 Servant. "Where dwellest thou ? 
 Goriolanus. Under the canopy. 
 Serv. Under the canopy ! 
 Cor. Ay ! 
 
118 ORTHOPHONY. 
 
 Serv, Where 's that ? 
 Gor. T the city of kites and crows. 
 Serv. 1' the city of kites and crows ! — (What an ass 
 it is !) — Then thou dwellest with daws, too ? , 
 Cor. No : I serve not thy master. 
 
 3. Indignant Astonishment. 
 Beutcs, to Cassius. — Shakespeare. 
 ("Orotund Quality:" "Impassioned" Force: Vehement " Stress.") 
 Shall one of us that struck the foremost man 
 Of all this world, but for supporting robbers, 
 Contaminate our fingers with base bribes, 
 And sell the mighty space of our large honors 
 For so much trash as may be grasped thus ? 
 I 'd rather be a dog, and bay the moon. 
 Than such a Roman ! 
 
 V. "thorough steess." 
 
 In this form, the syllables, as the term implies, are marked 
 with force evenly throughout, upon the opening, middle, 
 and close of each sound. 
 
 The " thorough stress " is the natural mode of utterance 
 in powerful emotion of that kind which seems, as it were, 
 to delight in full and swelling expression, and to dwell upon 
 and amplify the sounds of the voice. 
 
 " Thorough stress " is, accordingly, the characteristic 
 mode of " expression " in the utterance of rapture, joy, 
 triumph, and exultation, lofty command, indignant emotion, 
 disdain, excessive grief, or whatever high-wrought feeling 
 seems for the time to wreak itself on expressive sound. It 
 is obviously the language of extreme or impassioned feeling 
 only. It abounds, accordingly, in lyric and dramatic poetry. 
 It is found, however, in all vehement declamation in which 
 the emotion is sustained by reflective sentiment, as in the 
 excitement of virtuous indignation and high-souled contempt 
 
STRESS. 119 
 
 " Thorough stress " is one of the most powerful weapons 
 of oratory, as well as one of the most vivid effects of nat- 
 ural feeling. Indiscriminately used, it becomes ineffective, 
 as savoring of the habit and mannerism of the individual, 
 rather than of just and appropriate energy. In such cir- 
 cumstances it becomes rant ; and when joined, as it some- 
 times is, to the habit of " mouthing," it can excite nothing 
 but disgust in a hearer of well-regulated taste. 
 
 EXAMPLES OF "THOROUGH STRESS." 
 
 1. Courage. 
 
 ("Orotund Quality:" " Impassioned " Force : Bold "Stress.") 
 
 Bannockbukn. — Burns. 
 
 Lay the proud usurpers low ! 
 Tyrants fall in every f oV ! 
 Liberty 's in every blow ! 
 Forward ! let us do or di^ ! 
 
 Waeeen'b Addeess. — Pierpont. 
 Stand ! the ground 's your own, my braves ! 
 
 Will ye give it up to slaves ? 
 Will ye look for greener graveS"? 
 
 Hope ye mercy stUT? ^ 
 What 's the mercy despots feet? 
 
 Hear it in that battle peal ! 
 Bead it on yon bristling steel ! 
 
 Ask it — ye who w3l. 
 
 2. Patriotic Ardor ; Lyric SlyU, 
 (Expressive elements as above, but increased in degree.) 
 Old Ibonsides. — Holmes. 
 Nail to the mast her holy flag. 
 Set every threadbare sail ; 
 And give her to the god of storms. 
 The lightning and the gale ! 
 
120 ORTHOPHONY. 
 
 3. Indignation. 
 
 ("Aspirated " Harsh Quality: Violent Force : Emphatic "Stress.") 
 
 Hamlet to his Mother. — Shakespeare. 
 
 Look you now, what follows. 
 Here is your husband, like a mildewed ear, 
 Blasting his wholesome brother. Have you eyes ? 
 Could you on this fair mountain leave to feed, 
 And batten on this moor ? Ha ! have you eyes ? 
 You cannot call it love. And what judgment 
 Would step from this to this ? What devil was 't 
 That thus hath cozened you at hood-man blind ? 
 O shame ! where is thy blush ! 
 
 4. Vehement Indignation. 
 ("Expulsive Orotund:" " Declamatorj' " Force: Vehement "Stress.") 
 Chatham's Eebuke of Lokd Suffolk. 
 These abominable principles, and this more abominable 
 avowal of them, demand the most decisive indignation. I 
 call upon that right reverend and this most learned Bench to 
 vindicate the religion of their God, to defend and support 
 the justice of their country. I call upon the bishops to in- 
 terpose the unsullied sanctity, of their lawn, upon the judges 
 to interpose the purity of their ermine, to save us from this 
 pollution. I call upon the honor of your lordships to rev- 
 erence the dignity of your ancestors, and to maintain your 
 own. I call upon the spirit and humanity of my country to 
 vindicate the national character. 
 
 5. Disdain. 
 ("Expulsive Orotund:" "Impassioned" Force: Powerful "Stress.") 
 Satan to Ithuriel and Zephon. — Milton. 
 " Know ye not then," said Satan, filled with scorn, 
 " Know ye not me ? — Ye knew me once no mate 
 For you ; there sitting where ye durst not soar : 
 Not to know me argues yourselves unknown, — 
 The lowest of your throng." 
 
STRESS. 121 
 
 TREMOR, OR " INTERMITTENT STRESS." 
 
 When by the hysterical or excessive force of impassioned 
 feeling the breath is agitated into brief successive jets, in- 
 stead of gushing forth in a continuous stream of unbroken 
 sound, a tremor, or tremulous effect of voice, is produced, 
 which breaks its " stress " into tittles or points, — much in 
 the same way that a row of dots may be substituted to the 
 eye for one continuous line. The human voice, in the case 
 now in view", is as appropriately said to " tremble," as when 
 we apply the term to the shivering motion of the muscular 
 frame. 
 
 The " tremor " of the voice is the natural expression of 
 all emotions which, from their peculiar nature, are attended 
 with a weakened condition of the bodily organs ; such as 
 extreme feebleness from age, exhaustion, sickness, fatigue, 
 grief, and even joy and other feelings, in which ardor or ex- 
 treme tenderness predominates. 
 
 EXAMPLES OF TREMOR. 
 
 1. 27ie Tremor of Grief and Feebleness. 
 
 (" Pure Tone: " "Subdued " Force: Tremulous Utterance throughout.) 
 
 WoLSEY. — Shahespeare. 
 
 O father Abbbt, 
 An old man, broken with the storms of state, 
 Is come to lay his weary bone^lamoug ye ; 
 Give him a little earth for charity. 
 
 2. Exhaustion and Fatigue. 
 
 ("Aspirated Pectoral and Oral Quality:" "Suppressed" Force: "Tre- 
 mor" throughout.) 
 
 As YOU LIKE IT. — Shakeipeare. 
 
 Adam {to Orlando). Dear master, I can go no farther: 
 
 Oh ! I die for food ! Here lie I down, and measure out my 
 
 grave. Farewell .' kind master. 
 
122 ORTHOPHONY. 
 
 (" Pure Tone : " " Subdued " Force of pathos : occasional " Tremor " of 
 tenderness.) 
 
 Orlando (to Adam). Why, how now, Adam! no 
 greater heart in thee ? Live a Uttle ; conjfort a little ; cheer 
 thyself a little. For my sake be comfortable ; hold death 
 a while at the arm's end; I will here be with thee presently. 
 Well said ! thou look'st cheerily : and I '11 be with thee 
 quickly. Yet thou liest in the bleak air ; come, I will bear 
 thee to some shelter. Cheerly, good Adam. 
 
 3. Sickness. 
 
 Kdsg John, on the eve of his death, to Faulconbeldoe. — 
 Shakespeare. 
 
 ("Aspirated Pectoral Quality." "Suppressed" Force: Gasping and 
 Tremulous Utterance.) 
 
 O cousin, thou art come to set mine eyetj 
 My heart hath one poor string to stay it by, 
 Which holds but till thy news be uttered ; 
 And then jail this thou seest, is but a clod 
 And module of confounded royalty. 
 
 4. Excessive Grief. 
 
 Eve to Adam, aptee theie fall and doom. — Milton. 
 
 C Aspirated Pectoral and Oral Quality:" " Impassioned " Force : Weep- 
 ing Utterance: "Tremor" throughout.) 
 
 Forsake me not thus, Adam : witness heaven 
 What love sincere, and reverence in my heart 
 I bear thee, and unweeting have offended. 
 Unhappily deceived : thy suppliant, 
 I beg, and clasp thy knees ; bereave me not. 
 Whereon I live, thy gentle looks, thy aid, 
 Thy counsel, in this uttermost distress. 
 My only strength and stay ; forlorn of thee 
 Whither shall I betake me, where subsist ? 
 
STRESS. 123 
 
 5, Extreme Pity. 
 
 ("Pure Tone:" " Impassioned " Force : Weeping and Tremnloui 
 Utterance.) 
 
 The Tempest Shakespeare. 
 
 Miranda {to her father). Oh! I have suffered 
 
 With those that I saw suffer ! a brave vessel, 
 
 Who had, no doubt, some noble creatures in her 
 
 Dashed all to pieces. Oh 1 the cry did knock 
 
 Against my very heart ! Poor souls ! they perished. 
 
 Had I been any god of power, I would 
 
 Have sunk the sea within the earth, or ere 
 
 It should the good ship so have swallowed, and 
 
 The freighting souls within her ! 
 
 Teachers who are instructing classes will find great aid in 
 the use of the black-board, for the purpose of visible illus- 
 tration, in regard to the character and effect of the different 
 species of "stress." Exercises such as the following may 
 be prescribed for simultaneous practice in classes. 
 Q' Radical Stress.") [> All" 
 (" Vanishing Stress.") <] 
 (" Median Stress.") <^ 
 (" Compound Stress.") r><^ 
 (" Thorough Stress.") t^ 
 (" Tremor.") .... 
 
 To commence with a definite idea of the mode of " stress " 
 in each instance, set out from the standard of a given emo- 
 tion decidedly marked, and let the degree of emotion and 
 the force of utterance be increased at every stage. Thus, 
 let. ^ represent the " radical stress " on the sound of a, in 
 the word all, in the following example of authoritative com- 
 mand: "Attend all !" — <^ the "vanishing stress" on the 
 same element, in the following example of impatience and 
 displeasure: "I said all, — not one or two." — <^> the 
 " median stress " on the same element, in reverence and 
 adoration: "Join all ye creatures in His praise!" — • 
 
 (Repeat six times in suc- 
 cession, with constantly 
 increasing force.) 
 
124 ORTHOPHONY. 
 
 px^ the " compound stress," in astonishment and surprise : 
 " What ! ALL ? did they all fail ? " — O the " thorough 
 
 stress," in defiance : " Come one — come all ! " — 
 
 the " tremor " of sorrow : " Oh ! I have lost you all ! " — 
 The practice of the examples and the elements should 
 extend to the utmost excitement of emotion and force 
 of voice. Keview tables of elements with all forms of 
 " stress." 
 
 CHAPTER VII. 
 
 "MELODY" 
 
 The word " melody " is applied to speech as in musiCj 
 to designate the successive .notes of the voice in reading^ or 
 discoursBj, 
 
 Thejjseaf this term presupposes a certain "pitch," or 
 initial note, whether predominating in a passage, or merely 
 , commencing it, and to which the subsequent sounds stand in 
 ', the relation of higher or lower or identical. There is, how- 
 ever, a marked difference between the "melody" of music 
 "^ and that of speech. The former has comparatively the pleas- 
 • ing effect of poetry : the latter may possess a degree of this 
 -^charm, but it may, on the contrary, possess no such beauty : 
 it may exhibit a succession of the most harsh and grating 
 sounds, — or it may be but a succession of articulations, in 
 the utterance of a fact addressed exclusively to the under- 
 standing. In every case, however, the relations of sounds 
 to each other, as measured by the musical scale, can be dis- 
 tinctly traced ; and, on this account, the " melody of speech," 
 or of " reading," is a phrase as truly significant as that oi 
 the " melody " of a strain of music. 
 
PITCH. 125 
 
 Pitch. 
 
 This term relates to the voice as high or low on the mu- 
 sical scale, and the study of " pitch " as an element of " mel- 
 ody " leads us accordingly to a classification of emotions as 
 characterized by comparatively high or low notes. The 
 musician, when speaking of a strain of melody, can conven- 
 iently refer to a precise note of the scale, by the exact let- 
 ter which designates it, and which is produced by a given 
 number of vibrations of sound, which may be scientifically 
 marked. The elocutionist, on the contrary, derives his 
 scale from feeling rather than from science or external rule. 
 The natural pitch of human voices varies immensely, not 
 only with sex and age, but in the accustomed notes of one 
 individual, as differing from those of another. 
 
 Due attention may, no doubt, enable the elocutionist to 
 ascertain, in a given case, the precise note of the scale re- 
 quired according to the organic formation and the vocal 
 habit of an individual. But such a note might prove too 
 low for the compass of voice in another person, or quite 
 too high to be appropriate or impressive in another still, 
 whose voice is naturally low-pitched. 
 
 The language of elocution is accordingly limited to the 
 familiar designation of "low" and "very low," "high" and 
 " very high," when the scale is traced to any great extent 
 beyond the " middle " or average pitch of utterance. This 
 indefinite reference, however, is usually sufficient for the 
 purposes of reading and speaking, which regard a general 
 sympathetic effect, or feeling, rather than any which re- 
 quires the precise measure of science. 
 
 1. " MIDDLE " PITCH. 
 
 The " middle " pitch of the voice is that of our habitual ut- 
 terance on all occasions of ordinary communication in con- 
 versation or address. It is the natural note of unimpassioned 
 Htterance, seeking to find its way to the understanding 
 
126 v-- ' ' ORTHOPHONY. 
 
 rather than to the heart, and hence avoiding high or lovf 
 pitch, as belonging to the language of feeling or of fancy. 
 
 The proper standard of middle pitch, for the purpose of 
 vocal practice, is that of serious and earnest conversation in 
 a numerous circle. 
 
 EXAMPLES OF "MIDDLE" PITCH. 
 1. Serious Didactic Style. 
 
 ("Pare Tone:" "Moderate" Force: "UnimpassionedBadical," and gen- 
 tle "Median Stress.") 
 
 Pleasures op Khowledgk. — Alison. 
 How different is the view of past life, in the man who 
 is grown old in knowledge and wisdom, from that of him 
 who is grown old in ignorance and folly ! The latter is like 
 the owner of a barren country, that fills his eye with the 
 prospect of naked hills and plains, which produce nothing 
 either profitable or ornamental : the former beholds a beau- 
 tiful and spacious landscape, divided into delightful gardens, 
 green meadows, and fruitful fields, and can scarce cast his 
 eye on a single spot of his possessions that is not covered 
 with some beautiful plant or flower. 
 
 2. Serious Narrative. 
 
 {"Quality," "Force," and "Stress," as in the preceding example.) 
 Anecdote. 
 
 Raleigh's cheerfulness, during his last days, was so great, 
 and his fearlessness of death so marked, that the Dean of 
 Westminster who attended him, wondering at his deport- 
 ment, reprehended the lightness of his manner. But Ra- 
 leigh gave God thanks that he had never feared death ; 
 for it was but an opinion and imagination ; and, as for the 
 manner of death, he had rather die so than jm a burning 
 fever ; that some might have made shows outwardly ; but ho 
 felt the joy within. 
 
PITCH. 127 
 
 3. Serious Description. 
 
 f" Quality," etc., as before.) 
 Sea-votaging. — Irving. 
 I have said that at sea all is vacancy. I should correct 
 the expression. To one given up to day-dreaming, and fond 
 of losing himself in reveries, a sea-voyage is full of sub- 
 jects for meditation ; but then they are the wonders of the 
 deep, and of the air, and rather tend to abstract the mind 
 from worldly themes. I delighted tp loll over the quarter- 
 railing, or climb to the main-top on a calm day, and muse 
 for hours together on the tranquil bosom of a summer's sea ; 
 or to gaze upon the piles of golden clouds just peering above 
 the horizon, fancy them some fairy realms, and people them 
 with a creation of my own ; or to watch the gentle, undulat- 
 ing billows rolling their silver volumes, as if to die away 
 on those happy shores. 
 
 4. Animated Jffiarrative Style. 
 
 ("Pure Tone: ""Moderate" Force: Vivid "Radical Stress.") 
 
 Julius Cjesas. — J. S. Knowles. 
 To form an idea of Csesar's energy and activity, ob- 
 serve him when he is surprised by the Nervii . His soldiers 
 are employed in pitching their camp. — The ferocious en- 
 emy sallies from his concealment, puts the Roman cavalry to 
 the rout, and falls upon the foot. Everything is alarm, con- 
 fusion, and disorder. Every one is doubtful what course to 
 take, — every one but Caesar ! He causes the banner to be 
 erected, — the charge to be sounded, — the soldiers at a 
 distance to be recalled, — all in a monient. He runs from 
 place to place ; — his whole frame is in action ; — his 
 words, his looks, his motions, his gestures, exhort his men to 
 remember their former valor. He draws them up, and 
 causes the signal to be given, — all in a moment. The con- 
 test is doubtful and dreadful : two of his legions are en- 
 tirely surrounded. He seizes a buckler from one of the 
 
128 ^'^f^^^'i 
 
 private men, — puts himself at the head of his brokea 
 troops, — darts into the thick of the battle, — rescues his 
 legions, and overthrows the enemy ! 
 
 5. Animated Didactic Style, in Public Discourse. 
 
 ("Expulsive Orotund:" "Moderate" Force: Energetic " Radical " and 
 
 "Median Stress.") 
 
 Virtue. — Fawcett. 
 
 Blood, says the pride of life, is more honorable than 
 money. Indigent nobility looks down upon untitled opu- 
 lence. This sentiment pushed a little farther, leads to the 
 point I am pursuing. Mind is the noblest part of man ; 
 and of mind, virtue is the noblest distinction. 
 
 Honest man, in the ear of Wisdom, is a grander name, 
 is a more high-sounding title than peer of the realm, or 
 prince of the blood. According to the eternal rules of 
 celestial precedency, in the immortal heraldry of Nature 
 and of Heaven, Virtue takes place of all things. It is the 
 nobUity of angels ! It is the majesty of God ! 
 
 II. " LOVr " PITCH. 
 
 This designation applies to the utterance of those feel- 
 ings which we are accustomed to speak of as " deeper " 
 than ordinary. Low notes seem the only natural language 
 of grave emotions, such as accompany deeply serious and 
 impressive thoughts, grave authority, or austere manner. 
 
 EXAMPLES OF "LOW" PITCH. 
 
 1. Grave and Impressive Thought. 
 
 ("Pure Tone:" "Moderate" Force: " Unlmpassioned Radical" and 
 Moderate "Median Stress.") 
 
 AoE. — Finlayson. 
 That no man can promise to himself perpetual exemp- 
 tion from suffering, is a truth obvious to daily observation. 
 Nay, amid the shiftings of the scene in which we are 
 placed, who can say\that, for one hour, his happiness ii 
 
PITCH. 129 
 
 secure ? The openings through which we may be assailed 
 are so numerous and unguarded that the very next moment 
 may see some message of pain piercing the bulwarks of our 
 peace. Our body may become the seat of incurable disease. 
 Our mind may become a prey to unaccountable and im- 
 aginary fears. Our fortune may sink in some of those rev- 
 olutionary tempests which overwhelm so often the treasures 
 of the wealthy. Our honors may wither on our brow, 
 blasted by the slanderous breath of an enemy. Our friends 
 may prove faithless in the hour of need, or they may be 
 separated from us forever. Our children, the fondest hope 
 of our hearts, may be torn from us in their prime ; or they 
 may wound us still more deeply by their undutLfulness and 
 misconduct. 
 
 2. Rebuke. 
 
 ("Vanishing Stress:" "Expulsive Orotund:" "Declamatory" Force.) 
 Cabdinal Wolsey to Nobles. — Shakespeare. 
 Now I feel 
 Of what coarse metal ye are moulded, — envy. 
 How eagerly ye follow my disgraces, 
 As if it fed ye ! And how sleek and wanton 
 Ye appear in everything may bring my ruin ! 
 Follow your envious courses, men of malice ; 
 You have Christian warrant for them, and, no doubt. 
 In time will find their fit reward. 
 
 3. Grave, Austere, Authoritative Manner. 
 <" Expulsive Orotund : " "Declamatory" Force; Firm "Median Stress.") 
 Cato, in beply to C..esae's message thkotjgh Decius. — Addison. 
 My life is grafted on the fate of Rome. 
 Would he save Cato, bid him spare his country. 
 Bid him disband his legions. 
 Restore the commonwealth to liberty, 
 Submit his actions to the public censure, 
 And stand the judgment of a Roman Senate, — 
 Bid him do this, and Cato is his friend. 
 9 
 
130 ORTHOPHONY. 
 
 III. "VERT LOTV" PITCH. 
 
 This designation applies to the notes of thoso emotions 
 which are of the deepest character, and which are accord- 
 ingly associated with the deepest utterance. These are 
 chiefly, the following : deep solemnity, awe, amazement, hor- 
 ror, despair, melancholy, and deep grief. 
 
 EXAMPLES OF "VERT LOW" PITCH. 
 
 1. Deep Solemnity and Awe. 
 
 l"Effusive and Expulsive Orotund:" "Subdued" Force: "Median 
 Stress.") 
 
 Hamlet's Soliloquy. — Shakespeare. 
 To be, or not to be, that is the question : 
 Whether 't is nobler in the mind, to suffer 
 The slings and arrows of outrageous fortune. 
 Or to take arms against a sea of troubles. 
 And by opposing end them ? To die, — to sleep, — 
 No more ; and, by a sleep, to say we end " 
 The heart-ache, and the thousand natural shocks 
 That flesh is heir to, — 't is a consummation 
 Devoutly to be wished^ To die, — to sleep ; — 
 To sleep ! perchance to dream; — ay, there 's the rub 5 
 For in that sleep of death what dreams may come, 
 When we have shuffled off this mortal coil. 
 Must give us pause : there 's the respect, 
 That makes calamity of so long life : 
 For who would bear the whips and scorns of time, * 
 The oppressor's wrong, the proud man's contumely. 
 The pangs of despised love, the law's delay. 
 The insolence of office, and the spurns 
 That patient merit of the unworthy takes, 
 When he himself might his quietus make 
 With a bare bodkin ? 
 
PITCH. 181 
 
 2. Deep Solemnity, Sublimity, and Awe. 
 
 t" Effusive and Expulsive Orotund : " " Subdued and Suppressed ' ' Force : 
 "Median Stress.") 
 
 Cato, in Soliloquy. — Addison. 
 
 It must be SO ; — Plato, thou reasonest well ! 
 
 Else, whence this pleasing hope, this fond desire, 
 
 This longing after immortality ? 
 
 Or whence this secret dread, and inward horror, 
 
 Of falling into nought ? "Why shrinks the soul 
 
 Back on herself, and startles at destruction ? 
 
 'T is the Divinity that stirs within us : 
 
 'T is Heaven itself that points out an hereafter, 
 
 And intimates Eternity to man. 
 
 Eternity ! — thou pleasing, — dreadful thought! 
 
 Through what variety of untried being, 
 
 Through what new scenes and changes must we pass! 
 
 The wide, the, unbounded prospect lies before me ; 
 
 But shadows, clouds, and darkness rest upon it. 
 
 IV. "high" pitch. 
 
 The higher portion of the musical scale is associated with 
 the notes of brisk, gay, ^ccA joyous emotions, with the excep- 
 tion of the extremes of fain, grief, and fear, which, from 
 their preternaturally exciting power, compress and render 
 rigid the organic parts that produce vocal sound, and cause 
 the peculiarly shrill, convulsive cries and shrieks which ex- 
 press those passions. 
 
 To give the voice suppleness, pliancy, and mobility, much 
 attention must be bestowed on practice for the regulation of 
 pitch. The following examples should be carefully repeated 
 in conjunction with the elements and detached words, tUl 
 the " high pitch " oijoy is perfectly at command. 
 
132 OETHOPHONY. 
 
 EXAMPLES OF "HIGH" PITCH. 
 
 1. Delight. 
 
 Ode to a Skylark. — Shelley. 
 
 ("Expulsive Orotund:" "Impassioned" Force: Expulsive "Median 
 
 Stress.") 
 
 Hail, to thee, blithe spirit ! 
 
 Bird thou never wert. 
 That from Heaven, or near it, 
 Pourest thy full heart 
 In profuse strains of unpremeditated art. 
 
 Higher still, and higher. 
 
 From the earth thou springest, 
 Lite a cloud of fire ; 
 The deep blue thou wingest, 
 And singing stUl, dost soar, and soaring, ever singest 
 
 2. 
 
 ("Pure Tone:" " High " Pitch : "Loud" Force.) 
 The Ode on the Passions. — Collins. 
 But oh ! ffow altered v?as its sprightlier tone, 
 When Cheerfulness, a nymph of healthiest hue, -r- 
 
 Her bow against her shoulder flung. 
 Her buskins gemmed with morning dew, — 
 
 Blew an inspiring air, that dale and thicket rung, 
 The hunter's call, to Faun and Dryad known. 
 
 The oak-crowned Sisters, and their chaste-eyed Queen, 
 Satyrs and Sylvan boys, were seen 
 Peeping from forth their alleys green : 
 Brown Exercise rejoiced to hear. 
 And Sport leaped up, and seized his beechen spear. 
 
 Last came Joy's ecstatic trial : ^ 
 He, with viny crown advancing. 
 First to tho lively pipe his hand addressed ; — 
 But soon ho saw the brisk awakening viol, 
 
PITCH. 133 
 
 Whose sweet entrancing voice he loved the best. 
 
 They would have thought, who heard the strain, 
 They saw in Tempo's vale her native maids, 
 Amidst the festal sounding shades 
 
 To some unwearied minstrel dancing; 
 WhUe, as his flying fingers kissed the strings, 
 
 Love framed with Mirth a gay fantastic round, — 
 
 Loose were her tresses seen, her zone unbound ; 
 And he, amid his frolic play. 
 As if he would the charming air repay. 
 Shook thousand odors from his dewy wings. 
 
 3. Exultation. 
 (" Quality," Force, and " Stress," as aboTe, but more fully given.) 
 The Hymn of the Stabs. — Bryant. 
 Away, away ! through the wide, wide sky, — 
 The fair blue fields that before us lie, — 
 Each sun with the worlds that round him roll. 
 Each planet, poised on her turning pole. 
 With her isles of green, and her clouds of white, 
 And her waters that lie like fluid light ! 
 
 For the source of glory uncovers his face, 
 And the brightness o'erflows unbounded space ; 
 And we drink, as we go, the luminous tides 
 In our ruddy air and our blooming sides ; 
 "EcTl yonder the living splendors play ! 
 Away ! on our joyous path, away ! 
 
 Away, away ! Li our blossoming bowers, 
 
 In the soft air wrapping these spheres of ours, 
 
 In the seas and fountains that shine with morn. 
 
 See Love is brooding, and Life is born ; 
 
 And breathing myriads are breaking from night | , 
 
 To rejoice like us, in motion and light 1 ,/ . 
 
134 OKTHOPHONY. 
 
 V. "very high" pitch. 
 
 The extreme of the upper part of the musical scale, as 
 far as it is practicable to individuals, in the management of 
 the voice, is the natural range of pitch for the utterance of 
 ecstatic and rapturous or uncontrollable emotion. It belongs, 
 accordingly, to high-wrought lyric and dramatic passages, in 
 strains of joy, grief, astonishment, delight, tenderness, and 
 the hysterical extremes of passionate emotion generally. 
 
 The following examples, together with the elements and 
 selected words, should be repeated, as daily exercises, for 
 the purpose of training the organs to easy execution on 
 high notes. 
 
 EXAMPLES OF "VERY HIGH" PITCH. 
 
 1. Ecstatic Joy. 
 
 ("Expulsive Orotund:" "Sustained" Force of Calling and Shouting! 
 "Median Stress.") 
 
 SOHO OP THE VALKYEIUE OR FATAL SiSTEES TO THE DoOMED WAB- 
 
 RioR. — Mrs. Hemans. 
 ~Eo ! the mighty sun looks forth ! — 
 Arm ! thou leader of the north ! 
 "Lb ! the mists of twilight fly — 
 We must vanish, thou must die ! 
 
 By the sword, and by the spear, 
 By the hand that knows not fear, 
 Sea-king ! nobly shalt thou fall I 
 There is joy in Odin's hall ! 
 
 2. Astonishment. 
 ("Expulsive Orotund:" "Impassioned" Force: "Thorongli Stress.") 
 
 Dromio of Syracuse, on his being mistaken foe his brother.— 
 
 Shakespeare. 
 
 This drudge laid claim to me ; called me Dromio ; swore 
 I was assured to her ; told me what private marks I had 
 about me, as the mark of my shoulder, the mole in my 
 
PITCH. 135 
 
 neck, the great wart on my left arm, — that I, amazed, ran 
 from her as a witch ; and I think, if my breast had not 
 been made of faith, and my heart of steel, she had trans- 
 formed me to a curtail-dog, and made me turn i' the wheel. 
 
 3. Impassioned lyric Style. 
 
 ("Aspirated and Harsh Quality:" " Impassioned " Force : "Radical 
 Stress.") 
 
 Alex4.ndee's Feast. — Dryden. 
 Now strike the golden lyre again ; 
 A louder yet, and yet a louder strain. 
 Break his bands of sleep asunder. 
 And rouse him like a rattling peal of thunder. 
 Hark, hark, the horrid sound 
 Has raised up his head : 
 As awaked from the dead. 
 And amazed, he stares around. 
 Revenge ! revenge ! Timotheus cries, 
 See the furies arise ! 
 See the snakes that they rear, 
 How they hiss in their hair ! 
 And the sparkles that flash from their eyes ! 
 Behold a ghastly band. 
 Each a torch in his hand ! 
 Those are Grecian ghosts, that in battle were slain, 
 And unburied remain. 
 Inglorious/on the plain : 
 Give the vengeance due 
 To the valiant crew. 
 Behold how they toss their torches on high, 
 
 How they point to the Persian abodes. 
 And glittering temples of their hostile gods. 
 The princes applaud with a furious joy ; 
 And the king seized a flambeau with zeal to destroy j 
 Thais led the way. 
 To light him to his prey. 
 And, like another Helen, flred another Troy. 
 
136 ORTHOPHONY. 
 
 4. Frenzy. 
 
 ("Aspirated Quality:" "Impassioned " Force: "Thorough Stress.") 
 
 Ehyme of the Duchess .May. — Mrs. Browning. 
 
 The horse in stark despair, with his front hoofs poised 
 
 in air, 
 
 On the last verge, rears amain. 
 
 And he hangs, he rocks between — and his nostrils curdle 
 
 in, — 
 And he shivers head and hoof — and the flakes of foam fall 
 
 off; 
 And his face grows fierce and thin ! 
 
 And a look of human woe, from his staring eyes did go, — 
 And a sharp cry uttered he, in a foretold agony, 
 Of the headlong death below. 
 
 The habit of analyzing passages so as to recognize read- 
 ily their predominating feeling and, consequently, their 
 " pitch," is one which every earnest student of elocution 
 will cultivate with persevering diligence till he finds himself 
 able, from a single glance at the first line of a piece, to de- 
 termine its gradation of feeling, and its true note in utter- 
 ance. 
 
 Besides practising the examples of " pitch,'' in the order 
 in which they occur in the preceding pages, it will con- 
 tribute much to facility in changing the " pitch " of the 
 voice, if the student will vary the order of the examples, so 
 as to become accustomed to pass easily from one point of 
 the scale to another, as from highest to lowest, and the re* 
 verse. The practice of the elements and of words should 
 always be added to the repetition of the examples. 
 
 " TRANSITION " IN PITCH. 
 
 The object of practice in " transition " in pitch is to se« 
 cure the power of striking instantly and accurately the con 
 
PITCH. 137 
 
 trast in pitch for expressive eflPect. As a drill exercise for 
 the ear, as well as for the voice, it is of the utmost impor- 
 tance. The precise divisions in pitch should be very accu- 
 rately marked. 
 
 EXAMPLES OF " TRANSITION " IN PITCH. 
 
 1. From Joy to Grave and Pathetic Emotion, 
 
 (From "High "to "Low" Pitch.) 
 
 The Voick of Spkihg. — Mrs. Memans. 
 
 " High." 
 Away from the dwellings of care-worn men, 
 The waters are sparkling in grove and glen ! 
 Away from the chamber and sullen hearth. 
 The young leaves are dancing in breezy mirth ! 
 Their light stems thrill to the wild-wood strains ; 
 And youth is abroad in my green domains ! — 
 
 " Low." 
 But ye — ye are changed since ye met me last ! 
 There is something bright from your features passed ! 
 There is that come over your brow and eye, 
 Which speaks of a world where the flowers must die ! — 
 Ye smile ! but your smile hath a dimness yet : — 
 Oh I what have ye looked on since last we met ? 
 
 2. From Horror to Tranquillity. 
 
 -(From "Very Low" to "Middle" Pitch.) 
 
 Stanzas fkom a Russian Poet. — Bowring. 
 
 " Very Low." 
 
 How frightful the grave ! how deserted and drear ! 
 With the howls of the storm-wind, the creaks of the bier 
 And the white bones all clattering together I 
 
 " Middle " Pitch. 
 How peaceful the grave ! its quiet how deep : 
 Its zephyrs breathe calmly ; and soft is its sleep. 
 And flowrets perfume it with ether. 
 
138 ORTHOPHONY. 
 
 3. From Rapture to Grief. 
 
 (From "Very High" to "Low "Pitch.) 
 Stajjzas from Mrs. Hemans. 
 
 « Very High." 
 
 Ring joyous chords ! — ring out again ! 
 
 A swifter still and a wilder strain ! 
 
 And bring fresh wreaths ! — we will banish all 
 
 Save the free in heart from our festive hall. 
 
 On through the maze of the fleet dance, on ! 
 
 « Low." 
 But where are the young and the lovely ? — gone ! 
 Where are the brows with the red rose crowned, 
 And the floating forms with the bright zone bound ? 
 And the waving locks and the flying feet, 
 That stUl should be where the mirthful meet? — 
 They are gone ! — they are fled, they are parted all. — 
 Alas ! the forsaken hall ! 
 
 4. From Triumph and Fxultation, to Grave, Pathetic, and 
 Solemn feeling, and thence returning to Triumph and 
 Fxultation. 
 
 {From " High " to " Low " and thence to " High " Pitch.) 
 « High." 
 
 Mark ye the flashing oars, 
 
 And the spears that light the deep ? 
 
 How the festal sunshine pours 
 Where the lords of battle sweep ! 
 
 Each hath brought back his shield ; — 
 
 Maid, greet thy lover home ! 
 Mother, from that proud field, 
 
 lo 1 thy son is come ! 
 
 « Low." 
 
 Who murmured of the dead ? 
 Hush ! boding voice. We know 
 
(>) 
 
 PITCH. 139 
 
 That many a shining head 
 Lies in its glory low. 
 
 Breathe not those names to-day. 
 
 They shall have their praise ere long, 
 And a power all hearts to sway, 
 
 In ever-burning song. 
 
 « Biffh." 
 
 But now shed flowers, pour wine. 
 
 To hail the conquerors home ! 
 Bring wreaths for every shrine ! — 
 
 lo ! they come, they come ! 
 
 5. From Tranquillity to Joy and Triumph, Awe, Scorn, 
 Awe, Horror, Exultation, Defiance, Awe, — succes- 
 sively. 
 
 ISKAEL's Triumph ovee the King of Babylon Isaiah. 
 
 \_Tranquillity : " Middle " Pitch .•] The whole earth is at 
 rest, and is quiet : — [Joy and Triumph : " High " Pitch .•] 
 they break forth into singing. Yea, the fir-trees rejoice at 
 thee, and the cedars of Lebanon, saying. Since thou art laid 
 down, no feller is come up against us. — [Awe : " Low " 
 Pitch :] Hell from beneath is moved for thee, to meet 
 thee at thy coming : it stirreth up the dead for thee, even 
 all the chief ones of the earth : it hath raised up from their 
 thrones all the kings of the nations, -r- [ITarrative : " Mid- 
 dle " Pitch ;] All they shall speak, and say unto thee, — 
 [/Scor»: '^ High" Pitch:"] Art thou also become weak 
 as we ? Art thou become like unto us ? — [Awe : " Low " 
 Pitch ;] Thy pomp is brought down to the grave, and the 
 noise of thy viols : — [Horror : " Very Low " Pitch ;] the 
 
 worm is spread under thee, and the worms cover thee 
 
 [SJxultation : " Middle " Pitch ;] How art thou fallen from 
 heaven, Lucifer, son of the morning ! how art thou cut 
 down to the ground, which didst weaken the nations I — 
 
140 ORTHOPHONY. 
 
 [^Defiance : " High " Pitch ;] For thou hast said in thy 
 heart, I will ascend into heaven, I will exalt my throne 
 above the stars of God. I will ascend above the heights of 
 the clouds ; I will be like the Most High. — \_Awe : " Low " 
 Pitch ;] Yet thou shalt be brought down to hell, to the 
 sides of the pit. 
 
 The same " transitions '' of " pitch " which occur in pass- 
 ing from one paragraph or stanza to another, may also 
 take place within the limits of a single sentence, if the feel- 
 ing obviously changes from clause to clause, — as in the 
 following extract.' 
 
 Reverence and Awe. 
 
 {" Low" Pitch: rising gradually to "Middle," in the fourth line.) 
 
 Adoration — Porteous. 
 
 O Thou ! whose balance does the mountains weigh, 
 Whose will the wild tumultuous seas obey. 
 Whose breath can turn those watery worlds to flame, 
 That flame to tempest, and that tempest tame, — 
 
 Deepest Reverence and Awe. 
 ("Very Low" Pitch.) 
 Earth's meanest son, all trembling, prostrate falls, 
 
 Reverence and Adoration. 
 ("Low" Pitch.) 
 And on the boundless of thy goodness calls. 
 
 Solemniti/. 
 (Pitch still Lower.) 
 May sea and land, and earth and heaven be joined, 
 To bring the eternal Author to my mind ! 
 
 Awe. 
 ("Very Low" Pitch.) 
 When oceans roar or thunders roll, 
 May thoughts of Thy dread vengeance shake my soul J 
 
PITCH. 141 
 
 THE " phrases" of " SENTENTIAL MELODY." 
 
 la closer distinctions of melody and pitch, we pass from 
 clauses to phrases. The " melody " of phrases and their rel- 
 ative "pitch," involve topics too numerous and too intricate 
 for discussion in an elementary work. These subjects will 
 be found fully explained in the work of Dr. Eush. We 
 will select a few points of practical application and of pri- 
 mary importance. The " phrases of melody," in a sentence, 
 admit of being arranged in two classes : 1st, those which 
 prevail in the body of a sentence ; 2d, that which occupies 
 the last three syllables of a sentence, and forms the cadence. 
 The former is termed the " current melody ; " the latter, 
 the " melody of the cadence." 
 
 The investigation of melody and pitch, in phrases, re- 
 quires attention to the important distinction of " discrete " 
 and " concrete " sounds. " Discrete " sounds consist of 
 notes produced at intervals, or in close succession, but in 
 detached and distinct forms, as in running up or down the 
 keys of a piano, or the chords of a harp ; or producing sim- 
 ilar sounds on a violin, by twitching the strings with the 
 finger, instead of gliding over them with the bow ; or in 
 the laughing utterance of delighted surprise, as when we 
 laugh a " fifth " or an " octave " up the scale, on the inter- 
 rogatory interjection " eh ? " or when, in the laughing utter- 
 ance of derision, we run down the scale, in the same way, in 
 the long-drawn sound of the word " no ! " In these last- 
 mentioned instances, every note is executed by a distinct 
 and separate little jet, or tittle, of voice. To such sounds, 
 then, the word " discrete " in its proper etymological sense, 
 may be justly applied, as intimating that they exist apart. 
 V " Concrete " sounds, on the other hand, are produced by 
 a succession of notes gliding into each other so impercepti- 
 bly to the ear, that they cannot be detached from each 
 other ; as when the violinist, in playful execution, some- 
 times makes his instrument seem to hold dialogue, in the 
 
142 ORTHOPHONY. 
 
 tones of question and answer, by drawing the bow across 
 the strings, while he slips his left hand, upward and down- 
 ward, so as to shorten or lengthen the strings, and thus 
 cause the sounds to glide up or down the scale, in one con- 
 tinuous stream of " mewing'' sound. A parallel illustration 
 may be drawn from the natural use of the voice, when we 
 pronounce the interrogatory "eA?" of surprise, in a se- 
 rious mood, but with great earnestness, — merely causing 
 the voice to slide smoothly up the scale, through the inter- 
 val of a " fifth" or an " octave," or when we utter the word 
 " no ! " in the tone of full and bold denial, and make the 
 voice sweep continuously down the scale, through a similar 
 interval. 
 
 In the " current melody " of a sentence, every syllable 
 includes a " radical " and a " vanishing movement " united, 
 which, in unimpassioned expression, occupy the space on 
 the scale of one tone, or pass from one note to the next 
 above it on the scale. The succession of " concrete " tones 
 is uniformly at the interval of a tone, upward or downward 
 on the scale, as the case may be. The rise of voice within 
 each syllable may therefore be called its " concrete pitch ; " 
 and the place that each syllable takes above or below 
 another, the " radical pitch." 
 
 The " melody of phrases " prescribes no fixed succession 
 of " radical pitch," although it usually avoids a repetition of 
 the same " radical pitch," unless for special efiect, in ex- 
 treme cases ; and it forbids the see-saw tone of exact al- 
 ternation, or measured recurrence of " radical pitch." 
 
 The convenience of using specific and exact terms, in 
 relation to " melody " and " pitch," as they exist in speech, 
 renders the following distinctions important to the student 
 of elocution. 
 
 When two or more " concretes " occur in succession, on 
 the same " radical pitch," they form a " monotone," or pro- 
 duce upon the ear the effect of unity or sameness of sound 
 or tone. This concrete pitch is often used in conjunction 
 
PITCH. 143 
 
 with the low notes of awe, sublimity, and solemnity/, for im- 
 pressive eflfect, resembling that of the deep tolling of a 
 large bell. 'LMsmsiSHe^ however, is not to be confounded 
 with monotony, the besetting fault of school reading, and 
 which consists chiefly in omitting or slighting the " radical 
 stress," and sometimes abolishing even the " radical move- 
 ment " of elements. " Monotone " is the sublimest poetic 
 effect of elocution : monotony one of the worst defects. 
 
 When the " radical pitch " is one note above or below 
 that of the preceding tone, it is termed a " Rising " or a 
 " Falling Ditone." When the radicals of three successive 
 ^"^ncreFes " rise or fall they become a " Rising " or a 
 " Falling Tritone." When there is a series of three or 
 more, alternately a tone above and below each other, they 
 form an " Alternate Phrase." 
 
 When three " concretes " gradually descend in their 
 "radical pitch" at the close of a sentence, the "vanish" 
 of the last, instead of ascending, descends ; so as to give 
 the peculiar closing effect to the cadence. This descent is, 
 accordingly, for distinction's sake, termed the " Triad of 
 the Cadence." 
 
 It is in this peculiar " phrase " of " sentential melody," 
 that the very general fault popularly called " a tone " ex- 
 ists. The common style of cadence, instead of being 
 spoken, is usually such as causes it to be sung, more or less, 
 by deviating from the melody of the " triad," and, at the 
 same time, losing " radical," and assuming " median stress," 
 accompanied by a half-musical wave or undulation of voice. 
 A clear, distinct, and exact succession of " radical pitch," 
 in the form of the " triad," would in most cases destroy 
 the false tone, and impart to reading more resemblance than 
 it often possesses to speech or to conversation. 
 
 The student will derive much assistance, in this branch 
 of elocution, from repeating the " tonic elements " and ap- 
 propriate words selected from the exercises in the chapter 
 on enunciation, with a view, first, to observe the " con- 
 
144 OETHOPHONY. 
 
 Crete " character of the elementary sounds of speech in 
 their initial " radical " and rising "vanish." Let letters, 
 syllables, and words then be practised, successively in the 
 forms of the phrases of the " monotone," " falling " and 
 " rising," " ditone," and " tritone," and the " triad of the 
 cadence." 
 
 The illustration below, selected from the work of Dr. 
 Rush, wUl suggest the idea how the exercises in this depart- 
 ment may be practised in classes, by the use of the chart of 
 exercises, or of the black-board. 
 
 The object in view, in the use of such diagrams as the 
 following, is not to exhibit the strict application of any rule 
 or principle of elocution, but merely to aid the mind in at- 
 taining an exact apprehension of the nature and character 
 of the elements of vocal sound, in certain relations. It is 
 not meant that either the couplet from Pope's Homer, 
 which is introduced in the following illustration, or the lines 
 which follow it, must be read with the precise; melody ex- 
 hibited in the diagram, or that they cannot be appropriately 
 read with any other. The design of this exemplification is 
 merely to show the different forms of " radical pitch," as 
 they occur in the actual use of the voice, and to render the 
 practice of them definite and exact. The repetition of the 
 exercise will render the ear accurate and discriminating, and 
 will preserve the student from inadvertently contracting the 
 false intonation arising from the general neglect of this part 
 of elocution, and from the impossibility of discussing or ex- 
 plaining its peculiarities till the means of instruction were 
 furnished by exact analysis and precise nomenclature, — 
 benefits for which science and education stand equally in- 
 debted to the discriminating genius and philosophic investi- 
 gation of Dr. Rush. 
 
 " That quarter most the skilful Greeks annoy. 
 
 ^ ^ ^ \ 'I a /. IW *^ *lt^*! 
 
 Monotone, Falling Ditone. Rising Tritone. Rising Ditone. 
 
THE SLIDE. 145 
 
 Where yon wild fig trees join the walls of Troy." 
 
 " W -y |«^ » - W * *> 1 » 
 
 Falling Tritone. Alternation. Triad of the Cadence. 
 
 To secure the full benefit of discrimination and of exact 
 practice, it will be a useful exercise to repeat the phrases 
 of melody in the diagram, on the " tonic " and other ele- 
 ments, on syllables, and on the following couplets. 
 
 1. " Lo ! the poor Indian, whose untutored mind 
 Sees God in tempests, hears him in the wind." -^ 
 
 2. " There, where a few torn shrubs the place disclose, 
 The village preacher's modest mansion rose." 
 
 3. " Thus every good his native wilds impart. 
 Imprints the patriot passion on his heart." 
 
 4. " The conscious swains, rejoicing in the sight 
 Eye the blue vault, and bless the useful light." 
 
 The "Slide." 
 
 The " slide " or " inflection " furnishes stni another di- 
 vision of " melody " for study. It indicates simply the ex- 
 tent of the upward or downward movement of the voice 
 from its " radical " to its " vanish." Being concrete in its 
 movement, it is termed properly the " slide " of the voice. 
 
 The simplest exemplification occurs where the voice is sus- 
 pended on account of some Interruption on the part of the 
 reader or speaker, as on the -woriindeed when the sentence is 
 suddenly broken off and left incomplete : as, " There is, in- 
 deed," — This suspended effect constitutes what is termed 
 
 1 The above example is intentionaUy introduced as one of cadence for 
 the sake of contrast with the tone of continuance, which belongs to it in 
 the original text. 
 
 10 
 
146 ORTHOPHONY. 
 
 the rise of the " second." Now if we imagine the same 
 word used as inquiry, " Did you say indeed 1 " we shall find 
 a more decided rise of the voice through the musical in- 
 terval of the " third." Let us now add earnestness to the 
 inquiry as in the tone of surprise, " Indeed ! can it be ? " and 
 we observe that the rise of the voice is carried through a 
 wider interval in the ascent — that of the musical fifth. 
 Once more, in the tone of utter amazement we note that the 
 interval of the voice is still wider, and carried through the 
 entire scope of the octave. We find, then, these distinct 
 intervals clearly defined ; the " second " for suspended 
 sense, the " third " for unimpassioned inquiry, the " fifth " 
 for earnest interrogation, and the " octave " for the inquiry 
 when prompted by the feeling of amazement. The voice 
 seeks also corresponding intervals in its descent in the ex- 
 pression of the same states of feeling. The fall of the 
 " second " would be heard where the sense is not complete, 
 or when the utterance of grave or solemn thought, the drift 
 of the expression, is suddenly suspended. Let us suppose 
 the full sentence for expression to be in the words, " Death is 
 indeed a solemn mystery," an interruption occurring after 
 indeed will show the downward " second " as distinguished 
 from the more animated effect of the upward " second," 
 where the utterance is more animated or cheerful. If we 
 use the same thought emphasized somewhat by placing in- 
 deed at the end of the sentence, " Death is a solemn mys- 
 tery, indeed," we have the fall of the "third" as the interval. 
 And still employing the same word in earnest and emphatic 
 assertion, we have the fall of the " fifth " in the saying of 
 Hamlet, " Indeed, indeed, sirs, but this troubles me." The 
 fall of the " octave " shows the impassioned assertion of 
 Othello when repeating in amazement lago's " Indeed ! " 
 he asserts, passionately, " aye, indeed ! " In the latter exam- 
 ple we have the slide of the " octave " — the rising on the 
 first " Indeed ! " and the falling through the same interval 
 on the repetition. 
 
THE SLIDE. 147 
 
 "We discover, then, that there are these well defined inter- 
 vals of the second, third, fifth, and octave, with rising and 
 falling slide ; or, to divest the definitions of the scientific 
 nomenclature, we may denominate them the suspended, un- 
 impassioned, earnest, and impassioned slides. The intervals 
 of the remainder of the scale are not heard in speech, ex- 
 cept of the " seventh,'' when it becomes the minor octave 
 for pathos, and of the " fourth " and " sixth," as in inebriety 
 — the natural defect of a physical inability to complete to 
 the ear, or with the vocal organs, the ordinary intervals of 
 colloquial or impassioned expressions. In certain abnor- 
 mal conditions of feeling, the unusual utterance of the slide 
 of the double octave might be heard, as in Cooper's fiendish 
 shriek in the words of Shylock : " If I can catch him once 
 upon the hip ; " where, according to actual musical nota- 
 tion, he would rise two octaves from the low growl of deep- 
 seated revenge to the quivering shriek of malice on the 
 word hip. Or, as in an instance known to the compiler, of 
 a lady who, attempting to scream out to a thief, was over- 
 come with horror, and the voice sank two octaves from the 
 piercing scream of anger to palsied horror. 
 {) ^ff^The ," slides " of the voice have three important and dis- 
 tinct oflSices ; and these produce the three principal forms of 
 the "slide:" 1st, the "slide of passion or emotion;" 2d, 
 the " distinctive slide," or that which is addressed to the 
 understanding and the judgment, as in designation, compari- 
 son, and contrast ; 3d, the " mechanical slide," which be- 
 longs to the mechanism of a sentence, and the local position 
 of phrases ; as in the special instance of the partial cadence, 
 which takes place when a distinct portion of the sense is 
 completed, although the whole sentence is not finished ; as 
 in this instance : " Let your companions be select ; let them 
 be such as you can esteem for their good qualities, and 
 whose virtuous example you may emulate." We have an- 
 other example in the " triad" of theyw// and final cadence 
 falling entirely within one syllable, as in the following em- 
 phatic negation : — 
 
148 OETHOPHONY. 
 
 " No ; by the rood, not so ! " 
 
 Another " slide " which serves a mechanical purpose, 
 rather than one of thought or feeling, is the " penultimate 
 slide " of most sentences, which serves the purpose of rais- 
 ing the voice deliberately and distinctly, previous to its final 
 descent at the close of the sentence, and thus renders the 
 cadence more perceptible and more impressive ; as in the 
 following example : " Let the young go out, under the de- 
 scending sun of the year, into the fields of nature." 
 
 ANALYSIS OF " SLIDES." 
 
 The following diagram may be used as an ocular sugges- 
 tion to prompt and regulate the ear, each character being 
 intended to represent the sound of an element, syllable, 
 or word. The exercise commences with a slide of the 
 " second," the usual interval, in " concrete pitch," between 
 the "radical " and the "vanish" of an element, as uttered 
 in the common progression of the unemphatic and inexpres- 
 sive " melody " of speech or reading, and extends through 
 all other intervals to that of the "octave." The forms 
 which are of most frequent occurrence in reading, are re- 
 peated separately. 
 
 The bulb of each character in the diagram represents the 
 " radical," the stem, the " vanish." 
 
 But it will be of great use, as a matter of practice with a 
 view to facility in the command of the voice, to add to the 
 sound of the " slide," the effects of " effusion," " expulsion," 
 and " explosion ; " " radical," " median," " vanishing," " com- 
 pound," " thorough stress," and " tremor ; " together with 
 those of " pure tone," " orotund," and " aspiration ; " and 
 all stages of force from the softest " subdued " to that ol 
 " shouting." 
 
THE SLIDE. 149 
 
 I. Scale of Progressive " Upward and Downward Slides: " 
 from the " Second" to the " Octave." . ,p-^ 
 
 II. " Upward Slide " of the " Second." 
 
 III. " Upward Slide " of the " Third." 
 
 y ^ y y y 9 / ¥ — Bt- 
 
 IV. " Upward Slide " of the « Fifth." 
 
 J J J J J J J J. 
 
 V. " Upward Slide " of the " Octave." 
 
 J J J J J 
 
 VI. Alternate "Slides " of the " Third." 
 
 J •s J ^ J •s J ^-. 
 
 VII. Alternate " Slides " of the " Fifth." 
 
 VIII. Alternate " Slides " of the " Octave." 
 
 J -\ J '\ J '\ ^ 
 
150 ORTHOPHONY. 
 
 I. THE SLIDE OF EMOTION. 
 
 The " slide of emotion " extends through an interval cor- 
 responding in every instance to the intensity of feeling 
 implied in " expressive " words, and may, accordingly, be 
 measured in most instances by the " third," the " fifth," or 
 the "octave." 
 
 Strong emotions are expressed chiefly by the " downward 
 slide ; " except surprise, and earnest, or impassioned interro- 
 gation, which usually adopt the " upward slide " of the 
 "fifth" or the "octave." 
 
 EXAMPLES. 
 
 1. Impetuous Oourage and Fierce Determination. 
 
 ("Orotund" and "Aspirated Pectoral Quality:" Shouting: Explosive 
 "Radical" and Expulsive " Median Stress : " " High " Pitch : Down- 
 ward Fifth on the emphatic words.) 
 
 EiCHAED TO HIS Tkoops. — Shakespeare. 
 
 A thousand hearts are great within my b6som : 
 
 Advance our stkndards, set upon our f6es ! ^ 
 
 Our ancient word of courage, fair Saint George, - 
 
 Inspire us with the spleen of fiery drkgons. \,j 
 
 Upon them ! Victory sits on our helms. ■ - " ' 
 
 2. Impassioned Burst of Scorn. 
 
 ("Aspirated Pectoral and Guttural Quality: " " Violent " Force : Explosive 
 "Radical Stress:" "High" Pitch. The exemplification occurs in the re- 
 ply of Coriolanus, which contains the "downward slide" of the "Oc- 
 tave" in the words "Measureless liar!" and "Boy!" and the "down- 
 ward Fifth " on the other emphatic words.) 
 
 Coriolanus. — Shakespeare f,)"' 
 Aufidius. Name not the god, ' ^y"' 
 Thou boy of tears. Sj ' 
 
 Coriolanus. Measureless liar ! thou hast made my heart 
 Too great for what contains it. 
 B5y I Cut me to pieces, Volscians : men and Ikds, 
 Stain kll your edges on me. Boy I — 
 
THE SLIDE. 151 
 
 If you have writ your annals true,'''t is there 
 That, like an eagle in a dovecot, I 
 Fluttered your Volscians in Corioli : 
 A16neldidit. — B5y! 
 
 3. Anger and Fierce Interrogation. 
 
 ("Aspirated Pectoral and Guttural Quality:" "Impassioned" Force: 
 " Radical and Compound Stress : " " High " Pitch : Octave on the word 
 " Geete : " the Fiffii on the remaining emphatic words. ) 
 
 Macbeth and Servant — Shakespeare. 
 
 Macb. Where gott'st thou that g6ose look ? 
 
 Serv. There is ten thousand — >^ 
 
 Macb. Gees^, villain ? y' 
 
 Serv-. Soldier^ sir. '' 
 
 Macb. G6, prick thy face, and over-red thy fear, 
 
 Thou lily-livered boy/ Whkt soldiers,'^pktch ? 
 
 Dekth of thy soul ! those linen cheeks of thine V,/ 
 
 Are counsellors to fekr. What soldiers,^ whey-face ? '"-'^ 
 
 Servi The English force, so please you. jjjj'^j ^v- 
 
 Macb. Take thy face hence. 
 
 4. Fierce Impatience. 
 
 ("Aspirated Quality:" "Violent" Force: "High" Pitch: Percussive 
 "Radical and Compound Stress." The slide of the Fifth occurs after 
 the first question in the inquiries of BLing Richard.) 
 
 EiCHAED III. — Shakespeare. 
 
 K. Rich. Once more, what news ? 
 
 Stanley. Richmond is on the seas. 
 
 K. Rich. There let him sink, and be the seas on him ! 
 White-livered runagate, what doth he there,JjC>' 
 
 Stanley. I know noj^m^glity 'k>YCTeign, but by guess. 
 
 K. Rich. Wdll, as you guess ? 
 
 Stanley. Stirred up by Dorset, Buckingham, and Mor- 
 ton, 
 He makes for England, here to claim the crown. 
 
 K. Rich. Is the chair ^mpty ? Is the sword unswdyed ? 
 
152 ORTHOPHONY. 
 
 Is the king d^&i, the empire unpossessed ? 
 
 What heir of York is there alive, but we ? 
 
 And who is England's king, but great Y6rk's heir ? (J 
 
 Then, tell me, what mkkes he upon the seas ?, ^ 
 
 Stanley. Unless for that, my liegej'l^cannot guess, f^ 
 
 K. Rich. Unless for that he cqmes to be your liege, 
 You cannot guess wherefore the Welshman comes. 
 Thou wilt revolt, and fly to him, I fear. 
 
 Stanley. !No, mighty liege ; therefore mistrust me not. 
 
 K. Mich. Where is thy power, then, to beat him bkck? 
 Where be thy tenants^ and thy fSUowers ? 
 Afe they not now upon the western shore. 
 Safe-conducting the rebels from their ships ? 
 
 Stanley. No, my good lord ; my frienofe are in the north. 
 
 K. Mich. Cold friends to me ; what do they in the n5rth, 
 When they should serve their sovereign in the west ? 
 
 5. Eager Inquiry and Emphatic Assertion. 
 
 ("Aspirated and Orotund Quality:" "Suppressed" Force: "High" 
 Pitcli: "Radical Stress." Tlie questions of Hamlet exemplify the 
 rising Fifth — the replies the falling. 
 
 Hamlet ahd Horatio. — Shakespeare.^ ^. i 
 
 Bam. irmed, say you? '■■''•^'^~-' , .'•AT 
 
 All. Armed my lord. ^J 
 
 JTam. From top to t<5e ? 
 
 All. My lord, from h^ad'to f6ot. t/^v^ r --^ "', 
 Ham. Then saw you not 
 
 His f ^e ? 
 
 Hhr. Oh, yes, my lord ; he 'wore his beaver up. 
 
 JIam. What, looked he frdwningly ? 
 
 Jlor. A countenance mora 
 
 In sorrow than in anger. 
 ITam. Pdle or red ? 
 
 Jlor. Nay, very pale. 
 
 Ham. And fixed his ej6a upon you? 
 
 Hor. Most constantly. 
 
THE SLIDE. 153 
 
 6. Assumed Surprise and Incredulity after the first passage 
 of lago. Rising and fatting Fifth on the emphatic 
 words of Othello. 
 
 ("Aspirated Quality," and "Impassioned" Force; " Compound Stress " 
 chiefly for Othello. lago, "Pure Tone," " Moderate " Force.) 
 
 Iago and Othello. — Shakespeare. 
 
 lago. Did Michael Cassio, when you wooed my lady, 
 Know of your love ? 
 
 0th. Oh, yes ; and went between us very oft. 
 
 lago. Indeed ? 
 
 0th. Indeed ! hy, indeed. — Discern'st thou aught in 
 that? 
 Is he not honest ? 
 
 lago. Honest, my lord ? 
 
 0th. Xy, honest. 
 
 lago. My lord, for aught I know. 
 
 0th. What dost thou think ? 
 
 lago. Think, my lord ? 
 
 0th. Think, my lord J 
 
 By heaven he Echoes me, 
 As if there were some monster in Ms thought 
 Too hideous to be shown. — Thou d5st mean something ; 
 I heard thee say but now — Thou lik'dst not that, 
 When Cassio left my miie. What did'st not like ? 
 And when I told thee, he was of my counsel 
 In my whole course of wooing, thou cry'dst Indeed ? 
 And didst contract and purse thy brow together, 
 As if thou then hadst shut up in thy brain 
 Some horrible conceit. If thou dost love me, 
 Sh6w me thy thought. 
 
 ■4: - 
 
154 OETHOPHONY, 
 
 7. Remorse. 
 
 ("Orotund Quality: " " Suppressed " Force : " Low " Pitch s " Vanishing 
 
 Stress.") 
 
 Cassio. — Shakespeare. 
 
 Eeputition, reputition, reputktion ! Oh, I have 16st my 
 
 reputation ! I have lost the immortal part, sir, of myself, 
 
 and what remains is bestial. — My reputation, lago, my 
 
 reputation. 
 
 Driink, and speak pArrot ? and squabble ? swAgger ? 
 swedr? and discourse fustian with one's own shddow?-"— Oh, 
 thou invisible spirit of wine, if thou hast no name to be 
 known by, let us call thee — devil ! 
 
 8. Mxeeption. — Sv/rprise, Mamest and Impassioned Inter' 
 rogation. 
 
 ("Aspirated Pectoral Quality:" "Declamatory" Force: "Compound 
 Stress:" "High" Pitch: " Upward Fifth." ) 
 
 Extract fkom Chatham. 
 
 Can ministers still presume to expect support in their 
 
 infatuation ? Can parliament be so dead to its dignity and 
 
 its duty as to give its support to measures thus obtruded 
 
 and forced upon it ? 
 
 Cicero's Accusation of Vekkes. 
 Is it come to this ? Shall an inferior mdgistrate, a gov- 
 ernor, who holds his whole power of the Roman people, in 
 a Roman province, within sight of Italy, bind, sc<5urge, 
 tdrture with fire and red-hot plates of iron, and at last put 
 to the infamous death of the cross, a Roman citizen ? 
 
 II. THE " DISTINCTIVE " .SLIDE. 
 
 This slide is used not for purposes of passion or emotion, 
 but for suggestions connected with the understanding and 
 judgment, — that which may be termed intellectual, not im- 
 passioned, expression. 
 
THE SLIDE. 155 
 
 The "downward distinctive slide " extends, usually, 
 through the interval of a "third." It is used, first, for 
 
 I < mere rfmgmiiaSn ^s in announcing a subject or topic, in di- 
 dactic style, in introducing a person or an event in narrative, 
 or an object, in descriptive style ; as in the following exam- 
 ples : " The duties of the citizens of a republic formed the 
 subject of the orator's address." "Among the eminent 
 men of the period of the American Revolution, Benjamin 
 FrJmklin held a .conspicuous place." " From the date of 
 the American Revoliitiou, commenced a new era in the 
 history of man." " The dazzling summits of the snow- 
 capt mountains in the distance, threw an air of enchantment 
 over the scene." 
 
 This slide is used also, for distinction in contrasts, as in 
 
 r' 'the latter of two correspondent or antithetic words or 
 phrases, in which the contrast is exattly balanced ; thus, " I 
 would neither be rich nor p6or," or when the antithesis is 
 unequal and one word or phrase is intentionally made more 
 expressive than the other, in which case the more emphatic 
 word or phrase takes the downward slide : thus, " I would 
 rather be rich, than poor." 
 
 EXAMPLES OF " DISTINCTIVE SLIDES." 
 I. Simple Designation. 
 
 1. Didactic Style. <, y^ 
 
 " The progress of the Italian 6pera, in this country, will 
 form the subject of this essay." 
 
 " The downfall of the Roman empire was the next great 
 theme chosen by that eminent historian." 
 
 " The origin of the distinctions of rknk in society, forms 
 one of the most interesting topics of historical investiga- 
 tion." 
 
 2. Narrative Style. 
 
 " The conspiracy of Cktiline, as related by Sallust, was 
 one of the most atrocious designs ever plotted by desperate 
 and heartless villainy." 
 
156 OETHOPHONY. 
 
 " From the time when the people enjoyed the right of 
 electing their tribunes, they fondly deemed their liberty se- 
 cured against future encroachments." 
 
 " The usurpation, as it has been termed, of Oliver Cr6m- 
 well, rightly interpreted, is one of the most memorable of 
 lessons to monarchy ever taught in the great school of his- 
 tory." 
 
 3. Descriptive Style. 
 
 "A sudden sh5wer puts an end to the g9.yety of the revel- 
 lers, and sends them scampering in all directions for shel- 
 ter." 
 
 " The spots on the disc of the sim, which, in some in- 
 stances, are larger than a continent or an ocean, with us, 
 are, it is believed, openings in the luminous atmosphere of 
 that body, exhibiting the dark surface beneath." 
 
 " The first primrose' of the spring was peeping through 
 the shrivelled herbage at the roots of the hedge, along the 
 side of the lane." 
 
 II. Gomparison and Antithesis, or Contrast. 
 1. Gomparison of Single Objects. 
 " As is the beginning, so is the end." 
 
 2. Double Comparison. 
 " As we cannot discern the moving of the shadow over 
 the ^ dial-plate ; so we cannot trace the progress of the mind 
 in kn6wledgel" 
 
 3. Contrast of Single Obfects. 
 " I mingled freely with all classes of society, and nar- 
 rowly observed the life of the peasant, as well as that of the 
 prince." 
 
 1 In double contrasts, the full " distinctive slide of the third " falls only 
 on the prominent parts of the contrast, the leading and determining words 
 lit the middle and the end of the sentence : the other pair of contrasted 
 words are usuallyrestricted to "falling" and "rising ditone," in theit 
 " radical pitch." 
 
THE SLIDE. 157 
 
 4. Doulle Contrast, or Antithesis. 
 
 " As it is the part of jiistice never to do violence, it is 
 that of mddesty never to commit ofEence." 
 
 III. THE " MECHANICAL SLIDE." 
 
 This form of the " slide " was defined as either " upward " 
 or " downward ; " the former occurring at the close of the 
 penultimate clause of a sentence, in preparation for its ca- 
 dence ; the latter, when the cadence, from the absence of ac- 
 cent on preceding syllables, descends in the form of a " con- 
 crete downward slide " on a single sound. Another form of 
 the " mechanical slide " is used to indicate, as mentioned be- 
 fore, complete sense, or the finishing of an independent part 
 of a sentence. Its efEect, as a descent of voice, differs to the 
 ear from that of the cadence, in the fact formerly stated, of 
 its commencing and ceasing at a higher point of the scale, 
 and from its not being preceded by the " penultimate slide," 
 nor by a previous descent of voice which prepares the ear 
 for the deliberate and full effect of cadence. It may be 
 termed the " downward slide of complete sense " or " par- 
 tial " cadence, as contrasted with its opposite, the " upward 
 slide " of the " third," in incomplete sense, assumed, on 
 purpose, in the middle of a sentence, to create expectation 
 of further expression, for the completion of a thought ; or 
 the "upward third" of unimpassioned interrogation, which 
 also implies incomplete or undetermined sense. The " down- 
 ward slide of complete sense " may be so denominated also, 
 as contrasted with the mere effect of " concrete pitch," when 
 a reader, as was formerly supposed for the purpose of il- 
 lustration, is suddenly interrupted in the act of reading, and 
 breaks off at an incomplete phrase. 
 
158 ORTHOPHONY. 
 
 EXAMPLES. 
 1. " Penultimate Slide." 
 " The signification of our sentiments, made by tones and 
 gestures, has this advantage above that made by w6rds, that 
 it is the language of nature." 
 
 " In epic poefcry, the English have only to boast of Spen- 
 ser and Milton, who neither of them wanted either genius 
 or learning to have been perfect pdets ; and yet both of 
 them are liable to many censures." 
 
 2. "Partial Cadence,'' at the close of a clause which forms 
 complete sense. 
 
 " Of Law there can be no less acknowledged than that 
 her seat is the bosom of God ; her voice the harmony of 
 the world. All things in heaven and earth do her homage ; 
 the very least as feeling her care, and the greatest as not 
 exempted from her power. Both angels and men, and 
 creatures of what condition soever, though each in different 
 sort and manner, yet all with uniform consent, admiring her 
 as the mother of their peace and joy." 
 
 3. " Upward Slide " of incomplete or suspended sense. 
 
 Description of Arcadia. — Sidney. 
 There were hills which garnished their proud heights 
 with stately trdes : humble valleys, whose base estate seemed 
 comforted with the refreshing of silver rivers : meadows, 
 enamelled with all sorts of eye-pleasing flowers : thickets, 
 which being lined with most pleasant shade were witnessed 
 so too, by the cheerful disposition of many well-tuned birds : 
 each pasture stored with sheep, feeding with sober security, 
 while the pretty lambs with bleating oratory craved the 
 dam's c5mfort : here a shepherd's boy piping, as though he 
 should never be 61d ; there a young shepherdess knitting, 
 and withal singing, and it seemed that her voice comforted 
 her hands to work, and her hands kept time to her voice- 
 music. 
 
THE SLIDE. 159 
 
 4. " Upward SUde " of " unimpassioned interrogation." 
 
 " Have you heard the n^ws ? Can we place any depen- 
 dence on the report? Is it probable that such an event 
 could have been kept so long concealed ? " 
 
 " Shall we adopt the measures proposed by this speaker ? 
 Are the arguments which he has advanced sufficient to pro- 
 duce conviction ? Can we proceed with perfect confidence 
 that we shall not have to retrace our steps ? " 
 
 " Does the work relate to the interests of mankind ? Is 
 its object useful, and its end m6ral ? Will it inform the un- 
 derstanding, and amend the heart ? Is it written with free- 
 dom and impartiality ? Does it bear the marks of honesty 
 and sincerity ? Does it attempt to ridicule anything that is 
 good or gr^at ? Does a manly style of thinking predomi- 
 nate in it ? Do reason, wit, humor, and pleasantry prevail 
 in it ? Does it contain new and useful truths ? " 
 
 yV THE " WAVE OR " CIRCUMFLEX." 
 
 One of the natural modes of " expression," in the "mel- 
 ody of speech," is, in the language of peculiar emotion, or 
 marked distinction, the use of a double " slide," the upward 
 and the downward on the same sound. This mode of voice, 
 called the " wave," is the characteristic utterance of sarcasm, 
 mockery, raillery, and other intense and keen emotions : it 
 marks, likewise, the expression of humor, irony, and wit, 
 and pungent antithesis, whether serious or humorous. In 
 its lowest perceptible form it aids the " swell " or " median 
 stress " of solemn and sublime feeling. The " wave," like 
 the single " slide," exists in all varieties of effect, from the 
 slightest undulation of solemnity, in the interval of the 
 " second " (or the " concrete " downward transition from 
 one note of the scale to the next below), to the " third," 
 "fifth," and " octave." The " wave" is termed " direct " when 
 it slides first upward and then downward ; " inverted," when 
 the " downward slide " precedes, and the " upward " follows. 
 
160 ORTHOPHONY. 
 
 It is termed " equal " when the " slides " are of equal height 
 and depth; the upward and the downward being each a 
 " third," " fifth," or " octave : " " unequal," when the one 
 " slide " traverses a wider interval of the scale than the 
 other ; the upward, for example, being a " third," and the 
 downward, an " octave." Grave and sedate feeling, or the 
 affectation of such feeling, inclines to the use of the " equal 
 wave ; " keen and sarcastic expression prefers the " unequal 
 wave," from its greater pungency to the ear. 
 
 This element of expression is one of the most impressive 
 in the whole range of vocal eflFect. It gives, in its subdued 
 form, a sustained dignity and grandeur to utterance, without 
 which the long-drawn sounds of solemnity would sink into 
 monotony and feebleness. Sarcastic and ironical expres- 
 sion cannot be given without it. Olose distinctions of sense 
 and meaning lose their point and discrimination when de- 
 prived of it. Wit and humor cease to exist to the ear, if 
 the ambiguous and equivocal, or graphic effect of the 
 " wave," is dropped. 
 
 An intelligent and discriminating use of this element is 
 indispensable, however, to its right effect. Adopted too 
 frequently, and expressed too pointedly, it offends the ear ; 
 as it implies a want of skill on the part of the reader or 
 speaker, and a want of perception on that of the hearer. It 
 forms, when given in excess, the striking feature in over- 
 done emphasis, or that which seems, by its obtrusiveness, to 
 forestall the judgment of the person who is addressed, and 
 compel his perceptions. It is the usual resort of the author 
 of a pun so poor, that, without his syllabic and waving 
 enunciation, you could not have surmised its existence. 
 
 The " wave " exists, sometimes, as a mere local accident 
 of usage, in what is termed national accent. The dialects 
 of Scotland and of New England furnish striking examples 
 of the unmeaning prevalence of the " wave. " The popular 
 " Yankee story," and, not unfrequently, the emphasis oj 
 well-educated people, abound in instances of this local into- 
 nation. 
 
THE SLIDK. 161 
 
 EXAMPLES- 
 I. THE "equal wave." 
 
 Solemnity and Sublimity. 
 
 ("EffnsivB Orotund:" "Subdued" Force: fuU and prolonged "Median 
 Swell:" "Low" Pitch: "Equal wave of the Second." The "wave" so 
 slight as barely to be discernible. ) 
 
 1. 
 
 The Morhiko Htmk. — Milton. 
 EEs ' praise, ye wt'nds that from four quarters blow, 
 Breathe soft or loud ; and wave your tops, ye ptnes. 
 With every plant, in sign of worship wive ! " 
 
 2. 
 
 From an Evenikg Hymn. — H. M. Williava. 
 While Thee I seek, protecting Power ! 
 
 Be my vain washes stilled ; 
 And may this consecrated hour 
 With better hopes be filled I 
 
 Pointed Antithesis. Serious Ei^ression. 
 1. 
 
 ("Pure Tone:" "Animated" Force: "Radical and Median Stress:" 
 "Middle" Pitch: " Equal Wave of the Third.") 
 
 Moral to a Fablb. — Jane Taylor. 
 
 Let any man resolve to do right " n6w, leaving ' then to 
 do as it can ; and if he were to live to the age of Methuse- 
 lah, he would never do wrong. But the common error is 
 to resolve to act right after breakfast, or after dinner, or to- 
 morrow m6rning, or next time. But n6w, just n6w, this 
 6nce, we must go on the same as ever. 
 
 1 The "wave " occurs on the letters denoted by italic type. 
 * The " direct wave " is marked by the usual circumflex accent, the " in- 
 verted wave," by an inverted circumflex. 
 11 
 
162 ORTHOPHONY. 
 
 ("Pure Tone;" "Moderate" Force, "Grave" Style: "Media 
 Stress:" " Middle-" Pitch : "Equal Wave of the Tliird.") 
 
 Chance Shake^eare. 
 
 Alas ! the while ! 
 If Hercules, and Lichas, play at dice 
 Which is the better man, the greater throw 
 May turn by fortune from the weaker hand. 
 
 Pointed Antithesis. ITalf-humorous Style. 
 
 3. 
 
 ("Pure Tone:" "Animated" Force: "Median Stress:" "Middle" 
 Pitch: "Equal Wave of the Third.") 
 
 BoMAH CITIZEN, MUEMUKiNG AGAINST THE PATRICIANS. — Shakes- 
 peare. 
 
 W6 are accounted poor citizens ; the patricians good. 
 "What auth6rity surfeits on, would relieve fls. If they would 
 yield us but the superfluity, while it were wholesome, we 
 might guess they relieved us humanely ; but they think we 
 are too dSar : the leanness that afflicts us, the object of our 
 misery, is an Inventory to particularize their abuudaiice : 
 6ur sufferance is a gain to them. Let us revenge this 
 with our pikes, ere we become rakes : for the gods know I 
 speak this in hunger for bread, not in thirst for revSnge. 
 
 ("Pure Tone," laughing voice : " Kadical and Median Stress : " "High" 
 Pitch: "Equal Wave of the Third.") 
 
 Beatrice, speaking of Benedick. — ShaJce^eare. 
 
 In our last conflict, f6ur of his five wits went halting off, 
 
 and now is the whole man goTerned with 6ne : so that if he 
 
 have wit enough to keep himself warm, let him bear it for 
 
 ti difference between himself and his horse ; for it is all the 
 
 '^t that he hath Igft, to be known a reasonable creature. 
 
THE SLIDE. 163 
 
 Raillery. 
 
 I "Pure Tone:" "Animated" Force: " Median Stress : " "High'' Pitch: 
 " Equal Ware of the Third.") 
 
 Meubnics, to the tribunes Bkutus ahd Sicinius. — Shakespeare. 
 
 You blame Marcius for being pr6ud ? 
 
 Brutus. "We do it not alone, sir. 
 
 Men. I know you can do very little alone ; for your 
 helps are many ; or else your actions would grow wondrous 
 single : your abilities are too infant-like, for doing much 
 al6ne. You talk of pride : oh that you could turn your 
 eyes toward the napes of your necks, and make but an in- 
 terior survey of your good selves ! 
 
 II. THE UNEQUAL WAVE. 
 
 1. Irony and Derision. 
 
 ("Pure Tone:" "Animated" Force; "Stress" varying from "Radical" 
 to "Median:" "High" Pitch: Unequal Wave of the "Third" and 
 "Fifth.") 
 
 The Ckitic. — Sterne. 
 
 " How did Garrick speak the soliloquy, last night ? " 
 " Oh ! against all rule, my lord, most ungrammatically 1 
 Betwixt the substantive and the adjective, which should 
 agree together in number, case, and gender, be made a breach 
 thus — stopping, as if the point wanted settling ; and be- 
 twixt the nominative case, which, your lordship knows, 
 should govern the verb, he suspended his voice in the epi- 
 logue, a dozen times, three seconds and three fifths by a 
 stopwatch, my lord, each time." " Admirable grammarian ! 
 But, in suspending his voice, was the sense suspended? 
 Did no expression of attitude or countenance fill up the 
 chasm ? Was the eye silent ? Did you narrowly look ? " 
 " I looked only at the stopwatch, my lord ! " " Excellent 
 observer I " 
 
164. ORTHOPHONY. 
 
 2. Contempt and Derision. 
 
 ("Aspirated Quality:" "Impassioned" Force: "Median Stress:" 
 " High " Pitch: " Unequal Waves.") 
 
 NOEVAL, IN THE QUARREL WITH Gl/ENALVON. — Home. 
 
 And who is Nerval in Glenalvon's eyes ? 
 
 Glenalvon. A peasant's s6n, [3 & 5] ^ a wandering beg. 
 gar hoy ! [3 & 8] 
 
 [3 & 5] At b§st no more, — even if he speaks the 
 trflth. [3 &,5] 
 
 [5 & 3] Hear him, my lord : he 's wondrous condescend- 
 ing! [5&3] 
 Mark the humility of shepherd Norval! [3 & 
 8] 
 3. Scorn and Derision. 
 
 ("Aspirated Pectoral and Guttural Quality : " " Impassioned" Force: 
 "Vanishing Stress:" "High" Pitch: "Unequal Wave.") 
 
 COBIOLAHDS, TO THE SENATORS, WHEN HIS ELECTION TO THE CONSU- 
 LATE IS CONTRAVENED BY THE TRIBUNES BrUTUS AND SiCINIUS J 
 THE LATTER HAVING USED THE WORD "SHALL" IN HIS VETO. — 
 
 Shahespeart. 
 
 Shall! [" semitone and octave."] 
 They chose their magistrate ; 
 And such a one as he, who puts his shall, [as before.] 
 His p6pular shall, against a graver bench, [as before.] 
 Than ever frowned in Greece ! 
 
 4. Raillery. 
 
 ("Unequal Wave.") 
 
 Geatiano TO Shylock — Shakespeare. 
 
 Gratiano. O upright [5 & 3] judge ! Mark, Jew : — 
 
 llarned [3 & 5] judge ! 
 
 1 The figures indicate the " unequal wave " of the " third " and "Jifth," 
 etc. In these exemplifications it is not intended that either a weaker or a 
 stronger "expression," an interior or a greater "wave," may not be ap- 
 pjopriately used if it be not out of proportion to the context.- In the 
 stronger expressions there might even be a prolonged and repeated, el 
 "double" "wave," in higlily animated reading. 
 
THE SLroE. 165 
 
 Shyhch Is that the law ? 
 
 Portia. Thyself shalt see the act : 
 
 For as thou urgest justice, be assur'd 
 Thou shalt have justice, more than thou desirest. 
 
 Gratiano. O learned [3 & 5]. judge ! Mark, Jew : — 
 a learned [3 & 5] judge ! 
 
 Shylock. I take this offer, then ; pay the bond thrice. 
 And let the Christian go. 
 
 Bassanio. Here is the money. 
 
 PoHia. Soft I 
 
 The Jew shall have all justice ; soft ! no haste : — 
 He shall have nothing but the penalty. 
 
 Gratiano. Jew ! an upright [5 & 3] judge, a learned 
 
 [5 & 3] judge ! 
 
 ■■/' 
 The " Monotone." 
 
 The term " monotone," when used in the language of 
 elocution, must be understood as ^.conventional, and em- 
 ployed merely to avoid circumlocution. It implies the suc- 
 cessive repetition of the same ^radical " and " concrete " 
 pitch, with the addition of a full and prolonged " median 
 stress,') so executed as to occupy the ear to the exclusion, 
 nearly, of the " radical " and " vanish " of the sounds to 
 which it is applied. The partial sameness of voice, thus 
 produced, has been not inaptly compared, as mentioned be- 
 fore, to the repeated sounds of a deep-toned bell ; as the 
 " monotone " is usually the expression of low-pitched, sol- 
 emn utterance, analogous in effect to the bell's perpetually 
 recurring low note. The " monotone " is, in the true, 
 natural, and unstudied use of the voice, — the invariable 
 standard of elocution, — the style oi(awe, reverence, solem- 
 nity, sublimity, grandeur, majesty, power, splendor^ and all 
 oth^r modes of feeling which imply vastness and ybrce, par- 
 ticularly when associated with the idea of supernatural in- 
 fluence or agency. It expresses, also, the feelings of amaze- 
 ment, terror, and horror, or whatever emotion arises from 
 the contemplation of preternatural effects. 
 
166 ORTHOPHONr. 
 
 The "monotone," therefore, as the indication of vast- 
 ness and power, pervades the style of all the noblest and 
 most impressive forms of human language in poetry, and, 
 not unfrequently, in prose of a high-wrought style. It 
 abounds, particularly, in the reading of the sacred Script- 
 ures ; and it is indispensable in the devotional language of 
 hymns. It is used likewise in verse, and in poetic prose, 
 for melody of effect, instead of the "downward slide of 
 complete sense." 
 
 The distinction between monotone and monotony will be 
 readily perceived. The one is used for impressive effect, 
 the other is an inexpressive fault. 
 
 EXAMPLES OF "MONOTONE." 
 
 1. Devotional Awe amd Reverence. 
 
 ("EtEusive Orotund Quality:" "Subdued" Force: "Median Stress:" 
 "Very Low" Pitch. > 
 
 EXTEACT^OM THE SOKIPTUEES. 
 
 « Holy ! holy ! holy ! Lord God of Sabaoth." 
 
 " Bless the Lord, my soul ; and all that is within me, 
 
 bless his holy name ! " 
 
 " Unto thee I lift up mine eyes, thou that dwellest in 
 
 the heavens." 
 
 2. Awe, Sublimity, Majesty, Power, Horror. 
 
 (" Quality," Force, " Stress," and Pitch, as before. ) 
 
 " And I beheld when he had opened the sixth seal, and 
 
 lo ! there was a great earthquake. And the sun became 
 
 black as sackcloth of hair, and the moon became as blood ; 
 
 and the stars of heaven fell unto the earth, even as a ftg- 
 
 tree casteth her untimely figs, when she is shaken of a 
 
 mighty wind. ''■ And the heaven departed as a scroll when 
 
 it is rolled together ; and every mountain and island ■wiere 
 
 moved out of their plkces. ^ And the kings of the earth, 
 
 1 A deeper note commences at each of the places thus marked. Thi 
 Irhole passage is a succession of " monotones. " 
 
THE SLIDE. 167 
 
 and the great men, and the rich men, and the chief captains 
 and the mighty men, and every bond-man, and every free- 
 man, hid themselves in the dens and in the rocks of the 
 mountains : and said to the mountains and rocks, ^ ' Fall on 
 us, and hide us from the face of Him that sitteth on the 
 throne, and from the wrath of the Lamb : ^ for the great 
 day of his wrath is come; and who shall be able to 
 stand ? ' " 
 
 3. Amazement and Terror. 
 
 ("Aspirated Pectoral Quality:" " Suppressed Force : " "Median Stress: " 
 "Very Low" Pitch.) 
 
 " In thoughts from the visions of the night, when deep 
 sleep falleth on men, ^fear came upon me and trembling, 
 which made all my bones to shkke. ^ Then a spirit passed 
 before my face ; * the hair of my flesh stood iip. — It stood 
 still ; but I could not discern the form thereof. An image 
 was before mine eyes ; ^ there was silence ; and I heard a 
 voice saying, ' ' Shall mortal man be more just than God ? 
 Shall a man be more pure than his Maker ? ' " 
 
 4. Solemn and Sublime Description. 
 
 ("Orotund Quality:" " Moderate " Force : " Median Stress : " "Low" 
 Pitcli.) 
 
 Prospeeo. — Shakespeare. 
 
 These our actors. 
 As I foretold you, were all spirits, and 
 Are melted into air, into thin air : 
 And, like the baseless fabric of this vision, 
 The cloud-capped towers, the gorgeous palaces. 
 The solemn temples, the great globe itself, 
 Y^, all which it inherit shall dissolve ; 
 Aitd, like this insubstantial pggeant faded, 
 Leave not a rack behind : We are such stuff 
 As dreams are made of, and our little life 
 J» rounded with a sleep. 
 
 1 Deeper note 
 
168 OKTHOPHONT. 
 
 5. Majesty and Grandeur. 
 
 ("OTotnnd Quality:" "Moderate" Force: "Median Stress:" "Low" 
 Pitch.) 
 
 Dkscriptioji of Satan. — Milton. 
 
 His form had not yet lost 
 
 All her original brightness, nor appeared 
 
 Less than archangel ruined, and the excess 
 
 Of glory obscured ; as when the sun new risen 
 
 Looks through the horizontal misty air, 
 
 Shorn of his beams, or from behind the moon 
 
 In dim eclipse, disastrous twilight sheds 
 
 On half the nations, and with fear of change 
 
 Perplexes monarchs. 
 
 6. Suhlimity and Spkndor. 
 
 ^"Orotund Quality:" "Moderate" Force: " Median Stress : " "Low" 
 Pitch.) 
 
 SuMMEK. — Thomson. 
 
 But yonder comes the powerful King of Day, 
 
 Rejoicing in the east. The lessening cloud. 
 
 The kindling azure, and the mountain's brow, 
 
 Illumed with fluid gold, his near approach 
 
 Betoken glad. Lo! now, apparent all. 
 
 Aslant the dew-bright earth, and colored air. 
 
 He looks in boundless majesty abroad, 
 
 And sheds the shining day, that burnished plays 
 
 On rocks, and hills, and towers, and wandering streams, 
 
 High gleaming from afkr. 
 
 7. Vastness, Sublimity, and Solemnity. 
 
 ("Orotund Quality:" " Impassioned " Force : "Median Stress:" "Low" 
 Pitch.) 
 
 The Ocean. — Byron. 
 
 Thou glorious mirror ! where the Almighty's fona 
 
 Glasses itself in tempests ; in all time, 
 
THE SLIDE. 169 
 
 Calm or convulsed, — in breeze, or gale, or storm, — 
 Icing the pole, or in the torrid clime 
 Dark heaving ; — boundless, endless, and sublime. 
 
 The image of Eternity, — the throne 
 
 Of the Invisible ; even from out thy slime 
 
 The monsters of the deep are made ; each zone 
 
 Obeys thee, — thou go'st forth, dread, fathomless, alone ! 
 
 "poetic monotone." 
 
 The " poetic monotone " is, properly, the distinctive 
 " second " which gives to the language of verse or of poetic 
 prose, when not marked by emphatic or impassioned force, 
 its peculiar melody, as contrasted with the " partial cadence " 
 of " complete sense in clauses." The two faults commonly 
 exemplified in passages such as the following, are, 1st, that 
 of terminating a clause, which forms complete sense, with a 
 *' partial cadence ; " 2d, that of terminating it with the 
 upward " slide " of the " third." Both these errors turn 
 verse into prose, or render poetic language in prose, dry 
 and inexpressive ; as both these modes of voice are the ap- 
 propriate language oifact, and not oi feeling or melody. 
 
 ( " Pure Tone : " " Subdued " Force : " Median Stress : " " High " Pitch.) 
 
 Music. — Moore. 
 
 For mine is the lay that lightly floats,'^ 
 
 And mine are the murmuring dying notes, ■^ 
 
 That fall as soft as snow on the sea, s^ 
 
 And melt in the heart as Instantly, v 
 
 2. 
 
 (" Pure Tone : " " Subdued " Force : " Median Stress : " " Low " Pitch.) 
 Autumn Scene. — Mellen. 
 
 The winds of autumn came over the woods, v^ oV ~ 
 As the sun stole out from their solitudes ; ■' 
 
 The moss was white on the maple's trunk ; ^ 
 
170 ORTHOPHONY. 
 
 And dead from its arms the pale vine shrunk ; >^ 
 And ripened the mellow fruit hung ; and red *^ 
 Were the tree's withered leaves around it shed, y 
 
 3. 
 
 ("PurpTone:" " Moderate " Force :" Median Stress : " " Low " Pitch.; 
 The Ocean Depths. — Percmal. 
 Deep in the wave is a coral grove, 
 Where the purple mullet and gold-fish rove, 
 Where the sea-flower spreads its leaves of blue. 
 That never are wet with falling dew, 
 But in bright and changeful beauty shine 
 Far down in the green and glassy brine. 
 
 4. 
 ("Quality," Force, " Stress," and Pitch as before.) 
 Nature. — Bryant. 
 Still shall sweet summer, smiling, linger here, 
 And wasteful winter lightly o'er thee pass ; 
 Bright dews of morning jewel thee, and all 
 The sUent stars watch over thee at night ; 
 The mountains clasp thee lovingly within 
 Their giant arms, and ever round thee bow 
 The everlasting f6rests. 
 
 " POETIC MONOTONE," IN DESCRIPTIVE PROSE. 
 
 1. 
 
 ("Quality," etc., as before. 
 
 Spring. — Anonymout. 
 
 In the calm spring evenings what delightful hours the 
 
 cottager spends in his little garden ! He is not without a 
 
 feeling, unuttered though it be, of the sweetness of spring, 
 
 and the delights of the passing hour ; for, as the shades of 
 
 night fall darkly on the scene, he leans upon his spade, and 
 
 lingers to breathe the odorous airl to hear the faint murmur 
 
THE SLIDE. 171 
 
 of his wearied bees, now settling peaceably in their hive for 
 the night, and the glad notes of birds, dying melodiously 
 away in the inner woods. 
 
 2. .^ j^l^ 
 
 (" Quality," etc., as before.) 
 
 , The Chosen Grave Anonymous. 
 
 I The thought is sweet \f> lay our bones within the bosom 
 of our native soil. The verdure and the flowers I love will 
 brighten around my grave ; the same trees whose pleasant 
 murmurs cheered my living ears will hang their cool shad- 
 ows over my dust ; and the eyes that met mine in the light 
 of affection will shed tears over the sod that covers me, 
 keeping my memory green within their spirits. 
 
 "Semitonic or Chromatic Melody." 
 
 An exact idea of the " semitone " would be formed by 
 thinking of it as" occupying precisely half the interval of the 
 usual " concrete " of the " radical " and " vanish " of the 
 " second " upward or downward. ' The student may be able 
 to give it correct exemplification by attempting to utter a 
 common " concrete," with a whining or plaintive tone. He 
 will find that, in this case, his voice glides upward or down- 
 ward in a style barely perceptible, and falling obviously 
 short of that of the " diatonic concrete." This is the 
 pathetic tone when used without expression. 
 
 The voice of the mother condoling with her grieving 
 child is a vivid natural exemplification of the effect of 
 " semitone ; " as is, also, the tone of sorrow or regret in the 
 utterance of childhood. Even the manly expression of grief 
 takes this mode of utterance, especially in the language of 
 dramatic poetry, in passages in which grief is not violent, 
 but subdued in its tone. The excess and caricature of this 
 mode of voice occurs in the whine of the dispirited child, of 
 the exhausted invalid, of the languishing hypochondriac, or 
 
172 ORTHOPHONY. 
 
 of the pathetic sentimentalist. It is thrown out still more 
 perceptibly on the ear in the child's whimpering approach 
 to crying, when he is overcome by pain or apprehension. 
 The extensive range of circumstances which require or pro- 
 duce the " semitone " may be distinctly apprehended if we 
 pass at once to the example afforded in the deep and pecul- 
 iar tones of p enitenc e or contjjjtipn, and of supp licatio n, — 
 feelings in the true and just utterance of which it always 
 predominates, and which cannot be expressed to the ear 
 without it. 
 
 The " semitone," or " chromatic " interval, is the appro- 
 priate expressive note of all pathetic and tender emotion. 
 It gives utterance to affectionate sympathy, commiseration, 
 compassion, pity, and tenderness. It is also the character- 
 istic of grief and sorrow in their subdued forms, of regret, 
 ■penitence, contrition, complaint, condolence, supplication, 
 and entreaty. 
 
 The importance of " chromatic melody " as an element of 
 elocution will be at once perceived, when we advert to the 
 fact of its great power over sympathy, and its value as an 
 instrument of effect in the hands of the orator, the reciter, 
 and the reader. The speaker who relies wholly on his 
 power to overawe, to arouse, or to impel, will always be 
 found unfit for the treatment of all subjects which appeal 
 to human sympathy and tenderness. 
 
 The practice of the following examples should be accom- 
 panied by frequent and extensive exercises on the elements, 
 and on words and phrases, as well as lines and sentences of 
 appropriate character. Additional examples may be found 
 by referring to passages quoted under other heads, in vari- 
 ous parts of this manual, for the purpose of exemplifying 
 pathetic and tender emotions, in the various particulars oJ 
 "quality," "force," "stress," "pitch," etc. 
 
THE SLIDE, 173 
 
 EXAMPLES OF "SEMITONE." 
 1. Affectionate Sympathy. 
 
 f'PareTone:" " Impassioned " Force : "Vanishing Stress," and " Tre- 
 mor:" "High" Pitch: "Semitone" throughout, — interval of the 
 " Fifth.") 
 
 Adam, to Orlando. — Shakespeare. 
 
 What ! my young master ! — O my gentle master ! 
 O my sweet master ! O you memory 
 Of old Sir Rowland ! why, what make you here? 
 Why are you virtuous ^ Why do people love you ?^^ 
 And wherefore are you gentle, strong, and valiant ? 
 Your praise is come too swiftly home before you. 
 Oh, what a world is this, when what is comely 
 Env&ioms him that bears it ! 
 
 ("Pure Tone:" " Moderate " Force : " Median Stress : " "Middle" Pitch: 
 "Semitone" throughout, — interval of the "Third.") 
 
 Orlando, to Adam. — Shakespeare. 
 
 O good old man, how well in thee appears 
 The constant service of the antique world, 
 When service sweat for duty, not for meed ! — 
 But, poor old man, thou prun'st a rotten tree, 
 That cannot so much as a blossom yield, 
 In lieu of all thy pains and husbandry ! 
 
 2. Commiseration. 
 
 ("Pure Tone: " "Impassioned" Force: "Vanishing Stress," and "Tre- 
 mor:" Weeping Utterance : " Semitone Proper " throughout; and occa- 
 sional " Chromatic Thirds " and "Fifths.") 
 
 Cordklia, watching over her Father, after his exposure to 
 THE tempest. — Shakespeare. 
 
 O my dear father ! Bestoration, hang 
 
 Thy medicine on my lips ; and let this kiss 
 
 Repair those violent harms that my two sisters 
 
 Have in thy reverence made ! 
 
 Had you not been their father, these white flakes 
 
174 ORTHOPHONY. 
 
 Had challenged pity of them. Was this a face 
 
 To be exposed against the warring winds ? 
 
 To stand against the deep dread-bolted thunder ? 
 
 In the most terrible and nimble stroke 
 
 Of quick, cross lightning ? to watch (poor pierdu !) 
 
 With this thin helm ? Mine enemy's dog, 
 
 Though he had bit me, should have stood that night 
 
 Against my fire ; and wast thou fain, poor father, 
 
 To hovel thee with swine, and rogues forlorn. 
 
 In short and musty straw ? Alack, alack ! 
 
 'T is wonder that thy life and wits, at Once, 
 
 Had not concluded all ! 
 
 3. Compassion. 
 
 (" Pare Tone : " " Subdued " Force: " Median Stress: " " Middle " Pitch 
 "Semitone Proper," and "Chromatic Third," prevalent.) 
 
 Bkutus, on the night before the battle of Philippi, to the 
 BOY Lucius, his attendant. — Shakespeare. 
 
 Bear with me, good boy, I am much forgetful. 
 Canst thou hold up thy heavy eyes a while. 
 And touch thy instrument a strain or two ? 
 I trouble thee too much ; but thou art willing. 
 I should not urge thy duty past thy might, 
 I know young bloods lack for a time of rest. 
 I will not hold thee long : if I do live, 
 I will be good to thee. [Lucius plays and sings.^ 
 
 This is a sleepy tune : — O murderous Slumber ! 
 Lay'st thou thy leaden mace upon my boy, 
 That plays thee music ? — Gentle knave, good-night ! 
 I will not do thee so much wrong to wake thee. 
 If thou dost nod, thou break'st thy instrument : ■^, 
 
 I'll take it from thee ; and, good boy, good-night I 
 
THE SLIDE. 175 
 
 4. Pity and Tenderness. 
 
 ("Pure Tone:" " Subdued " Force : " Median " and " Vanishing Stress : " 
 "High" Pitch: "Semitone Proper," and "Chromatic Fifth," through- 
 out) 
 
 MlBAKDA, TO FeEDINAHD, WHEN HE IS UNDERGOING THE TASK OF CAB- 
 KYIKO AND PILING UIGS, AT THE COMMAND OF HEK FATHER 
 
 Shalceipiare. 
 
 Alas ! now, pray yon, 
 Work not so hard : I would the lightning had 
 Burned up those logs, that you are enjoined to pile! 
 Pray, set it down and rest you : when this burns, 
 'T will weep for having wearied you. My father 
 Is hard at study, — pray now, rest yourself : 
 He 's safe for these three hours. 
 
 If you '11 sit down, 
 I 'II bear your logs the while : pray, give me that, — 
 I '11 carry it to the pile ! 
 
 5. Tenderness. 
 
 ("Pure Tone:" " Subdued " Force : " Median Stress : " "High" Pitch: 
 " Semitone " through the first three lines. ) 
 
 Gkay's Elegy. 
 
 On some fond breast the parting soul relies, 
 Some pious drops the closing eye requires ; 
 
 E'en from the tomb the voice of Nature cries, 
 E'en in our ashes live their wonted fires. 
 
 6. Condolence. 
 
 T'PureTone:" "Subdued" Force: "Gentle" "Vanishing Stress:" 
 <f, " Middle " Pitch : " Semitone," throughout, with occasional " Chromatic 
 
 Third" and "Fifth.") 
 
 Crouwell, to Wolsby on HIS DOWNFALL. — Shakespcart. 
 
 O my lord, 
 Must I then leave you ? must I needs forego 
 So good, so noble, and so true a master ? 
 
176 OBTHOPHONT. 
 
 Bear witness, all that have not hearts of iron, 
 With what a sorrow Cromwell leaves his lord. — 
 The king shall have my service ; but my prayers 
 Forever and forever shall be yours ! 
 
 CHAPTER Vin. 
 
 " TIME." 
 
 The chief characteristics of utterance, which are subjects 
 of attention in vocal culture, are the " quality " of the 
 voice, as sound, merely, and its " expression," as produced 
 by " force," " stress," " melody " or " pitch," and " time," 
 .'- properties equivalent to those which are comprehended 
 in music under the heads of " quality," " dynamics " 
 (force), "melody," and "rhythm" (the effect of the union 
 of " accent," or comparative force, and " time," on the 
 sequence of sounds). 
 
 The subject of " time " is that which remains to be dis- 
 cussed, as the ground of practical exercises in elocution. 
 
 ^ *" "Quantity." 
 
 The study of time, as a measure of speech, wiU lead to 
 the primary classification of single vowel sounds, as long or 
 short, in duration, according to their character and expres- 
 sion, as elements of language. The contrast, in the duration 
 of the " tonic element," or vowel sound, a, in the words 
 mak and female, will furnish examples ; the a in the former 
 being much longer, or, in other words, occupying a much 
 larger space of time, in utterance, than the a in the latter. 
 The technical designation of this property of vocal sounds 
 is " quantity," — implying quantity of time, or duration. 
 The a of male is accordingly termed a " long," the a in fe- 
 mple, a "short quantity." Such is the usual distinction 
 recognized in prosody and applied to versification. 
 
QUANTITY. 177 
 
 Syllables, when regarded in connection with the " quanti- 
 ties " of their component elements, and classified for the 
 purposes of' elocution, have been arranged by Dr. Rush, 
 under the following denominations : — 
 ■^. 1st. " Immutable,'' or such as are, from the nature of 
 their constituent sounds, incapable of prolongation. These 
 are immutably fixed to the shortest " quantity " exhibited in 
 an elementary sound, and cannot, even when accented, and 
 uttered in solemn or in poetic expression, be prolonged, in 
 any degree, without positive mispronunciation or destruction 
 of the peculiar accent of the language ; as the i, for exam- 
 ple, in the word sick, or in the verb convict. " Immutable " 
 syllables terminate with an abrupt, or " atonic " element, 
 preceeded by a short " tonic, "/asTn the above examples. 
 
 Hotspur, exclaiming on his father's illness, and consequent 
 ABSENCE FROM THE CAMP AT SHREWSBURY. — Shakespeare. 
 
 Sick now ! droop now ! This sickness doth infect 
 The very life-blood of our enterprise. 
 
 Catiline, indignantly defying the Roman Senate. — Croly. 
 Tried and convicted traitor ! — Who says this ? 
 Who '11 prove it, at his peril, on my head ? 
 
 2d. " Mutable " syllables are such as are constituted like 
 the preceding, but are capable of a slight degree of pro- 
 longation, according to the nature of the feeling they ex- 
 press. The monosyllable yet, or the accented syllable of 
 the word beset, uttered in the tone of any vivid emotion, 
 wUl furnish an example. An instance occurs m the scene 
 of the combat between Fitz James and Eoderic EMiu, when 
 the latter makes the taunting exclamation, " Not yet pre- 
 pared ? " — and another in Blanche's dying warning, 
 
 " The -path's bes«*, by flood and fell ! 
 
 3d. " Indefinite " syllables are those which contain, or 
 terminate with, a " tonic " element, or with any " subtonic'* 
 12 
 
178 ORTHOPHONY. 
 
 but b, d, or g. The time occupied in the enunciation of 
 such sounds is properly determined by the degree of feeling 
 which they are, for the moment, used to express ; as we 
 perceive in the different tones of the following examples : 
 the first in Hamlet's admiring exclamation, " "What a piece 
 of work is a man ! " and Lady Macbeth's indignant and re- 
 proachful interrogation addressed to her husband, when he 
 stands horror-stricken at the vision of the ghost of Banquo, 
 " Are you a man ? " 
 
 The power and beauty of vocal " expression " are neces- 
 sarily dependent, to a great extent, on the command which 
 a reader or speaker possesses over the element of " quan- 
 tity." Milton in his " Paradise Lost " affords innumerable 
 examples of the majestic grandeur of long " quantities " in 
 epic verse ; and without the just observance of these the 
 reading of the noblest passages in that poem becomes flat 
 and dry. 
 
 A long-continued practice on the elements of the language, 
 on syllables, words, and phrases, will be well bestowed in 
 the endeavor to acquire a perfect command of " quantity," 
 
 EXERCISES IN " QUANTITY." 
 
 The following exercises need close attention to the firm* 
 ness, clearness, decision, and purity of the opening " radi- 
 cal," and the delicacy aiid distinctness of the " vanish." The 
 latter should be occasionally practised in that long-pro- 
 tracted form, which, as Dr. Rush has expressively said, 
 " knits sound to silence." The elements may be practised 
 in " effusive," " explusive," and " explosive " utterance, on 
 all the chief intervals of " slide " and " wave," commencing 
 with the " second," and extending to the octave, both up- 
 ward and downward, — and on the various degrees of 
 " force " and modes of " stress," together with the distinc- 
 tions of " pitch," and the " expression " of the chief charac- 
 teristic emotions ; as awe, reverence, fear, horror, despair, 
 anger, grief, joy, love, etc. 
 
QUANTITY. 
 
 179 
 
 1. Examples of Long " Quantities" 
 Syllables. 
 
 and "In 
 
 definite " 
 
 B-11 
 
 a-rm 
 
 ai-T 
 
 e-ve 
 
 oo-ze 
 
 o-v 
 
 a-we 
 
 a-hl 
 
 h-ai-T 
 
 ee-l 
 
 i-oo-l 
 
 m-o-rn 
 
 b-a-U 
 
 t-a-Tn 
 
 d-a-re 
 
 ea-T 
 
 p-oo-r 
 
 f-o-rm 
 
 aw-ial 
 
 b-a-lmy 
 
 c-a-reless e-vil 
 
 m-oo-nles3 o-rder 
 
 oZ-ways 
 aw-gur 
 
 h-a-rmles8 w-a-ry easy 
 t-a-rnish r-a-rely f-ee-ble 
 
 s-oo-ner 
 c-oo-ling 
 
 o-rphan 
 o-rgan 
 
 app-a-11 
 
 af-a-r 
 
 bew-o-re rev-ea-l 
 
 rem-o-ve 
 
 ad-or-n 
 
 bef-a-U 
 
 dis-a-rm 
 
 ensn-a-re conc-ea-1 
 
 unm-oo-r 
 
 acc-o-rd 
 
 rec-o-U 
 
 bec-a-lm 
 
 decl-o-re app-eo-1 
 
 repr-o-ve 
 
 forl-o-rn 
 
 a-le 
 
 i-ce 
 
 o-ld 
 
 OU-T 
 
 OJ-1 
 
 M-se 
 
 ai-d 
 
 i-sle 
 
 ow-n 
 
 ow-l 
 
 j-ot-n 
 
 you 
 
 ai-m 
 
 d-ie 
 
 o-de 
 
 v-ow 
 
 h-oy 
 
 d-ew 
 
 b-a-lefiil 
 
 I I'-vy 
 
 o-ver 
 
 h-ow-ling 
 
 v-oj-celess d-M-ly 
 
 h-aj-ling dy-ing 
 w-ai-ling h-i-ghly 
 
 o-nly 
 h-o-ly 
 
 d-ow-nward 
 b-oM-ndless 
 
 I u-oj-sy 
 p-o*-son 
 
 p-M-rer 
 m-w-ral 
 
 unv-ei-1 repl-y 
 recl-aj-m dei-y 
 Aisi-ai-n den-y 
 
 below reb-OM-nd 
 . foreg-o res-ot«-nd 
 beh-o-ld unh-oi«-sed 
 
 enyoy 
 
 rej-04-ce 
 
 empl-oy 
 
 ref-u-se 
 am-i«-se 
 den-M-de 
 
 2. Short " Quantities " and " Immutable " Syllables.^ 
 
 b-a-ck b-e-ck p-i'-ok 
 
 h-a-ck n-e-ck s-e-ck 
 
 b-o-ckward b-e-ckon w-i-cked 
 
 l-o-ckey sp-c-ckled f-i-ckle 
 
 att-a-ck bed-e-ck unp-i-cked bem-o-ck rel-i*-ct 
 
 d-o-ck d-u^ck. 
 
 m-o-ck t-it-ck 
 
 s-o-cket 1-u-ckless 
 
 kn-o-cking b-a-cket 
 
 m-a-t 
 
 r-a-p 
 
 t-o-p 
 
 t-a-pster 
 
 str-a-pping 
 
 d-j'-p 
 
 trip 
 
 l-«-p 
 
 s-«-pping 
 
 tr-i-pping 
 
 «-p 
 OM-p 
 
 S-M-p 
 
 M-pper 
 c-M-pful 
 
 1 " Immutable " syllables do not admit of "effusive" utterance. They 
 are best adapted to tlie display of " explosive " style, although they occur 
 also in *' expulsive'' and ''declaniatory '' expression. 
 
180 
 
 
 ORTHOPHONY, ' 
 
 
 h-a-t 
 
 h-i-t 
 
 h-u-t 
 
 c-a-t 
 
 Tp-i-t 
 
 C-M-t 
 
 p-a-t 
 
 U-t 
 
 n-M-t 
 
 b-a-tten 
 
 b-i-tter 
 
 m-M-tter 
 
 t-a-tter 
 
 f-»-ttest 
 
 c-M-tting 
 
 3. Variable "Quantities" and " Mutable " Syllables. 
 
 a-pe wh-a-t b-e-t a-dd b-»-g o-dd c-i^-b 
 g-ai-t n-o-t d-e-bt b-a-d d-«-g g-o-d d-it-b 
 i-a-te g-o-t p-e-t m-a-d i-i-g n-o-d t-u-h 
 b-a-sely d-o-tted b-e-tter s-a-dden g-i-ggle b-o-dy b-u-bble 
 1-a-tely c-o-tter p-e-ttish m-o-dder d-j'-gger s-o-ft st-M-b. 
 
 EXAMPLES OP " QUANTITY," IN PHRASES AND SENTENCES. 
 
 1. Zrong " Quantities " and " Indefinite " Syllables. 
 
 The object in view in these exercises is to enable the 
 students to trace distinctly the wide scope of " expression " 
 afforded by " indefinite " syllables, for the full prolongation 
 of all elements which embody the sounds of passion and 
 emotion. " Time," in elocution, is the opportunity of ef- 
 fect, which inattention and rapidity throw away. Young 
 readers in particular need much practice in this depart- 
 ment, as they incline to haste and slight "expression." 
 The mode of performing these exercises should be regulated 
 with a view, at first, to the fullest effect of expressive sound. 
 Afterwards the style may be reduced in effect, as the con- 
 secutive reading of whole pieces may require. In vocal 
 training, as in athletic exercise, the object of practice is, 
 sometimes, to execute a given feat, with a view to its effect 
 on habit, — to gain the power of putting forth, on requisite 
 occasions, a maximum of effort, in an easy, graceful, and 
 appropriate manner. 
 
 Despair : " The rolling and the tolling of the bells ! 
 
 The moaning and the groaning of the bells." 
 
QUANTITY. 181 
 
 Grief: " woe is me ! 
 
 To have seen what I have seen, see what I see ! " 
 Courage : " Strike, till the last arm'd foe expires ! 
 ' Strike, for your altars and j our Jires ! " 
 
 " On they come ! and will ye quail ? 
 Leaden rain and iron kail 
 Let their welcome be ! " 
 Tenderness: " Some, home, sweet home ! " 
 Awe : " The dead reign there alone." 
 
 Sublimity : " Deep calleth unto deep." 
 Delight : " Ah me / how sweet is love itself pos- 
 
 sessed, 
 When but love's shadows are so rich in jot/ / " 
 Fear : " Hal, arn't thou horribly afeard ? " 
 
 Horror : " I had a dream which was not all a dream. 
 The bright sun was extinguished : and the 
 
 stars 
 Did wander darkling in the eternal space 
 Rayless and pathless : and the icy earth 
 Swung blind and blackening in the moonless 
 air." 
 Earnest EntrecUy : " Oh save me, Hubert, save me ! " 
 Gloom : " Alone, alone, all, all alone, 
 
 Alone on the wide, wide sea." 
 Exultation : "I call to you with all my voice ! " 
 Grief: " Oh ! I have lost you all ! 
 
 Parents, and home, and friends." 
 Courage : " Come one, come all ! — this rock shall fly 
 
 From its firm base as soon as L" 
 Awe : " My heart is awed within me, when I think 
 Of the great miracle that still goes on 
 In silence round me." 
 Sublimity : " Hail ! holy Light ! ofispring of Heaven first- 
 
 born." 
 Disdain : " None left but by submission ; and that word 
 Disdain forbids me." 
 
182 ORTHOPHONY. 
 
 Shouting : " ' To arms ! to arms ! to arms ! ' they cry." 
 Begret : " Ah ! why will kings forget that they are men, 
 
 And men that they are brethren ? " 
 Delight: "The balmy breath of incense-breathing moru." 
 
 "0 my soul's joy ! " 
 Fear: "While the deep thunder, peal on peal, afar." 
 Triumph : " 7b ! they come, they come ! " 
 
 Misery: "Wailing and woe, and grief, and fear, and 
 
 pain." 
 Horror : " He woke — to die — midst flame and smoke 
 
 And shout and groan and sabre stroke " — 
 Calling : " Awake ! arise ! or be forever fallen ! " 
 Defiance : " Thy threats, thy mercy, I defy .' " 
 
 " I give thee, in thy teeth, the He ! " 
 Denial: "The truth of his whole statement I do most 
 
 peremptorily deny." 
 Challenge : " Pale, trembling coward ! there I throw 
 
 my gage-" 
 " Draw, villain, draw, and defend thy life ! " 
 Mcultation : " Poison, and Plague, and yelling Rage are 
 
 fled ! " 
 Adoration: "Air, earth, and sea, resownd His praise 
 
 abroad ! " 
 Melancholy : " Old Ocean's gray and melancholy waste " — 
 Grandeur : " Roll on, thou deep and dark blue ocean, 
 roll! 
 Ten thousand fleets sweep over thee in 
 vain ! " 
 Anger: "And dars't thou then, 
 
 To beard the lion in his den, 
 
 The Douglas in his hall ? 
 And hop 'st thou hence unscathed to go ? ^ 
 No.' by Saint Bride of Bothwell, no.'" 
 Pathos : " For I am poor and miserably old ! " 
 Command: " Chieftains forego .' 
 
 The man who strikes makes me his foe." 
 
QUANTITY. 183 
 
 " Hold, hold ! for your lives ! " 
 " Hold, hold ! the general speaks to you ; — 
 Hold, for shame ! " 
 Earnest Entreaty : " Hear me ! oh ! hear me ! " 
 Despair; " Farewell fear ! 
 
 Farewell remorse." 
 Madness : " Eyil ! be thou my good ! " 
 Pity: " Sickness, and want, and feeble, trembling age " — 
 Distraction : " B1om», wind, and crack your cheeks ! rage ! 
 
 blow!" 
 Gloom : " Thou drear and howling wilderness." 
 Vastness and Sublimity : " Bowndless, ewdless, and sub- 
 
 Kme ! " 
 Self-reproach : " O fool ! fool ! fool ! " 
 Commiseration : " Poor fool and knave, I have one part 
 in my heart 
 That 's sorry yet for thee .' " 
 Imprecation : " Strike her young bones. 
 
 You taking airs, with lameness ! 
 
 You nimble lightnings, dart your blmding 
 
 flames 
 Into her scornful eyes ! " 
 AccKsation : " Nathan said unto David, ' ThoM art the 
 man ! ' " 
 " All the treasons, for these eighteen years, 
 Complotted and concocted in this land, 
 Fetch from false Moj<7bray their chief 
 spring and head." 
 Joy : " Joy, joy ! shout, shout aloud for joy ! " 
 
 Fear: "With noiseless foot she treads the marble floor." 
 Grief: " The Niobe of nations ! there she stands 
 
 Childless and crownless, in her voiceless woe .' " 
 " Oh ! pardon me, thou bleeding piece of earth. 
 That I am meek and gentle with these butch- 
 ers i" 
 
184 OETHOPHONY. 
 
 Sorrow : " Ah ! l«dy, now full well I know 
 
 What 't is to be an orphan hoi/ ! " 
 Delight : " Of pare now pwrer air 
 IVLeets his approach," 
 " Of bloom ethereal the light-footed Dews." 
 
 2. Skort " Quantities " and " Immutable " ^llahles. 
 
 The object in view, in the following examples, is to ex- 
 hibit the " explosive " mode of utterance, and to impart the 
 power of concentrating and condensing expression into the 
 shortest sounds. Instantaneous execution is, in these exam- 
 ples, the point to be aimed at, — the voice to be charged 
 with the utmost impetuous force of utterance, on every ex- 
 pressive syllable ; and any approach to prolongation to be 
 carefully avoided, as tending to weaken the proper effect. 
 
 Taunting Scorn : " Letting I dare not/wait upon I would, 
 
 Like the poor cat i' the adage ! " 
 Haste : " ' Neath our feet broke the brittle bright stwbble 
 
 like chaff." 
 Wrath : " Back to thy pwnishment ! false fugitive." 
 Maddened Resolve : " I '11 fight till from my bones my 
 
 flesh be hacked ! " 
 Reproach : " Up I sluggaids, wp ! " 
 
 " Wieked, remorseless wretch ! " 
 " fickle fool ! " 
 Indignation : " Thou impious mocker, hence ! " 
 
 " Be ready, gods, with all your thunder- 
 bolts ! 
 Dasji- him in pieces ! " 
 Terror : " Whence is that knocking^ " 
 Command: " Sound, twckets! " 
 
 Scorn : " You, wretch ! you could enjoy yourself, like a 
 bwtcher's dog in. the shambles, battening on garbage, while 
 the slaughter of the brave went on around you." 
 Contempt ; " Thou tattered starveling ! " 
 
 " The swaggering wpstart reels I " 
 
QUANTITT. 185 
 
 Mirth : " Come, and top it, as ye go. 
 On the light fantastic toe ! " 
 Boasting : " I have seen the day, with my good biting 
 falchion 
 I would have made them skip ! " 
 Threatening : " This day 's the birth of sorrows : this 
 hour's work 
 Will breed proscriptions ! " 
 Scorn : " Faithful to whom ? to thy rebellious crew ! 
 
 Army of fiends ! — ftt body to fit head." 
 Amazement : " What ! fifty of my followers at a clap ! " 
 Revenge : " Batter their walls down, raze them to the 
 
 ground ! " 
 Shouting : " Victory ! victory ! Their columns give 
 Iray ! press them while they waver ; and the day is ours ! " 
 Anger : " Thou muttering, malapert knave ! " 
 Derision : " Ay ! sputter away, thou roasting apple. 
 
 Spit forth thy spleen ! 't wUl ease thy heart." 
 Horror : " I could not say. Amen, 
 
 When they did say, God bless us." 
 " Amen 
 Stack in my throat ! " 
 Warning : " Bitterly shall ye rue your folly ! " 
 Indignation : " But this very day, 
 
 An honest man, my neighbor, — there he 
 
 stands, — 
 Was struck, — struck like a dog, 7— by one 
 
 who wore 
 The badge of Ursini," — 
 Remorse : " Whip me, ye devils ! 
 
 From the possession of a sight like this." 
 
 3. Variable " Quantities " and " Mutable " Sgllables. 
 
 The design of the following exercises is to attract the 
 student's attention to the partial change of " quantity," 
 which emotion produces on " mutable " syllables, according 
 
186 ORTHOPHONY. 
 
 to the characteristic tone in each instance. True, natural, 
 and full "expression" requires, for example, that awe, 
 solemnity, reverence, and similar feelings should be uttered 
 with a comparative 'prolongation of " quantity," when the 
 structure of syllables will admit the change, and that hurry, 
 agitation, alarm, and other moods of mind tending to the 
 same effects should be expressed with a rapid enunciation, 
 and " quantities " rendered as brief as possible. 
 
 Awe: {L. q.) " The dread of something after death." 
 Grief: (L. q.) " Gome weep with me : past hope, past 
 
 cure, past help ! " 
 Derision: (L. q.) " Shall/ his popular shall ! " 
 Anguish: (L. q.) " O wretched staie \ O bosom black as 
 
 death ! " 
 Sympathy : " Alas, poor Yorich ! " 
 
 Horror: "O horror! horror! horror! tongue nor heart 
 cannot conceive nor name thee ! " 
 
 1. Impatience and Revenge. 
 
 Macduff, after hearing of the massacre of his family by the 
 ORDER OF Macbeth. — Shakespeare. 
 
 But gentle Heaven, 
 
 Impatience: {S. y.) 
 Cut short all intermission : front to front, 
 Bring thou this fiend of Scotland and myself ; 
 
 Revenge: {L. q.) 
 
 Within my sword's length set him ; — if he scape. 
 Heaven forgive him too ! 
 
 2. GheerfvMess and Scorn. 
 
 Cheerfulness: {S. g'.) 
 Fhe banished duke, in the forest, to his friends. — Bhaketpeart. 
 Now my co-mates, and brothers in exile. 
 Hath not old custom made this life more sweet 
 Than that of painted pomp ? 
 
QUANTITY. 187 
 
 Scorn : {L. g.) 
 Satan to Ithueiel and Zephon. — Milton. 
 Know ye not me ? Ye knew jii^ once no mate 
 For you ; there sitting where ye durst not soar. 
 
 3. Reproachful Interrogation and Indignant Surprise. 
 
 Reproachful Interrogation : {S. q.) 
 Demosthenes to the Athehlans. 
 Will you forever, Athenians, do nothing but vjalk up and 
 down the city, asking one another " What news ? " 
 
 Indignant Surprise : (L. q.) 
 
 " What news ! " — Can anything be more new than that 
 a man of Macedonia should lord it over Athens, and give 
 laws to all Greece ? 
 
 4. Surprise and Contempt. 
 
 Surprise: (S. q.) 
 
 Banquo, to Macbeth, on the vanishing op the Witches. — Shahe- 
 ^eare. 
 
 The earth hath bMbbles, as the water has, 
 And these are of them. 
 
 Contempt : (L. q.) 
 
 Ode fok Saint Cecilia's Day. — Dryden, 
 
 War, he sung, was toil and trouble, — 
 Honor, but an empty bwbble. 
 
 5. Impatience and Awe. 
 Impatience : (<S. q.) 
 CAssros, IN the quakkel with Bkutds. — Shake^eare. 
 Ye gods ! ye gods \ must I endure all this ? 
 
188 ORTHOPHONY. 
 
 Awe : {L. g.) 
 
 Leab, ih the thundee-stokm. — Sliakeqieare. 
 
 Let the great gods, 
 That keep this dreadful pother o'er our heads 
 Find out their enemies now. 
 
 6. Tranquillity and Despair. 
 
 Tranquillity: (M. q.) (^Moderate.) 
 
 Anonymous Lines. 
 
 He in his robe of virtue wraps himself, 
 
 And smiles at Fate's caprice ! 
 
 « Despair: (L. q.) \ 
 
 " Fate ! do thy worst ! " . "' 
 
 L 
 
 o> 
 
 Pauses. ^ <^"" 
 
 Time, when applied as a. measure of speech, prescribes 
 not only the length, or " quantity," of sounds, but also that 
 of the pauses, or cessations of voice, which intervene be- 
 tween sentences and between their parts ; as the intermis- 
 sions of the voice are, virtually, though not nominally, con- 
 stituents of " expression," whether we regard thought or 
 feeling. "Without distinct and appropriate pauses we cannot 
 understand oral communication ; and without occasional im- 
 pressive cessations of voice, there can be no true sympathy 
 between speaker and hearer. 
 
 Pauses, as classified in elocution, are of two kinds : 1st, 
 those which express emotionj 2d, those which modify sense, 
 or meaning. Pausing, like utterance, is regulated by the 
 character of the emotion, or the thought which is the subject 
 of expression. The pauses used in the " expresion " of all 
 ffrave, rfeejo, and solemn emotions, which incline to prolonged 
 " quantities," are comparatively lonff, and thus correspond in 
 character to the vocal sounds between which they occur and 
 
PAUSES. 189 
 
 ffbich. they aid by their harmonious effect, as in the follow- 
 ing instances : — 
 
 " Night,^ II sable goddess, || from her ebon throne ] *''- 
 
 In rayless majesty | now stretches forth j 
 
 Her leaden sceptre | o'er a slumbering world. y 
 
 Silence || how dead ! || || and darliness || how profound ! " ^ 
 R'isk, gay, and lively feelings are distinguished by brief 
 " quantities," and corresponding short pauses, as in the fol- 
 lowing example : — 
 
 " Haste thee | Nymph, | and bring with thee | ^ ^-''"^ 
 Mirth I and youthful jollity, | i ^ 
 
 Quips and cranks | and wanton wiles, | ''"" 
 
 Nods and becks | and wreathed smiles." 
 
 The pauses of sense or meaning are of various lengths, 
 according to the portions of speech which they are employed 
 to separate ; thus, we observe the long pauses between the 
 principal parts of a discourse, the somewhat shorter pauses 
 at its subdivisions, the shorter still at paragraphs, and the 
 shorter than even these at periods. Within a sentence it- 
 self we can trace distinctly, in some instances, a principal 
 pause at the middle, or the pause of compound clauses ; and 
 perhaps an inferior one at or near the middle of each half, 
 or the pause of simple clauses ; and, on still closer examina- 
 tion, we find occasional shorter pauses in these subordinate 
 portions, or the pause of phrases ; and slight pauses even 
 between words. The following sentence will exemplify 
 these gradations of pausing. 
 
 " As we perceive the shadow | to have moved along the 
 dial-plate, | but did not perceive its moving ; || and it ap- 
 pears I that the grass has grown, j though nobody j ever 
 saw it grow : || || so the advances we make in knowledge, ( 
 consist of minute successive steps ; || and we are unconscious 
 of them I until we look back, | and thus become aware j of 
 the distance j to which we have attained." 
 
 1 The marks indicate the value or length of the pauses from ||||, the longest 
 within a sentence, to | tlie shortest. 
 
190 ORTHOPHONY. 
 
 Pauses have sometimes been classified as follows : 1st, 
 Poetic and oratorical pauses, or those which express emo- 
 tion, and which are sometimes termed " impassioned " or 
 " impressive ; " 2d, " Rhetorical pauses," or those which 
 divide a discourse into its heads and subdivisions, and those 
 which the sense and structure of a sentence demand, when' 
 taken in conjunction, as in the prose example preceding. 
 These pauses are addressed to the ear, and when they occur 
 in a sentence may or may not be indicated to the eye by 
 the ordinary punctuation ; 3d, Grammatical pauses, — the 
 comma, semicolon, colon, and period, — which are founded 
 on the syntactical structure and subdivision of sentences. 
 These pauses are addressed to the eye, and are always indi- 
 cated by the usual points ; 4th, Prosodial pauses, which are 
 used only in verse. 
 
 I. POETIC AND ORATORICAL PAUSES. 
 
 These pauses of emotion, as they are sometimes termed, 
 are produced for the most part by feelings of solemnity and. 
 pathos, or by the affectation of these, as in the style of in- 
 tentional exaggeration and bombast for the effect of bur- 
 
 Pauses of this description are sometimes superadded to the 
 usual grammatical points, and sometimes are thrown in be- 
 fore or after (sometimes both before and after) an impas- 
 sioned expression or emphatic word in vivid passages of 
 poetry or of declamatory prose, without regard to the gram- 
 matical punctuation ; and their length depends entirely on 
 the feeling expressed in the passage in which they occur ; 
 they are long in solemn, and short in lively style. It be- 
 comes a matter of great u^oment, in practice, to cultivate 
 the habit of watching the efEect of full and long pauses, in- 
 troduced at appropriate places. Without these the most sol- 
 emn passages of Scripture, and the poetry of Milton and of 
 Young, produce no effect, comparatively, on the mind ; while 
 reading, aided by their " expressive silence," seems to bfl 
 
PAUSES. 191 
 
 inspired with an unlimited power over the sympathies of the 
 soul. 
 
 EXAMPLES OF POETIC AND ORATORICAL PAUSES. 
 ("Impressive" Style.) 
 
 1. Sorrow. 
 
 The Song of the Shikt. — Hood. 
 
 Work! II Work! II Work ! || 
 
 My labor never flags ; | 
 And what are its wages ? || A bed of straw, || 
 
 A crust of bread || — and rags. || 
 That shattered roof || — and this naked floor || — 
 
 A table || — a broken chair || — 
 And a wall so blank, | my shadow I thank 
 
 For sometimes falling there ! 
 
 2. Sorrow. 
 The Wkeck. — Irving. 
 
 The wreck had evidently drifted about for many months ; 
 clusters of shell-fish had fastened about it, and long sea- 
 weed flaunted at its sides. | But where, | thought I, | is 
 the crew? II Their struggle has long been over: — 1| || 
 they have gone down amidst the roar of the tempest ; — 
 
 II II their bones lie whitening in the caverns of the deep. 
 
 1 1 Silence — || oblivion — || like the waves | have closed 
 »ver them : | and no one can tell the story j of their end. 
 
 3. Deep Solemnity. 
 The Deserted House. — Tennyson. 
 (The lifeless body likened to a deserted house.) 
 Lite and Thought have gone away | 
 Side by side, j 
 
 Leaving door* and windows" wide: || — 
 Careless tenants they ! 
 
 i The mouth. ^ The eyss. 
 
192 ORTHOPHONY. 
 
 All within is dark as night : || 
 In the windows is no light ; || 
 And no murmur at the door, 
 So frequent on its hinge before. || [| 
 
 Close the door, || the shutters close ; || 
 Or through the windows we shall see 
 The nakedness, | and vacancy | 
 
 Of the dark | deserted | house. || || 
 
 Come away : || no more of mirth 
 Is here, | or merry-making sound. | 
 
 The house was builded of the earth, | 
 And shall fall^gain to ground. |{ 
 
 Come away : || for Life and Thought 
 Here no longer dwell ; || 
 But in a city glorious, | — 
 A great and distant city, | — ^ have bbught 
 A mansion incorruptible. | — 
 
 Would they could have stayed with us ! 
 
 4. Solemnity. 
 
 Time's Revenges. — Browning. 
 
 There may be Heaven ; | there must be Hell ; | 
 Meantime there is our Earth here — || || well ! 
 
 5. Tenderness and Pride. 
 Incident op the French Camp. — Browning. 
 The chiefs eye flashed ; but presently 
 
 Softened itself, as sheathes 
 A film the mother eagle's eye 
 
 When her bruised eaglet breathes : 
 "You 're wounded ! " || " Nay," | his soldier's pride 
 Touched to the quick, he said : 
 
PAUSES. 193 
 
 " I'm killed, Sire ! " || And, his chief beside, | 
 Smiling | the boy | fell | dead. 
 
 6. Melancholy. 
 Macbeth's Soliloquy. — Shakespeare. 
 To-morrow, || and to-morrow, || and to-morrow, || 
 Creeps in this petty pace | from day to day, | 
 To the last syllable of recorded time ; || 
 And all our yesterdays have lighted fools | 
 The way to dusty death. || Out, out, brief candle! || 
 Life 's but a walking shadow, || — a poor player, || 
 That struts and frets his hour upon the stage, | 
 And then | is heard | no more. \ g 
 
 7. Profound Solemnity and Awe. jj 
 
 Hamlet's Pkesentiment of Death. — Shakespeare. 
 
 Ham. Thou wouldst not think how ill ] all 's here about 
 my heart ; || but it is no matter. a^vu*-*.^ 
 
 Hora. Nay, good my lord, — / "'^ ' o '-' 
 
 Ham. It is but foolery ; || but it is such a kind of gain- 
 giving as would I perhaps | trouble a woman. , 
 
 Hora. If your mind dislike anything, obey it ; I will J 
 forestall their repair hither, and say you are not fit. 
 
 Ham. Not a whit ; | we defy siugury : | there is a special 
 providence in the fall of a sparrow. {{ || If it be now, | 'tis 
 not to come ; |{ || if it be not to come, | it will be now ; || || 
 if it be not now, | yet it will come; {| || the readiness is all. 
 Since no man knows aught of what he leaves, what is 't to 
 leave betimes? II 1 1 Let be. 
 
 8. Sententious Thought. \ /^ 
 
 Fall of Boue. — Byron. t 
 
 While stands the CofiseUm, Rome shall stand ; | '^ 
 When falls the Coliseum, Rome shall fall ; || 
 And when Bome falls — || || the world! — 
 13 
 
194 ORTHOPHONY. 
 
 9. Horror. 
 
 Burke's description of the desolation effected by Htder Au 
 AND HIS SON. — Burke. 
 
 So completely did these masters in their art, Hyder Ali, 
 and his more ferocious son, absolve themselves of their impi- 
 ous vow, that when the British armies traversed, as they 
 did, the Carnatic, for hundreds of miles, in all directions, — 
 through the whole line of their march, | they did not see 
 one man, | not one woman, {| not one child, 1| || not one four- 
 footed beast II of any description whatever. One j dead j 
 uniform | silence || reigned | over the whole region. 
 
 10. Oratorical Interrogation. 
 
 BrUTHS'S harangue TO THE PEOPLE, AFTER THE ASSASSINATION OP 
 
 C^SAR. — Shakespeare. 
 Who's here so base that would be a bondman? — 1| If 
 any, speak ; || for him have I offended. || || Who's here so 
 rude, that would not be a Roman? — || If any, speak; || for 
 him have I ojBEended. || || Who 's here so vUe, that will not 
 love his country? — 1| If any, speak; || for him have I 
 offended. — || || I pause for a reply. 
 
 11. " EHETOEICAL " PAUSES. 
 
 These are of great practical utility in reading ; as, be- 
 sides prescribing the indispensable long pauses at heads of 
 discourse and paragraphs, they direct the voice to many 
 cessations of utterance, which are not indicated by the usual 
 punctuation of sentences. Their chief use is to supply the 
 deficiency arising from the inadequacy of points, or gram- 
 matical punctuation, to mark all the places at which a pause 
 necessarily occurs in reading. 
 
 The " rhetorical " pauses often coincide with the usual 
 points ; but they apply, also, in many cases in which no 
 point is used. The common grammatical punctuation (in- 
 dicated by the comma, semicolon, colon, and period) coitt 
 
PAUSES. 195 
 
 cides, in most instances, with the cessations of voice which 
 meaning requires. But this is not always the case ;• as they 
 sometimes occur where the syntax of a sentence is inter- 
 rupted or terminated, for the time, but where the sense re- 
 quires no pause. " Rhetorical " pauses regard the sense of 
 a sentence, and are intended for the ear ; grammatical 
 punctuation refers to the syntactical structure of a sentence, 
 and is addressed to the eye. The " rhetorical " pauses are 
 of indefinite length, and always vary, as to their duration, 
 with the sentiment and the utterance, as brisk and ani- 
 mated, or slow and grave. Grammatical pauses have a 
 fixed and uniform value, as representing the component 
 parts of a sentence as such, and, in reading aloud, can 
 seldom be appropriately used, as sometimes directed, by a 
 process of counting, — " one, at a comma ; two, at a semi- 
 colon ; " etc., since the feelings which are expressed by the 
 sentence, may, in one part of it, be lively and rapid, and in 
 another solemn and slow ; as in the following instance. 
 
 " Your house | is finished, | sir, | at last, 
 A narrower house, || || a house of clay." 
 
 EXAMPLES OF THE "RHETORICAL" PAUSE. 
 
 1. Between Phrases. 
 Phrases commencing with a Preposition. 
 
 1. " Depart to the house which has | in this city | been 
 prepared | for thy residence." 
 
 2. « My heart was wounded | with the arrow of affliction, 
 and my eyes became dim | with sorrow." 
 
 3. " To increase the austerity of my life, I frequently 
 watched all night, sitting at the entrance of the cave | with 
 my face to the east, resigning myself to the secret influ- 
 ences of the Prophet" 
 
 4 " When I awaked, I laid my forehead upon the ground, 
 and blessed the Prophet | for the instruction of the morn- 
 fog." 
 
196 ORTHOPHONY. 
 
 5. " The king, whose doubts were now removed, looked 
 up [ with a smile that communicated the joy of his mind." 
 
 Phrases commencing with an Adverb. 
 
 1. " He has passed to that world | where the weary are 
 at reet." ' • 
 
 2. " The voice of Heaven summons you in these hours | 
 when the leaves fall, and the winter is gathering." 
 
 3. " Be entreated to make the decisive efiort | ere it be 
 too late." 
 
 4. " He continued steadfast in his purpose | while others 
 wavered." 
 
 Phrases commencing with a Conjunction. 
 
 1. " It is more blessed to give | than to receive." 
 
 2. " Yet I know not | whether my danger is a reality | 
 or a dream." 
 
 3. " In the spirit of sympathy, we call on rocks | and 
 streams | and forests || to witness | and share our emo- 
 tions." 
 
 4. " The same sun which now marks the autumn of the 
 year, will again arise in his brightness, and bring along with 
 him the promise of the spring | and all the magniiicence of 
 summer." 
 
 5. " The voice of despair now whispers | that all exer- 
 tion is in vain." 
 
 6. " We are often deceived | because we are willing to be 
 deceived." 
 
 2. Between Words. 
 
 The Nominative and the Verb, 
 
 1. " The breeze | died away, as the sun | sank behind 
 the hills." 
 
 2. " The smoke | rises not through the trees : for the 
 honors of the grove | are fallen." 
 
 3. " "Weeping | may endure for a night ; but joy | cometli 
 in the morning." 
 
MOVEMENT. 197 
 
 Ellipsis. 
 
 " Add to your faith virtue ; and to virtue | knowledge ; 
 and to knowledge | temperance ; and to temperance | pa- 
 tience." 
 
 III. GRAMMATICAL PAUSES. 
 
 The due observance of the pauses indicated by grammati- 
 cal punctuation is one of the useful and efEectual means of 
 arresting the attention of young learners, and accustoming 
 them to mark distinctly the component portions of a sen- 
 tence. But the common fauU of school reading, and some- 
 times of professional exercises, — a uniform and mechanical 
 style, — is, in part, owing to exact compliance with the di- 
 rection to pause, invariably, for a given time at each point. 
 
 The general rule of elocution, then, as regards the comma, 
 semicolon, and colon, if we use them as guides to the voice, 
 must be, to follow them only so far as they coincide with the 
 meaning, and to lengthen or shorten, or omit the pauses cor- 
 responding to them, as the sentiment or emotion expressed 
 in a sentence may require, in slow or in lively utterance ; 
 but especially to remember that there may be a long pause 
 of feeling where no grammatical point occurs. 
 
 " Movement." 
 
 The term " movement," for which the word " rate " is 
 sometimes substituted, has the same applicatiouz-in elocution 
 as in music ; and while " quantity " regards single sounds as 
 lona or short, " moveme nt " regards success ive or consecuti ve 
 sounds as fast or slow. It unites, too, with " quantity " in 
 regulating the length of pauses ; as we find that slow " move- 
 ment," as well as long " quantity," requires long pauses ; 
 and that h-isk, or rapid " movement," and brief" quantity," 
 equally require short pauses. 
 
 " Movement," in elocution, is not measured with the com- 
 parative exactness implied in the musical terms, adagio, an- 
 
198 OETHOPHONY. 
 
 dante, mezzo, vivace, allegro, presto, etc. It approaolies, 
 however, to a considerable degree of deflniteness in its use 
 of the designations, " slowest," or " very slow ; " " slow ; " 
 " moderate ,- " " lively ; " " brisk," or " quick ; " and " rapid," 
 " quickest," or " very quick." 
 
 The " slowest," or " very slow movement," is exemplified 
 in the expression of the deepest emotions of the soul ; as hor- 
 ror, awe, profound reverence and solemnity and adoration. 
 The "slow movement" characterizes the utterance of 
 gloom, melancholy, grief, pathos, sublimity, solemnity and 
 reverence, in their usual form, profound repose, grandeur, 
 majesty, vastness, power, and splendor. " Moderate move- 
 ment " is the usual rate of utterance in unimpassioned lan- 
 guage. It belongs to common narration and description, and 
 to didactic thought. The rhetorical modes of style to which 
 it is applicable are those which are denominated the " dry," 
 the " plain," and the " neat." " Lively movement " implies 
 emotion in that gentle form which does not exceed liveliness, 
 or animation. The lower degrees of all vivid feeling are 
 expressed by this style of " movement." A slight degree of 
 joy is usually the under-current of its effect. " Quick " or 
 " brisk movement " is characteristic of gay, exhilarated, and 
 glad emotion : th& full feeling of joy is implied in^ its " ex- 
 pression." It gives utterance to all playful, humorous, and 
 mirthful moods. It sometimes, on the other hand, gives its 
 characteristic effect io fear. The "movement " designated 
 as " quickest," " very quick," or " rapid," is that of haste, 
 hurry, alarm, confusion, BioAfear, when rising to terror, and 
 highly-wrought lyric passages. 
 
 Utterance, to be natural and effective, must have the gen- 
 uine expression of its appropriate " movement." Solemnity 
 cannot exist, to the ear, without slowness, nor gayety without 
 briskness of utterance, gravity without sedate style, nor ani- 
 mation without a lively " movement." 
 
 The three principal faults of " movement," which are ex- 
 emplified in the common practice of reading, are uniform 
 
MOVEMENT. 199 
 
 tlowness, or, perhaps, a drawling style ; habitual rapidity, 
 which prevents all deep and impressive effect, and, perhaps, 
 causes indistinctness of enunciation ; a uniform " moderate " 
 " movement," which never yields to any natural influence 
 of emotion, — so as to become appropriately expressive, 
 and pass from grave to gay, at the reverse, by a change in 
 the gait of the voice, — but utters, automaton-like, all feelings 
 in the same unmeaning and mechanical style ; the voice 
 marching on, with one uniform measured step, over all va- 
 rieties of surface, as regards the tenor of languase and tHe 
 subject. 1^^/- 
 
 EXAMPLES OF "MOVEMENT." 
 I. " SLOWEST MOVEMENT." 
 
 1. Amazement, Awe, and Horror. 
 
 
 ("Aspirated Pectoral Quality:" "Suppressed" Force: "Median Stress:" 
 "Lowest" Pitch: Prevalent " Monotone : " Extremely Lotwc Pauses.) 
 
 Dakkhess. — Byron. 
 
 I had a dream which was not all a dream. 
 
 The bright sun was extinguished ; and the stars 
 
 Did wander darkling in the eternal space, 
 
 Bayless, and pathless ; and the icy earth 
 
 Swung blind and blackening in the moonless air ; 
 
 Morn came, and went, — and came, and brought no day. 
 
 The world was void. 
 
 The populous and the powerful was a lump, — 
 
 Seasonless, herbless, treeless, manless, lifeless, — 
 
 A lump of death — a chaos of hard clay. 
 
 The rivers, lakes, and ocean, all stood still ; 
 
 And nothing stirred within their silent depths : 
 
 Ships, sailorless, lay rotting on the sea ; 
 
 And their masts fell down piecemeal : as they dropped 
 
 They slept on the abyss without a surge ; — 
 
 The waves were dead ; the tides were in their grave. 
 
 The moon, their mistress, had expired before ; 
 
200 ORTHOPHONY. 
 
 The winds were withered in the stagnant air ; 
 And the clouds perished : Darkness had no need 
 Of aid from them, — She was the universe. 
 
 2. Profound Meditation. 
 
 Rhyme of the Duchess Mat. — 'Mrs. Browning. 
 
 And I said in underbreath, all our life is mixed with 
 death, — 
 And who knoweth which is best ? 
 
 And I smiled to think God's greatness flowed around our 
 incompleteness, — ^^ ~ 
 Round our restlessness, His rest. 
 
 11. " SLOAV MOVEMENT." 
 
 1. Svhlimity, Majesty, and Power. 
 
 ("Expulsive Orotund : " " Impassioned " Force : " Radical and Median 
 Stress:" "Low "Pitch: Prevalent " Downward Slide : " Occasional 
 "Monotone:" Long Pauses.) 
 
 Feom David's Psalm op Praise, on his deliverance fkom his 
 
 ENEMIES. 
 
 Then the earth shook and trembled : the foundations of 
 heaven moved and shook, because he was wroth. There 
 went up a smoke out of his nostrils ; and fire out of his 
 mouth devoured : coals were kindled by it. He bowed the 
 heavens, also, and came down ; and darkness was under his 
 feet ; and he rode upon a cherub, and did fly ; and he was 
 seen upon the wings of the wind ; and he made darkness 
 pavilions round about him, dark waters, and thick clouds of 
 the skies. The Lord thundered from heaven, and the Most 
 High uttered his voice ; and he sent out arrows and scat- 
 tered them ; lightning, and discomfited them. And the 
 channels of the sea appeared ; the foundations of the world 
 were discovered at the rebuking of the Lord, at the blast 
 of the breath of his nostrils. 
 
MOVEMENT. 20X 
 
 2. Pathos and Gloom. 
 
 MlLTOS'S ALLUSION TO HIS LOSS OF SIGHT. 
 
 Seasons return : But not to me returns 
 Day, or the sweet approach of even or morn, 
 Or sight of vernal bloom, or summer's rose, 
 Or flocks or herds or human face divine ; 
 But cloud, instead, and ever during dark 
 Surround me, from^e cheerful ways of men 
 Cut off, and, forThehook of knowledge fair, 
 Presented with a universal blank 
 Of nature's works, to me expunged and razed, 
 And wisdom at one entrance quite shut out I 
 
 3. Deep Tranquillity. 
 
 The Sleep. — Mrs. Browning. 
 
 And friends ! — dear friends ! — when it shall be 
 
 That this low breath is gone from me. 
 
 And round my bier ye come to weep — 
 
 Let one, most loving of you all. 
 
 Say : " Not a tear must o'er her fall, — 
 
 He giveth his beloved sleep ! " 
 
 HI. "moderate movement." 
 
 1. Narrative Style. 
 
 ("Pure Tone:" " Moderate " Force : " Unimpassioned Radical Stress! " 
 "Middle" Pitch: Varied "Slides:" Moderate Pauses.) 
 
 Destkuction OP Caethage. — Anonymous. 
 
 The city and republic of Carthage were destroyed by the 
 termination of the third Punic war, about one hundred and 
 fifty years before Christ. The city was in flames during 
 seventeen days ; and the news of its destruction caused the 
 greatest joy at Rome. The Roman senate immediately 
 appointed commissioners, not only to raze the walls of Car- 
 
 * 
 
202 ORTHOPHONY. 
 
 thage, but even to demolish and bum the very materials of 
 which they were made ; and, in a few days, that city, which 
 had once been the seat of commerce, the model of magnifi- 
 cence, the common storehouse of the wealth of nations, and 
 one of the most powerful states in the world, left behind no 
 trace of its splendor, of its power, or even of its existence. 
 The history of Carthage is one of the many proofs that we 
 have of the transient nature of worldly glory ; for, of all her 
 grandeur, not a wreck remains. Her own walls, like the 
 calm ocean, that conceals forever the riches hid in its un- 
 searchable abyss, now obscure all her magnificence. 
 
 IV. "ANIMATED, OE LITELT MOVEMENT." 
 
 1. Narrative Style. 
 
 (" Pure Tone : " " Moderate " Force : " Unimpassioned Radical Stress : " 
 "Middle Pitch;" Varied " Slides : " Short Pauses. ) 
 
 Successive Decline of Popular Fallacies. — Goldsmith. 
 
 I have lived to see generals who once had crowds halldd- 
 ing after them wherever they went, who were bepraised by 
 newspapers and magazines, — those echoes of the voice of 
 the vulgar ; and yet they have long sunk into merited ob- 
 scurity, with scarce even an epitaph left to flatter. A few 
 years ago, the herring-fishery employed all Grub Street : it 
 was the topic, in every coffee-house, and the burden of every 
 ballad. We were to drag up oceans of gold from the bot- 
 tom of the sea : we were to supply all Europe with her- 
 rings, upon our own terms. At present we hear no more 
 of all this. We have fished up very little gold that I can 
 learn, nor do we furnish the world with herrings, as was 
 expected. Let us wait but a few years longer, and we shall 
 find all our expectations a herring-fishery. 
 
MOVEMENT. 203 
 
 V. " BBISK, GAT, OR QUICK MOVEMENT." 
 
 1. Alarm. 
 
 IsoBEL's Child. — Mrs. Brovming, 
 
 The large white owl that with age is blind, 
 
 That hath sat for years in the old tree hollow, 
 
 Is carried away in a gust of wind ! 
 
 His wings could bear him not so fast 
 
 As he goeth now the lattice past, — 
 
 He is borne by the winds ! the rains do follow ! 
 
 His white wings to the blast out-flowing, 
 
 He hooteth in going, — 
 And, in the lightnings, coldly glitter 
 
 His round, unblinking eyes ! 
 
 2. Haste, Alarm. 
 
 How THET BROUGHT THE GOOD NEWS. — Browning. 
 
 I sprang to the stirrup, and Joris, and he ; 
 
 I galloped, Dirck galloped, we galloped all three ; 
 
 " Good speed ! " cried the watch, as the gate-bolts undrew ; 
 
 " Speed ! " echoed the wall to us galloping through ; 
 
 Behind shut the postern, the lights sank to rest. 
 
 And into the midnight we galloped abreast. 
 
 Not a word to each other ; we kept the great pace 
 Neck by neck, stride by stride, never changing our place ; 
 I turned in my saddle and made its girths tight, 
 Then shortened each stirrup, and set the pique right, 
 Rebuckled the cheek-strap, chained slacker the bit, 
 Nor galloped less steadily Boland a whit. 
 
 So we were left galloping, Joris and I, 
 
 Past Looz and past Tongres, no cloud in the sky ; 
 
 The broad sun above laughed a pitiless laugh, 
 
 'Neath our feet broke the brittle bright stubble like chaff. 
 
204 ORTHOPHONT. 
 
 Till over by Dalhem a dome-spire sprang white, 
 And " Gallop," gasped Joris, " for Aix is in sight ! " 
 
 3. Playful and Humoroui Description. 
 
 [Mirth and Exhilaration. — " Pure Tone : " " Moderate " Force: " Radi- 
 cal Stress:" "High" Pitch: " Monotone :" Extremely Short Pauses.^ 
 
 Carnival Scenes ih Venice. — Byron. 
 
 And gayety on restless tiptoe hovers. 
 
 Giggling with all the gallants who beset her ; 
 
 And there are songs and quavers, roaring, humming, 
 
 Guitars, and every other sort of strumming. 
 
 And there are dresses, splendid, but fantastical. 
 Masks of all times and nations, Turks and Jews, 
 
 And harlequins and clowns, with feats gymnastical, 
 Greeks, Romans, Yankee-doodles, and Hindoos. 
 
 4. Anger, Fierce and Stubborn Resolve. 
 
 ("Aspirated Quality:" Intensely "Impassioned" Force: "Explosire 
 Radical and Vanishing Stress:" "High" Pitch: Downward "Slide" 
 of "Fifth" and "Octave." Extremely Short Pauses. ) 
 
 COBIOLANUS, MADDENED AGAINST THE EOMAN POPULACE. — Shaket- 
 
 peare. 
 Let them pull aU about mine ears ; present me 
 Death on the wheel, or at wild horses' heels ; 
 Or pile ten hills on the Tarpeian rock. 
 That the precipitation might down stretch 
 Below the beam of sight ; yet wUl I still 
 Be thus to them. 
 
 5. Descriptive Style. 
 
 {Haste, Fear, Alarm. — " Explosiye Orotund : " "Impassioned" Force: 
 "Radical Stress:" "High" Pitch: Extremely Short Pauses.) 
 
 Repulse of the Aechees: — Battle of Beal an Phuine. — ScoH 
 Forth from the pass in tumult driven. 
 Like chaflF before the winds of heaven, 
 The archery appear ; 
 
MOVEMENT. 205 
 
 For life, for life their flight they ply 
 "While shriek and sKout and battle cry, 
 And plaids and bonnets waving high. 
 And broadswords flashing to the sky, 
 Are maddening in their rear. 
 
 VI. " KAPID, OR QUICKEST MOVEMENT." 
 
 1. Lyric Style. 
 
 ;*■ Aspirated Quality:" "Impassioned" Force:" "Radical Stresj:" 
 "Higli" Pitch: Prevalent "Monotone:" Extremely Short Pauses. ) 
 
 Mazeppa, bouhd on the wild hokse. — Byron- 
 
 Away ! — away ! — and on we dash ! 
 
 Torrents less rapid and less rash. 
 
 Away, away, my steed and I, 
 
 Upon the pinions of the wind, 
 
 All human dwellings left behind : 
 We sped like meteors through the sky. 
 When with its crackling sound the night 
 Is checkered with the northern light : -^ 
 From out the forest prance 
 A trampling troop, — I see them come 1 
 A thousand horse — and none to ride ! — 
 With flowing tail, and flying mgge, 
 Wide nostrils, never stretched by pain. 
 Mouths bloodless to the bit or rein, 
 And feet tfiaTiron never shod. 
 And flanks unscarred by spur or rod, — 
 A thousand horse, — the wild, the free, — 
 Like waves that follow o'er the sea, 
 
 Come thickly thundering on : -4 
 They stop, — they start — they snuff the air. 
 Gallop a moment here and there. 
 Approach, retire, wheel round and round. 
 Then plunging back with sudden bound, — 
 They snort, — they foam — neigh — swetve aside, 
 And backward to the forest fly. 
 By instinct, from a human eye. 
 
206 ORTHOPHONY. 
 
 2. Furiovs Haste. 
 Miss Kilmansego. — Bood. 
 " Batter her ! shatter her ! 
 Throw and scatter her ! " 
 Shouts each atony-hearted clatterer — 
 
 " Dash at the heavy Dover ! 
 Spill her ! kill her ! tear and tatter her ! 
 Smash her ! Crash her ! " (the stones did flatter her !) 
 " Kick her brains out ! let her blood spatter her ! 
 
 Roll her over and over ! " 
 
 " Transition " in Movement. 
 
 1. From Eagerness to Sorrow, then to Despair. 
 (From "Quick" to "Slow," then "Slowest.") 
 
 EoMEO AKD Balthasar Shakespeare. 
 
 Eagerness. (" Quick.") 
 
 Rom. How now, Balthasar! 
 
 Dost thou not bring me letters from the friar ? 
 How doth my lady ? Is my father well ? 
 How doth my Juliet ? That I ask again ; 
 For nothing can. be ill, if she be well. 
 
 Sorrow. (« Slow.") 
 
 Bal. Then she is well, and nothing can be HI. 
 Her body sleeps in Cffpel's monument, 
 And her immortal part with angel's lives ; 
 I saw her laid low in her kindred's vault, 
 And presently took post to tell it you ; 
 Oh, pardon me for bringing these ill news, 
 Since you did leave it for my oflSce, sir. 
 
 Despair. (" Slowest.") 
 Eom. Is it even so ? Then I defy you, stars ! 
 
MOVEMENT. 207 
 
 2. Alarm. 
 
 (From "Quick "to "Slow," returning to " Quick.") 
 On which, without pause, up the telegraph-line 
 
 Swept smoothly the next news from Gaeta : — " Shot 
 Tell his mother." 
 
 / Grief. ("Slow,") 
 
 » Ah, ah, « his," " their " mother, — not " mine. " 
 
 No voice says " My mother " again to me. 
 
 Eagerness. (" Quick.") 
 
 What! 
 I You think Guido forgot ? 
 
 3. Grief, Melancholy, Fury. 
 (From "Slow" to "Slowest," then to "Quick.") 
 EoMEo AND Benvolio. Shakespeare. 
 Grief ("Slow.") 
 Ben. O Eomeo, Romeo, brave Mercutio 's dead ; 
 That gallant spirit hath aspired the clouds, 
 Which too untimely here did scorn the earth. 
 
 Melancholy. (" Slowest.") 
 
 Bom. This day's black fate on more days doth depend ; 
 This but begins the woe, others must end. '^ 
 
 Fury. ("Quick.") vr/' 
 
 Ben. Here comes the furious Tybalt back ^kio^y^ \ 
 
 Rom. Alive ! in triumph ! and Mercutio sMu I 
 Away to heaven, respective lenity, t^ 
 
 And fire-eyed fury be my conduct now ! — -^.^ \ 
 
 Now, Tybalt, take the villain back again, A A \ 
 ^ That late thou gav'st me ; for Mercutio's soulj j '• 
 Is but a little way above our heads, ^ I 
 
 Staying for thine to keep him company ; 
 Either thou, or I, or both, must go with him. 
 
 \Y 
 
208 ORTHOPHONY. 
 
 Accent. 
 i. " syllabic " accent. 
 
 The word " accent " has been usually considered as re- 
 stricted to the designation of thecomparatiye/orce of sylla- 
 bles as they occur in the pronunciation of words. Dr. Rush, 
 however, has, by the accustomed closeness and fidelity of his 
 analysis, distinctly shown that force is but one constituent 
 or form of accent ; and that besides this mere comparative 
 loudness there are two other constituents of accent. 
 
 The modes of accent are determined as follows: 1st, 
 " Immutable " syllables, — those which are constituted by 
 fixed " short quantities," are accented by " radical stress," 
 " impassioned," " explosive,'' or " unimpassioned," as the 
 case may be, from the character of the utterance which 
 marks the passage or the word in which such a syllable oc- 
 curs. Thus, the word "victory," although consisting of 
 three short syllables, has a decided and distinct accent on its 
 first syllable, by means of " radical stress," whether we pro- 
 nounce the word with impassioned " expression," or merely 
 according to the rule of orthoepical accent. 
 
 2d. " Mutable " syllables, — those which consist of " va- 
 riable quantities," or such as admit of comparative prolonga- 
 tion, may be accented by merely a louder sound, or greater 
 force, pervading the given syllable, as compared with the 
 others of the same word. Thus the word " adjutant " hav- 
 ing a sufficient prolongation on its first a, to render the 
 " radical stress " unnecessary, as a distinction, may have its 
 accent marked merely by comparative loudness of the " con- 
 crete " ad-, although in " impassioned " utterance it may 
 be marked, also in part, by " radical stress," and a degree of 
 prolongation. 3d. "Indefinite" syllables, or those which 
 are constituted by prolonged " quantity," may be accented 
 by their comparative long duration. 
 
 The distinctive element of such syllables being " time," 
 Dr. Bush has designated them as possessing " temporal '' 
 
ACCENT. 209 
 
 accent. The o in the word " holy " is an instance. Sylla- 
 bles of this description may of course be executed with the 
 additional accent arising from " loud concrete ; " and, in 
 " impassioned " utterance, they may be further distinguished 
 by abrupt " radical stress." But the " loud concrete " and 
 " .temporal accent " cannot be exhibited on "immutable" 
 syllables. VvoX^vA-n,— \A...«_ •>-tr<.vA- .^v!> A-t/^-vj;^ V 
 
 The effect of all these modes of accent is to impart promi- 
 nence and impressiveness of sound to one syllable in most 
 words, though, in some, to two syllables. 
 
 A syllable, in orthoepy, consists properly of an entire 
 " concrete," or the constituent radical and vanishing move- 
 ment, requisite to constitute a sound in speech, as distin- 
 guished from one in music. Instances may be found in the 
 simple element a in at ; in the compound a in ale ; in the 
 consecutive "tonic'' and " subtonic" a and II in all; in the 
 consecutive "tonic and subtonics" of the word old; or in 
 the sequence of " aspiration," " tonic," " subtonic," and 
 " atonic," in the word halt. 
 
 Correct accent is indispensable in reading and speaking, 
 not merely as a convenience of intelligible expression, and 
 as a result of competent education, but as an indication of 
 intelligence and of taste, in regard to language, and as an 
 element of all distinct and spirited expression. The ac- 
 cented syllable of every expressive word becomes the seat 
 of life in utterance ; and there can be no surer way to ren- 
 der the exercise of reading unmeaning and uninteresting, 
 than tQ indulge the three prevalent faults of slighting the 
 accent of words, unduly prolonging and forcing it, and dis- 
 tributing its effect over several syllables of a word, instead 
 of confining it to one. 
 
 The single word "promotion" may suffice as an example 
 of these faults. In the characteristic local accent of New 
 England, the frequent use of the " wave," or " circumflex," 
 and of consequent prolongation of sound, presents the word 
 to the ear in the form of two separate words, or of system- 
 
 14 
 
210 ORTHOPHONY. 
 
 atic and formal syllabication in one ; thus, "pro motion^" or 
 "pro-motion." The current usage of the Middle States, on 
 the other hand, obscures the first o of the word, so as to re- 
 duce it nearly to a short u, and sinks the last o entirely. In 
 this case the word is pronounced prumoshn. 
 
 II. " RHYTHMICAL " ACCENT. 
 
 The subject of accent is now to be considered in con- 
 nection, not with single words, but the sequence of phrases, in 
 the utterance of successive sentences, and as constituting an 
 important part of the study of "time " applied to the cur- 
 rent of the voice, in the continuous exercises of speech, 
 reading, or recitation. 
 
 The first or lowest degree of musical accent is called 
 " rhythm ;" the term, by its derivation, implying a com- 
 parison between the continuous flow of the voice in speech, 
 and the motion of a stream, as contrasted with the still 
 water of a lake. The voice, in the enunciation of a single 
 sound or word, is comparatively stationary : in the utter- 
 ance of successive sounds, it has something like progressive 
 motion. This motion may be varied and irregular : or it 
 may be uniform and measured ; as the stream, when flow- 
 ing over an uneven and rocky bed, may exhibit all vari- 
 eties of motion, but when gliding along a smooth channel, 
 may keep a regular rate of time, that may be exactly de- 
 fined. 
 
 The " movement " of the voice in conversation, on light 
 or ordinary subjects, is variable and irregular ; on subjects 
 of greater moment it is more even and sedate ; and in the 
 expression of deep and energetic sentiment it becomes still 
 more regular, and perhaps, to a certain degree, measured, 
 in its rate of " movement." Reading is a mode of voice 
 yet more distinctly marked in " movement," by its partial 
 uniformity of utterance ; and declamation advances an- 
 other degree, stUl, in " rhythm," by its deliberate and for- 
 mal succession of sound. The reading or recitation of 
 
RHYTHM. 211 
 
 poetry carries the "movement" to its highest degree of 
 fixed and well marked " rhythm," as determined by the 
 structure of verse, which derives its pleasing effect to the 
 ear from the exact observance of a continued uniform, or 
 correspondent "rhythm." The word "metre," or "meas- 
 ure," has accordingly its appropriate application to this 
 species of " movement.' ' 
 
 As " time " includes the duration of pauses as well as of 
 " quantities " and of " movement," it necessarily compre- 
 hends under " rhythm " the exact proportion of pauses to 
 sound, in the rate of utterance, when regulated by " rhyth- 
 mical" accent. A part of .the effect of "rhythm " on the 
 ear must arise, therefore, from the " time " of regularly 
 recurring and exactly proportioned pauses. cThe full def- 
 inition of " rhythm " would, accordingly, be the effect of 
 " time," in regularly returning " guan tityj '' accent, and 
 pause, in the successive sounds of the voi ce, j 
 
 In the usual forms of familiar prose writing, little regard 
 is paid to the placing of words, as respects the effect of ac- 
 cent. Some writers, however, are distinguished by a style 
 which is more or less measured and rhythmical to the ear. 
 The stately and formal style of oratorical declamation 
 sometimes assumes this shape, as does also the language of 
 sublime, pathetic, and beautiful description. Some writers, 
 by high excellence of natural or of cultivated ear, succeed 
 in imparting an exquisite but unobtrusive melody to their 
 sentences, which forms one of the principal attractions of 
 their style. We have instances of these various effects of 
 the selection and arrangement of words, in the majestic and 
 measured declamation of Chatham, or in the lofty and 
 magnificent strains of Scripture. The cadences of Ossian 
 exemplify, sometimes, the power and beauty of metrical ar- 
 rangement, and sometimes the cloying effect of its too fre- 
 quent and uniform recurrence. Every cultivated ear is 
 familiar with the chaste and pleasing turn of the sentences 
 of Addison, the easy flow of Goldsmith's, the ambitious 
 
212 ORTHOPHONY. 
 
 swell of those of Johnson, the broken and capricious 
 phrases of Sterne, the noble harmony of Burke, the abrupt- 
 ness of Swift, and the graceful smoothness of Irving. 
 
 The characteristic melody of each of these authors is 
 owing, as we find, on analysis, to more or less attention 
 paid to the efiect of " rhythmical " accent : it is, in fact, a 
 species even of " metre " itself, or at l^st a close ap- 
 proach to it. Examined in detail, it will usually be found 
 to consist in a skilful avoiding of " abrupt elements," in 
 securing the coincidence of emphasis with " mutable " and 
 " indefinite quantities," but, more particularly, an exact 
 timing of the recurrence of accents at the end of clauses, 
 and in the cadence of sentences ; as these places are pecul- 
 iarly adapted to sounds intended for effect on the ear, 
 whether the design of the writer is to render them prom- 
 inent and striking, or subdued and quiet. 
 
 " Ehythm," then, the lowest gradation of " metrical move- 
 ment," exists in prose as well as poetry ; and good reading 
 preserves it distinctly to the ear. 
 
 The notation of " rhythm " is founded on the theory of 
 Steele, that utterance, in speech and in reading, may, like 
 music, be divided into regular portions by accent, and in- 
 dicated by " bars," as in music, when written or printed ; 
 each " bar " commencing with an accented syllable, or an 
 equivalent pause. 
 
 " Rhythm," however, it must be remembered, in the 
 practice of all such exercises as the following, is like every 
 other requisite of elocution, — an aid and an ornament, 
 within due limits of effect, but a deformity when rendered 
 prominent and obtrusive. 
 
RHYTHM. 213 
 
 EXAMPLES OF "EHTTHM." 
 1. Declamatory Style. 
 Fkom a Sbkmon of Eoeekt Hall. 
 It re- I mains with | you then | *1 ^ to de- | cide | whether 
 that I freedom | *1 at | whose | voice | *l the | kingdoms 
 of I Europe | *l a- | woke from the | sleep of | ages, | *1 
 to j run a ca- | reer of | virtuous | ^ emu- | lation | *1 in | 
 everything | great and | good ; | *! *I | M the | freedom j 
 *1 which dis- | palled the | mists of | ^ super- | stition, | *1 
 and in- ] vitedthe ] nations | *1 to be- | hold their ] God ; | 
 *1 •! 1 *! whose | magic | touch *1 | kindled the | rays of | 
 genius, | M the en- | thusiasm of | poetry, | *1 and the | 
 flame of | eloquence ; | *1 *1 | *I the | freedom | *1 which | 
 poured into our | lap *l | opulence | *^ and | arts, | *1 *1 | M 
 and em- | bellished | life | *l within- | numerable | ''insti- ( 
 tutions I *1 and im- | provements, | *1 *1 | *l tUl it be- | came 
 a I theatre of | wonders ; | *l *1 | M it is for | you | *^ to de- 
 I cide *»1 I *^ whether | this | freedom | *l shall | yet sur- | 
 vive, I *l or I perish | *l for- | ever. 
 
 2. Poetic Expression in Prose. 
 
 Passages op Scriptoke introduced in the Burial Service. 
 
 I " I I •! am the I " Eesur- | rection | M and the | life, | 
 
 *1 •! I *1 saith the | Lord ; | M M | he that be- | lieveth in j 
 
 me I *l *l I *l though he were .| dead, | *l *t | yet shall he j 
 
 live : I *^ *^ I *^ and | whoso- | ever | liveth, | *1 and be- | 
 
 " lieveth | in me, | M shall | never | die. | *l *! | *1 *1 | 
 
 *l I I know I •! that my Re- | deemer | liveth, | *1 *l 1 
 and that he shall | stand | *1 at the | latter | day | M upon 
 the I earth, | M *l | *l and though | worms de- | stroy this | 
 body, I *l*l I yet in my ] flesh | M shall I | see |; God." j 
 >-IM I *IM I 
 
 1 " Rhythmical " pause. 
 
 a A "secondary " instead of the usual "primary" accents 
 
214 ORTHOPHONY. 
 
 3. Sentiment, in Didactic Style. Goldsmith. 
 
 Writers | *! of | every | age | M have en- | deavored to 
 I show I *^ that I pleasure | *1 is in | us, | *^ and | not in 
 the I objects | *1 *^ | offered | "^ for our a- | musement. | *^ 
 *1 I *l*l I *l If the I soul be | happily dis- | posed, | *^M | 
 everything | M be- | comes | capable | *l of af- | fording | 
 enter- | tainment ; | *l *l | *l and dis- | tress | *1 will almost 
 I want a | name. | *1 *l | *I *i | Every oc- | currence | "^ *l 
 I passes in re- | view | *1 like the | figures | *1 of a pro- | 
 cession ; ] *^ *^ | some | *1 may be | awkward, | *I *l | oth- 
 ers I *1 ill I dressed ; | *1 but | none but a | fool | *1 is, for 
 I this, I *l en- I raged with the | master of the | ceremonies." 
 I *I*I I ^I^-I I 
 
 4. Splendor and Pathos. 
 Bueke's description of Marie Antoinette. 
 It is I now, *I I sixteen or | seventeen | years | ^ since I 
 I saw the | Queen of | France, *^ | then the | Dauphiness, 
 I *I at Ver- | sailles : *1 | *l *l | *^ and | surely | never | 
 lighted on this | orb, *l | *l which she | hardly [ seemed to 
 I touch, *^ I *1 a I more de- | lightful | vision. | M *1 | *I *1 
 I M I I saw her | just a- | hove the ho- | rizon, | *l *1 | dec- 
 orating I M and I cheering | *! the | elevated | sphere | *1 
 she I just be- | gan to | move in : | *l *1 | glittering, | *l like 
 the I morning | star : | *1 *l | full of [ life, | M and | splen- 
 dor, I *I and I joy. M | *1 *1 | *l •! | 
 
 Oh ! I what a | revo- | lution ! | "^^l | ^ and | what a | 
 heart | *^ must I | have, | ^ to con- | template | *1 with- j 
 out e- I motion, | *I*I | that ele- ) vation 1 *l and | that j 
 fall. *1 I *IM I M*l I 
 
 5. Oratorical Declamation. Lord Chatham. 
 I 1 cannot, | M my | lords,*l | *1 1 | will not, | join | <^ in 
 con- I gratu- | lation | •! on mis- | fortune | M and dis- | 
 grace. | <-l^ | MM | This, | M my | lords,*l | M is a | peril 
 
BHYTHM. 215 
 
 BUS I *l and tre- | mendous | moment ; | *1*1 | M it is | not 
 a I time for | adu- | lation : | *1*1 | M the | smoothness of 
 j flattery | *1*1 | cannot | save us | M in this | rugged and 
 I awful I crisis. | M*^ | *1*1 | M It is | now | necessary | *l 
 to in- I struct the | throne | *1 in the | language of | truth. 
 I MM I *I*I I *1 "We I must, M | M if | possible, | M dis- | 
 pel the de- | lusion and | darkness | M which en- | velope 
 it ; I MM I M and dis- | play, M | M in its | full | danger | 
 M and | genuine | colors, | M the | ruin | M which is | 
 brought to our | doors. | MM [ MM | 
 
 6. Sentiment, in Didactic Style. Addison. 
 
 I I know but I one | way | M of | forti- | fying my | soul 
 I M a- I gainst | gloomy | presages and | terrors of | mind ; 
 I MM I M and | that is, | M by se- | curing to my- | self M | 
 M the I friendship and pro- | tection | M of | that | Being 
 I M who dis- I poses of e- | vents, | M and | governs fu- | 
 turity. I MM | MM | He M | sees,M | M at | one | view, | M 
 the I whole | thread of my ex- | istence, | MM | M not | 
 only I that | part of it | which I have al- | ready | passed 
 I through, I M but j that | M which runs | forward | M into 
 I all the I depths | M of e- [ ternity. | MM | MM | M When 
 I I lay me | down to | sleep, | M I recom- | mend myself | 
 M to I his I care ; | MM | M when I a- | wake, | M I | give 
 myself | up to | his di- ( rection. | MM | MM | M Amidst | 
 all the I evils that | threaten me, | I will look | up to | him 
 for I help ; | MM | M and | question not | M but he will | 
 either a- | vert them, | M or | turn them | to my ad- | van- 
 tage. I MM I MM I M Though I | know | neither the | time 
 nor the | manner | M of the | death | I am to | die, | M I 
 I am not at | all so- | licitous a- | bout it ; | MM | M be- 
 I cause I am | sure | M that | he | knows them | both, | 
 MM I M and that he | will not | fail to | comfort | M and 
 Bup- I port me M | under them. ) MM | MM | 
 
216 OETHOPHONT. 
 
 7. Sentiment, in Didactic Style. JoHNSOir. 
 
 Kindness | *1 is pre- | served by a | constant re- | cipro 
 I cation of | benefits | *1 or | interchange of | pleasures ; 
 I *l*l I M but I such I benefits | only | can be be- | stowed, 
 I *1 as I others | *1 are | capable of re- | ceiving, | *I 
 and I such ] pleasures im- | parted, | *1 as | others | *1 are 
 I qualified to en- | joy. |' *l<»l ] *l*1 | 
 
 *! By I this de- | scent from the | pinnacles of | art | *I no 
 I honor | M will be | lost ; | *l*1 | *1 for the \ conde- j scen- 
 sions of .| learning | *1 are | always | over- | paid | *l by | 
 gratitude. | *i*1 | ^*l | *1 An | elevated | genius | *l em- j 
 ployed in | little | things, | *l ap- | pears, | M to | use the | 
 simile of Lon- | ginus, | *1 like the | sun | *^ in his | even- 
 ing I decli- I nation ; | MM | M he re- | mits his | splendor, 
 I M but re- I tains his | magnitude ; | MM | M and \ pleases 
 I more, | M though he | dazzles | less. | MM | MM | 
 
 The difference of eifect in " rhythmical accent," it will 
 be perceived, on closely examining the style of the preced- 
 ing passages, is greatly dependent on the number of sylla- 
 bles included within each " bar," and not less on the pauses, 
 which are also included in the " rhythm," and therefore in- 
 closed within the bars, since the " time '' of the voice neces- 
 sarily includes its rests and intermissions, as well as its 
 sounds. " Rhythm " depends, further, on the position of 
 the accented syllable which takes on the emphasis of a 
 phrase, as well as on the different species of accent, as 
 " radical," " concrete," or " temporal." Compare, particu- 
 Jarly, the contents of the "bars'' in the last few lines of 
 the last two examples. They will be found to embody the 
 expressive genius of each author, and " clothe his thought 
 in fitting sound." The meek and quiet spirit of Addison 
 6re.athes in the plain, conversational, and comparatively 
 Mniform style of " rhythm," in the close of the paragraph, 
 quoted from him ; and the noble soul, but mechanical ear,'o{ 
 
METRE. 217 
 
 Johnson are equally expressed in the sweeping " rhythm " 
 of " quantity " and pause, and measured antiphony in the 
 cadence of the last sentence extracted from the " Rambler." 
 The limits of an elementary work like the present will not 
 admit the details of analysis by which the peculiar character 
 of each of the authors quoted might be verified by his 
 peculiar " rhythm." But in the statements already made 
 on " quantity," " pause," " movement," " accent," and 
 " rhythm," the implements of analysis have been furnished, 
 and the exercise of applying them may be left to the 
 teacher and the student. 
 
 III. PROSODIAL ACCENT, OH "METRE." 
 
 The term " metre," or " measure," is applied in prosody 
 and in elocution to that exact gauge of " rhythm " which is 
 furnished in the process of prosodial analysis termed " scan- 
 ning," by which a " verse," or line of poetry, is resolved 
 into its constituent " quantities " and " accents." 
 
 " Metre," as a branch of prosody, comprehends, in our 
 language, both " quantity " and " accent." The ancient 
 languages, and those of modern Europe generally, are less 
 favorable than ours to this union. The Greek and the 
 Latin seem to have leaned chiefly on " quantity ; " and we 
 discern a similar tendency, though in an inferior degree, in 
 the European continental languages, particularly those of 
 the South. A language abounding in long " quantities " of 
 various sound needs less aid from "accent," whether for 
 distinctive enunciation or expression of feeling, than one re- 
 dundant, like the English, in the number and force of its 
 consonants. The racy energy of English enunciation is 
 owing to the comparative force, spirit, and brilliancy of its 
 accent, which strikes so instantaneously on the ear, with a 
 bold " radical movement " and absorbing power, that com- 
 pel the attention to the determining syllable of every word. 
 It bespeaks at once the practical and energetic character of 
 the people with whom it originated. Other modern Ian- 
 
218 ORTHOPHONY. 
 
 guages seem to distribute the accent among all the syllables 
 of a word, and to leave the ear doubtful to which it is meant 
 to apply, unless in the case of long vowels, in which they 
 greatly excel, as regards the uses of music and of " expres- 
 sive " speech, or impassioned modes of voice. 
 
 In emphatic utterance, however, the firm grasp which our 
 numerous hard consonants allow to the organs, in the act of 
 articulation, gives a peculiar percussive force of explosion 
 to the vowels that follow them in accented syllables ; and 
 the comparatively short duration of our unaccented sounds, 
 causes those which are accented, when they possess long 
 " quantity," to display it with powerful effect in the utter- 
 ance of " expressive " emotion. Our poets sometimes turn 
 this capability of the language to great account ; and none 
 abounds more in examples than Milton, whose ear seems to 
 have detected and explored every element of expressive ef- 
 fect which his native tongue could furnish. 
 
 Syllables have been classed in prosody as long or short, 
 accented or unaccented; and the prosodial characters, " 
 (long) and " (short), have been used to designate them to 
 the eye. The same marks have been arbitrarily used to 
 denote accented and unaccented syllables. 
 
 The "rhythm" of verse, as measured by "long" and 
 " short," or by " heavy " (accented), and " light " (unac- 
 cented), syllables has the following metrical designations < 
 
 1. " lamhic Metre." 
 
 This form of verse takes its name from the circumstance 
 of its being constituted by the " foot," or sequence of syll«^ 
 bles, called an " iambus." The words " foot " and " feet " 
 are arbitrarily used in prosody to express a group of sylla- 
 bles constituting a distinct and separable portion of verse. 
 The " iambus " is a " foot " consisting of two syllables : the 
 first, short, or unaccented, or both ; the second, long, or ac- 
 cented, or both, as in the word repeal. 
 
 "Iambic" metre is exemplified in "epic" or "heroic" 
 
METEE, 219 
 
 poetry, whether in the form of " blank verse," — so called 
 from its not furnishing rhymes, and its consequent hlanh 
 effect on the ear, as in Milton's Paradise Lost, or of rhym- 
 ing " couplets," — so called from the lines rhyming in 
 couples, — as in Pope's translation of Homer. Each line 
 in " blank verse " and the " heroic couplet " contains five 
 "iambuses," or ten syllables, alternating from short to 
 long, or from unaccented to accented, as in the following 
 examples : — 
 
 "Blank" Verse. 
 
 " Advanced | in view, | they stand, | a hor- | rid front | 
 Of dread- | ful length, | and daz- | zling arms, | in guise | 
 Of war- I riors old, | with or- | dered spear | Snd shield." | 
 
 "Heroic Couplet." 
 
 " Like leaves | 8n trees | the life | 6f man | is found ; | 
 ('1) Now green | in youth, | (* 2) now with- | (* 3) Sring 
 
 6n I thg ground ; | 
 Anoth- I er race | the fol- | (* 4) ISwing spring | supplies : 
 They fall | sficces- | (* 5) sive, tod | sttcces- | sive rise." 
 
 " Iambic " verse is exemplified, also, in octosyllabic lines, 
 in rhyming " couplets," and in quatrain, or four-line " stan- 
 zas." The following are examples : — 
 
 Octosyllabic Couplet. 
 
 " The way | wSs long, | the wind | was cold ; | 
 The min- | strel was | infirm | tod old." 
 
 Quatrain Stanza : Octosyllabic Couplets. 
 
 " The spa- | ciSus fir- | moment | 6n high | 
 With all I the blue | ethe- | real sky, | 
 
 1 Irregular feet used as substitutes for the " iambus," according to the 
 " license " of versification. These feet are called (1 and 2) the " spon- 
 dee," two long syllables; (3) the "tribrach," three short syllables; (4) 
 the " anapiest," Uoo short syllables and one long ; (51 the " pyrrhic," twt 
 tliort syllables. 
 
220 ORTHOPHONY. 
 
 And span- [ gled heavens, | S shin- | ing frame, | 
 Their great | Ong- | inal | proclaim." | 
 
 Quatrain Stanza: Octosyllabic Lines, rhyming alternately. 
 
 " The heavens | declare | thy glo- | ry, Lord, | 
 In ev- I erj- star | thy wis- | dom shines ; | 
 
 But when | our eyes | behold | thy word, | 
 We read | thy name | in fair- | er lines." | 
 
 " Common Metre " Stanza : Alternate Lines of Might and 
 Six Syllables. 
 
 " Thy love I the power | of thought | bestowed ; | 
 
 To Thee | my thoughts | would soar : | 
 Thy mer- | cy o'er | my life | hSs flowed ; | 
 
 That mer- | cy 1 | adore." | 
 
 " Short Metre " Stanza : Two Lines of Six, one of Mght, 
 and one of Six Syllables. 
 
 " TS ev- I er fra- | grSnt meads, | 
 Where rich | abun- | dSnce grows, | 
 
 His gra- I cious hand | indul- | gent leads, | 
 And guards [ my sweet | repose." 
 
 " Iambic " verse occurs, likewise, in the form of the 
 elegiac " stanza, — so called from the circumstance of its 
 having been employed for the purposes of elegy. 
 
 Elegiac Stanza: Lines of Ten Syllables, rhyming alter- 
 nately. 
 
 " Full man- | y a gem, | 6f pur- | est ray | serene, | 
 
 The dark, | unf ath- | 5med caves | Sf o- | ceSn bear. | 
 Full man- | f a flower | Is born | t5 blush | Qnseen, | 
 
 And waste | its sweet- | ness on | the des- | ert air." | 
 Another form of the " iambic " verse, of frequent occur- 
 rence in reading, is that of the " Spenserian " stanza, — so 
 called from the poet Spenser, who was the first to use it, in. 
 a continuous poem of considerable length. 
 
METRE. 221 
 
 * Spenserian " Stanza : Eight Lines of Teh SyUahlea and 
 one of Twelve : the Rhymes occurring as follows : on the 
 1st and 3d, — on the 2d, ith, 5th, and 1th, — and on the 
 Wi, 8<A, &nd 2th. 
 
 "Where'er | we tread, | 'tis haunt- | ed ho- | ly 
 ground ; | 
 No earth | 6f thine | is lost | in Yiil- | gar mould ! | 
 But one I vast realm | Sf won- | der spreads | around ; | 
 And all | the Mus- | e's tales | seem tru- | ly told, | 
 Till the I sense aches | with gaz- | ing, to | behold | 
 The scenes | 6ur ear- [ liest dreams | have dwelt | 
 fipSn. I 
 Each hill I S,nd dale, | each deep- | eniug glen | Sud 
 wold, I 
 Defies I th8 power | which criished | thy tern- | pies 
 g5ne : [ 
 Age shakes | Athe- | nS's tower, | but spares | gray Mar- | 
 athon." 
 
 There are many other forms of " iambic " verse ; but 
 they occur less frequently ; and most of them can be easily 
 analyzed after scanning the preceding specimens. 
 
 2. " Trochaic " Metre. 
 
 This species of verse derives its name from its predom- 
 inating foot, the " trochee," which consists, as mentioned 
 before, of a long syllable followed by a short, as in the 
 yiovdi fatal. 
 
 " Trochaic " verse is exemplified in the following lines 
 from Dryden's " Ode for St. Cecilia's Day." 
 
 Softly I sweet, in | LydiSn | measures. 
 Soon he | soothed his ] soul to | pleasiires. — | 
 War, he | sung, is | toil and | troublg, 
 Honor, | but an | empty ] bubble. 
 
222 OETHOPHONY. 
 
 This species, of verse is seldom used in long or continu- 
 ous poems, but principally in occasional passages, for vari- 
 ety of effect- It is found usually in octosyllabic lines of 
 rhyming " couplets," as above. 
 
 3. "Anapastic Metre." 
 
 This form of verse takes its name from its prevalent foot, 
 the " anapaest," consisting of two short syllables followed 
 by one long, as in the word intervene. 
 
 " Anapaestic " verse is found usually in the two following 
 forms : — 
 
 1. 
 
 Stanza of Four or Mgld Ldnes of Three " Anapcests," or 
 Equivalent Feet, 
 
 " Haw fleet ^ | is S glance | of the mind 1 
 CSmpared | with the speed | of its flight, | 
 
 The temp- | est itself | lags behind, | 
 
 And the swift | winged ar- [ rSws 6f light." 
 
 2. 
 
 Stanza of Four Lines of Four " Anapcests," or Equivalent 
 Feet. 
 
 " The even-* | ing wSs glo- | riSns ; and light | thrSugh the 
 
 trees 
 Played the sun- | shine Snd rain- j drSps, the birds | and 
 
 the breeze ; 
 The land- | scape, oiitstretch- | ing in love- | liness, lay | 
 On the lap | 6f the year, | in the beau- | ty 6f May." | 
 
 IV. RHYTHMICAL AND PROSODIAL ACCENT COMBINED. 
 
 The preceding examples of verse have all, it may now be 
 perceived, been marked with the characters used in prosody 
 But, for the purposes of elocution, it is important to the 
 
 I An "iambus" sometimes occurs as tlie first footia an "anapsestic' 
 jne. 
 
METRE. 223 
 
 control of the voice in the reading of verse, that the stu- 
 dent should accustom himself to the practice of marking the 
 accentuation of verse to the ear, — a process in which the 
 actual " rhythm " of the voice is decided, as in prose, hy the 
 position of accent. The mere prosodial " quantities " must, 
 in elocution, he regarded as but subordinate and tributary 
 means of effect to " rhythmical accent,'' and as contributing 
 to secure its perfect ascendency. 
 
 Metre, then, in reading, is to be considered as but preci- 
 sion of " rhythm," by which utterance is brought more per- 
 ceptibly under the control of " time," than in prose. Verse, 
 accordingly, is scored for accent, exactly as prose is. Here, 
 also, the student may be reminded that, in practising on 
 metre, whilst, for the sake of distinct impression, he in- 
 dulges its effect to the full extent, at first, he must accus- 
 tom himself to reduce it gradually within those limits which 
 shall render it chaste and delicate. The peculiar effects of 
 " measure,'' in music, do not exceed those of metre in good 
 reading and recitation ; and they are indispensable in the 
 reading of all forms of verse, but psirticularly in lyric 
 strains. In these, — as even a slight attention will suffice 
 to prove, — the poet often changes the mood of his metre 
 along with that of his theme. The " Ode on the Passions," 
 and all similar pieces, require numerous changes of 
 "rhythm" and prosodial effect, as the descriptive or ex- 
 pressive strain shifts from passion to passion, — and from 
 measure to measure. It is by no means desirable, how- 
 ever, that the metre should be marked in that overdone 
 style of chanting excess which offends the ear, by obtrud- 
 ing the syllabic structure of the verse, and forcing upon our 
 notice the machinery of prosodial effect. 
 
 The subjoined examples may serve to suggest, to the 
 teacher and the student, the mode of marking on the black- 
 board, or with a pencil, similar exercises selected from the 
 pages of this volume, or any other, at choice. 
 
 It was deemed preferable to use, for our present purpose, 
 
224 ORTHOPHONY. 
 
 the same examples which have been analyzed for the study 
 of the prosodial structure of verse, so as to show, as im- 
 pressively as possible, the difference between the literal ac- 
 cent of the mere mechanism of verse as such, and the free, 
 varied, and noble " rhythm " which it acquires when, in 
 reading and recitation, the object in view is to render verse 
 tributary to meaning and sentiment, or to vivid emotion. 
 The servile style of reading verse which follows its sound 
 rather than its sense, is no worse fault than a literal practis- 
 ing of prosody, a fair and honest but most gratuitous scan- 
 ning of the lines, rather than the reading of them. The 
 strict metrical marking, however, and due practice on it, 
 may be very useful to those students whose habit, in read- 
 ing, is to turn verse into prose, through want of ear for 
 metre. 
 
 NOTATION OF RHYTHMICAL AND PROSODIAL ACCENT COM- 
 BINED. 
 
 I. "iambic" metre. 
 "Blank" Verse. 
 
 *1" Ad- I vanced in | view, | *1 ^ they | stand, | *1 ^ a | hor- 
 rid I front *1 ' I 
 
 ^ Of I dreadful | length, ] ^ *1 and | dazzling [ arms, | ^ * in 
 I gttise 1 
 
 *1 Of I warriors | old | *1 ° with | ordered | spear and | 
 shield." I M*l I *IM I 
 
 1 " Demi-cffisural " pause. " "Final" pause. '"CaBsural" pause. 
 The pauses marked with the figure 1, etc., are founded primarily and nec- 
 essarily on the sense; but the prosodial pauses, indispensable to the 
 "rhythm" of every well-constructed verse, happen, in the present in- 
 stance, to coincide with the pauses of the meaning. Every line of verse 
 has a "final pause," which detaches it from the following line, and a 
 "csesural" pause, which divides it into two parts, equal or unequal, or 
 two " demi-caesural " pauses, which divide it into three parts. The 
 " demi-caesural " pauses are sometimes used in addition to the "csesural," 
 to subdivide the two parts which it separates. 
 
METRE. 225 
 
 " Heroic Couplet." 
 
 ^ " Like I leaves on | trees | *1 the | life of | man | *1 is | 
 
 found : | M*! 
 I Now *1 I green | *^ in | youth, | *l*l | now ^ | withering 
 
 I *l on the I ground ; | MM | 
 M An- .| other | race | *l the | following | spring | *! sup- | 
 
 plies: I *IM I 
 M They | fall sue- | cessive, | *1 and sue- | cessiv'e | rise.'' | 
 
 *iM I *iM i 
 
 " Octosyllabic Couplet." 
 
 •I " The I way ] *1 was | long, | M*! | *1 the | wind | *l 
 
 was I cold ; *1 *l I 
 *1 The I minstrel j M was in- | firm | M and old." | *l *l [ *1 
 
 Quatrain Stanza : " Octosyllabic Couplets." 
 
 •1 " The I spacious | firmament | *l on high, | *1 *l | 
 *1 With 1 all the | blue e- | thereal | sky, | M *l | 
 *l And I spangled | heavens, | M a | shining | frame, | MM | 
 M Their | great O- | riginal | M pro- | claim." | MM j MM | 
 
 Quatrain Stanza : Octosyllabic Lines, rhyming alternately. 
 
 M " The I heavens | M de- | clare | M thy | glory, | Lord, | 
 MM I 
 M In I every | star | M thy | wisdom | shines ; | MM | 
 M But I M when our | eyes be- | hold thy | word, | MM | 
 M We I read thy | name | M in | fairer | lines." | M M 
 I MM I 
 
 ■' Common Metre " Stanza. 
 
 " Thy I love ] M the | power of | thought [ M be- | 
 
 stowed; | MM | 
 M To I Thee | M my | thoughts | M would | soar : MM | 
 M Thy I mercy | M o'er my | life | M has | flowed ; | MM j 
 M That I mercy | M I a- | dore." | MM | M M | 
 15 
 
226 ORTHOPHONY. 
 
 "Short Metre" Stania- 
 
 *1 " To I ever | fragrant | meads, | *1*1 |, 
 
 M Where | rich a- | bundance | grows, | *1M | 
 
 *l His I gracious | hand | •! ia- 1 dulgent | leads, | M*l | 
 *l And I guards my | sweet re- | pose." | *^*^ | ""l^l | 
 
 Elegiac Stanza. 
 
 *! " Full [ many a | gem, | •! of | purest | ray | *1 se- | 
 rene, | *l*l | 
 *1 The I dark | *l un- | fathomed | caves of | ocean | *I*f 
 I bear : | MM | *l*l | 
 M Full 1 many a | flower | M is [born to | blush un- | 
 seen, | MM | 
 M And I waste | M its | sweetness | M on the | desert J 
 air." I MM I MM I 
 
 " Spenserian " Stanza, 
 
 M " Wher- | e'er we | tread, | M 'tis | haunted, | MM |jholy 
 M I ground : | MM | MM | 
 I No I earth | M of | thine | MM | M is | lost ] M in |. 
 vulgar I mould ! | MM | 
 M But I one | vast | realm | M of | wonder | MM | spreads 
 a- I round; | MM ] 
 M And 1 all the ] Muse's | tales | M seem | truly | told, 
 
 I.MMl 
 Till the I sense | aches with | gazing | M to be- jihold | 
 M The I scenes | M our | earliest | dreams | M have | dwelt 
 upon. I MM I MM | 
 I Each I hill | M and | dale, | MM | M each | deepening 
 I glen I M and | wold, | MM | 
 M De- 1 fles the | power | M which | crushed thy | temples 
 
 1 gone : | MM ] MM | 
 I Age 1 shakes A- | thena's | tower, | M but ] spares | M 
 gray [ Marathon." | MM 1 MM | 
 
EMPHASIS AND EXPRESSION. 227 
 
 n. "trochaic" metre. 
 
 " Softly I sweet, | *1 in | Lydian | measures, | *1*l | 
 Soon I *1 he I soothed his | soul | *1 to | pleasures. — | 
 
 *IM I 
 War I *l he I sung, | *l is | toil | *I and | trouble, | *1*1 | 
 Honor, | *l but an | empty | bubble." | *1*I | '»1*1 | 
 
 III. " ANAP^STIC " METRE. 
 
 1. Lines of Three ^^Anapcests." 
 
 *1 " How I fleet | *1 is a | glance of the | mind I | *l<^ ( M*l j 
 
 *l Com- I pared with the | speed of its | flight, | *1<»l | 
 M The I tempest ] *1 it^ | self | MM | lags be- | hind, | 
 *IM I 
 M And the | swift-winged | arrows of | light." | *l*l | 
 MM I 
 
 2. Lines of Four "Anapeests." 
 
 M " The I evening | M was | glorious ; | M and | light | M 
 
 through the | trees | MM | 
 M Played the | sunshine | M and | raindrops, | M the birds 
 
 I M and the | breeze ; | MM | MM | 
 M The I landscape | M out- | jstretching | M in | loveliness, 
 
 I lay 1 MM I 
 M On the | lap | M of the | year, | M in the | beauty | M of 
 
 I May." I MM I MM I 
 
 CHAPTER IX. 
 
 EMPHASIS AND "EXPRESSION." 
 
 The analysis of elocution has, in the preceding chapfera, 
 been extended so far as to comprehend all the chief topics 
 
228 OETHOPHONY. 
 
 of practical elocution. The subjects of emphasis and " ex- 
 pression " have been reserved for the conclusion of this 
 manual, as they properly comprise a virtual review of tbo 
 whole subject. 
 
 I. IMPASSIONED EMPHASIS. 
 
 Emphasis, in its usual acceptation, is limited to mere 
 comparative force of utterance on an accented syllable. 
 The term,- properly defined, extends to whatever expedient 
 the voice uses to render a sound specially significant or ex- 
 pressive. Thus, in the scornful challenge which Boling- 
 broke address^ to^Mowbr^ , ^, / ' ' ,.v>— T^ t^^j^ 
 " Pale, tremUing cowakd ! there I throw my gage : " — 
 
 The emphasis lies, doubtless, on the word coward, and is 
 concen^ated in the syllable cow-, by peculiar force of ut- 
 terance. But the mere force or loudness used is only one 
 of the many elements of expression which the syllable is 
 made to comprise, in the intensely excited passion implied 
 in the words. 
 
 Attentive analysis will show that, in what is termed " em- 
 phasis," in this instance, there are included all of the fol- 
 lowing elements of vocal efiect: 1st, the mere force or 
 energy of the utterance, which produces the loudness of 
 voice that accompanies violent or vehement excitement of 
 feeling ; 2d, the abrupt and explosive articulation with which 
 the accented syllable is shot from the mouth, in the expres- 
 sion of anger and scorn ; 3d, the comparatively low pitch on 
 which the syllable cow- is uttered, as contrasted with the 
 high note on the opening word "pale," and which indicates 
 the deep-seated contempt and indignation of the speaker ; 
 4th, the comparatively long duration of the accented syllable 
 and the consequent effect of deliberate and voluntary emo- 
 tion, as contrasted with the rapid rate of hasty and rash 
 excitement ; 5th, the downward " slide," the inseparabla 
 characteristic of all impetuous, violent, and angry emotion; 
 
EMPHASIS. 229 
 
 6th, the "pectoral," "guttural," and strongly aspirated 
 quality " of voice, with which the utterance seems to burst 
 from the chest and throat, with a half-sufiocated and hiss- 
 ing sound, peculiarly characteristic of fierce and contemptu- 
 ous emotion.* 
 
 II. tJNIMPASSIONED EMPHASIS. 
 
 It may be thought, however, that, although the emphasis 
 of passion does include many elements, the common empha- 
 sis of meaning, in unimpassioned, intellectual communica- 
 tion, may be sufficiently expressed by mere(£omparative 
 force of accenO This impression, too, will, on examination, 
 be found e rroneous. The simplest distinctive emphasis that 
 can be given comprises several points of effect, which are 
 easily detected by analysis.^ 
 
 I It may appear, at first view, that this analysis extends beyond empha- 
 sis into "expression." But emphasis is, in fact, nothing else than "ex- 
 pression " concentrated and condensed into an accented syllable. For 
 confirmation of this assertion we may refer to the result, in cases of ac- 
 knowledged imperfect emphasis, that a failure, as regards the full effect of 
 an)' one of the above elements, produces the fault. Let the student him- 
 self bring the matter to the test of his own observation, by uttering the 
 word ^^ coward'^ six times in succession, dropping, each time, one of the 
 elements of "expression" enumerated in the preceding analysis ; and he 
 will perceive that he loses, in every instance, the emphasis of impassioned 
 accent. Similar illustrations might be drawn from all emotions, in turn. 
 But the verification may be left for the practice of oral illustration, by the 
 student or the teacher. 
 
 " We may take, for an example of unimpassioned emphasis, the expres- 
 sions in the moral of the fable of the Discontented Pendulum, " Let any 
 man resolve always to do right now, leaving then to do as it can ; and if 
 te were to live to tlie age of Methuselah, he would never do wrong." 
 
 The words "now" and "then," in this passage, are instances of dis- 
 tinctive emphasis ; they are marked, 1st, by the usual superior force of ut- 
 terance which belongs to important and significant words; 2d, by & jerh- 
 mg stress, repeated at the beginning and end of each " tonic " element of 
 sound in the two words, and constituting what, in elocution, is technically 
 termed " compound stress; " 3d, by the comparatively high pitch on which 
 each of these two words is set, relatively to the rest of the sentence; 4th, 
 by a significant turn or "double slide " of voice, termed the " wave," or, 
 perhaps, — in the spirit of very keen and peculiarly marked distinction, — 
 ly a double turn, constituting a quadruple " slide " and a " double wav«," 
 

 230 ORTHOPHONY. 
 
 EXAMPLES OF EMPHASIS. 
 I. IMPASSIONED EMPHASIS. 
 
 Oumulative Emphasis. 
 
 Martial Ardor and Courage. 
 
 (" Expulsive Orotund Quality: " Declamatory Force : " Expulsive Mediaa 
 and Thorough Stress:" "Middle" to "High" Pitch: Fallinj 
 "Fifth:" "Moderate" to "Quick Movement.") .^^. 
 
 Henet V. — Shakespeare. ^^ 
 
 This day is called — the feast of Orispian : 
 
 He that outlives this day and comes safe home, 
 
 Will stand a tiptoe when this day is named, 
 
 And roicse him at the name of Crispian. 
 
 He that shall live this day, and see old age, 
 
 Will yearly on the vigil feast his friends, 
 
 in the style peculiar to the prolonged utterance of acute verbal distinc- 
 tions ; 5th, by the protracted sound of the words, which is inseparable from 
 the enunciation of significant expressions in general, but particularly, as 
 •just mentioned, from the style of verbal distinctions and subtle discrimin- 
 ations j 6th, by the " oral quality " of voice, with which the words are ut- 
 tered. By " oral quality " is not meant that "pure " or " head tone " 
 which always accompanies unimpassioned and merely intellectual com- 
 munication, — an utterance addressed to the understanding, and not to the 
 passions, and hence divested of deep "pectoral" or harsh "guttural" 
 quality, — but that distinctly marked and exclusively oral tone which 
 causes the voice to sound as if it emanated from, or originated in, the 
 mouth alone, and designedly threw the utterance into the shape of a mere 
 process of articulation, dependent, for its whole effect, on the tongue, the 
 palate, the teeth, or the lips. All nice distinctions in grammar, in logic, 
 and even in ethics, are given in this purely "oral " form. This mode oiE 
 voice is, as it were, the opposite pole to that of deep passion, which is not 
 merely low-pitched, but designedly resounds in the thoracic cavity, and by 
 its hollow " pectoral " effect seems to emanate from the chest. It indi- 
 cates, thus, to the ear the presence, as the " oral quality" does the ab- 
 sence, of a deep inward movement of feeling. The effect of the " oral 
 quality," as a part of the emphasis of intellectual distinctions, may be as- 
 certained by the student for himself, if he will utter the words " now " and 
 "<ie»" in the preceding passage, first with "lowpitch" anddeep"peOi 
 toral " murmur, and afterwards with "high pitch" and thin "oral" 
 enunciation. A similar analysis may be made on all the constituent •! 
 cments of unimpassioned emphasis, as enimierated in this paragraph. 
 
EMPHASIS. 231 
 
 And say — To-morrow is Saint Crispian ; 
 
 Then will he strip his sleeve, and show his scars, 
 
 And say, These wounds I had on Crispin's Day. 
 
 Old men forget ; yet all shall be forgot, 
 
 But he 'II remember, with advantages, 
 
 "What feats he did that day. Then shall our names, 
 
 Familiar in their mouths as household words ^- 
 
 Harry the Jang, Bedford and Exeter, 
 
 Warwick and Talbot, Salisbury and Gloster ^ 
 
 Be in their flowing cups freshly remembered : 
 
 This story shall the good man teach his son ; 
 
 And Crispin CWspian shall ne'er go by. 
 
 From this day to the ending of the world. 
 
 But we in it shall be remembered : 
 
 "Wet few, we happy ie^, we band of brothers ; 
 
 For he to-day, that sheds his blood with me, 
 
 Shall be my brother ; be he ne'er so vile. 
 
 This day shall gentle his condition : 
 
 And gentlemen in England, now abed, 
 
 Shall think themselves accursed, they were not here : 
 
 And hold their manhoods cheap, while any speaks 
 
 That fought with us upon Saint Crispin's Day. 
 
 Emphasis of Intercession. 
 Earnestness. 
 
 i 
 
 
 ("Orotund Quality:" " Moderate " Force : "Middle" Pitch: "Rad- 
 ical Stress:" "Falling Fifth:" Deliberate "Emphasia.") 
 
 Antonio iutebcedinq with BAssAino to make bo further offers 
 ; TO Shylock. — Shakespeare. 
 
 I pray you, think you question with a Jew. 
 You may as well go stand upon the beach. 
 And bid the main_^orf bate his usual height ; 
 You may as well use question with the wolf 
 Why he hath mada the ewe bleat for the lamb; 
 You may ^s well forbid the mountain pines 
 
0\ 
 
 232 ORTHOPHONY. 
 
 To wag their high tops and to make no noise, 
 When they are fretted with the giists of heaven ; 
 You may as well do anything most hard, 
 As seek to soften that — than which what 's harder ? — 
 His Jewish heakt. Therefore, I do beseech you, 
 Make no more offers, use no further means, 
 But with all brief and plain conveniency ^ 
 Let me have judgmentf'and the Jew his will. 
 
 Frenzied Anger. 
 
 ("Aspirated Quality:" "Impassioned" Force: "Radical Stress:" 
 "High" Pitch: Rising and Falling "Fifth and Octave:" "Quick 
 c' Movement.") 
 
 Hamlet to Laertes at the grave of Ophelia. — Shakespeare. 
 
 Zounds, show me what thou 'It do. 
 ' Woo't wee;) ? woo't Jight? woo't fast? woo't iea?- thyself ? 
 Woo't drink up eisel, eat a crocodile ? 
 I 'll do 't. Dost thou come here to whine ? 
 To outface me with leaping in her grave ? 
 Be buried quick with her, and so will I._ 
 And, if thou prate of mountains, let them throw 
 ]^ILLI0N^ of acres on us ; till our ground, 
 Singeina his pate against the burning zone, 
 Make OssAijkE a wakt ! Nay, an' thou 'It mouth, 
 I '11 rant as well as thou. 
 
 Fierce Anger and Defiance. 
 
 ("Aspirated Guttural Quality:" "Impassioned" and Increasing "Ex- 
 pulsive " Force : " Compound and Thorough Stress : '* " High " and 
 "Progressively Rising" Pitch: Downward "Third," "Fifth," and 
 "Octave" in the "Slide:" "Emphatically Slow Movement.") 
 
 CoRiOLAHca, enraged by the accusation of the Tribunes. —I 
 Shakespeare. 
 
 Call me their traitor ! Thou injurious tribune ! 
 "Within thine eyes sat twenty thousand deaths, 
 In thine hands clutched as many millions, in 
 
EMPHASIS. 233 
 
 Thy lying tongue BOTH numbers, I would say 
 Thou LIEST, unto thee, with a voice as free 
 As I do pray the gods. 
 
 Revenge. 
 
 ["Aspirated Pectoral Quality:" Intensely "Impassioned" "ExpjJ- 
 sive" Force: "Thoraugh Stress:" "Low" Pitch: Downward 
 "Slide" of tlie "Fiflli" and"Tiiird:" " Emphatically Deliberate 
 and Slow Movement.") 
 
 Othello, instigated by Iago, against Cassio. — Sliakespeara. 
 
 Oh ! that the slave had FOETT THOUSAND lives 
 My great revenge had stomach for them all ! " 
 
 Anger and Threatening. 
 
 ("Aspirated Gttttural Quality: " "Impassioned" Force: "Vanishing," 
 "Radical," and "Median Stress:" "High" Pitch: Downward 
 "Slide" of the "Fifth:" "Movement" first " Slow," then "Quick.") 
 
 CoBiOLANUS, TO THE RoMAN SOLDIERS WHEN BEFULSED. — Shakespeare. 
 
 You souls of geese, 
 That bear the shapes of men, how have yon run 
 From slaves that apes would beat ! Pluto and hell ! 
 JLll hurt behind ; backs red, and faces pale 
 With flight and aguedfear ! Mend, and charge home, 
 Or, by Xhii fires of heaven, I '11 leave the foe, 
 And make my wars on YOU : look to 't : Come on ! 
 
 Defiance. 
 
 |"Orotund Quality:" "Impassioned" Force: "Thorough Stress:" 
 " Middle " Pitch : Downward "Fifths:" "Deliberate Movement.") 
 
 Edmund, in reply to Albany. — <i 
 
 What in the world he is, 
 That names me traitor, villain-like he lies : 
 Call by thy trumpet : he that dares approach. 
 On him, on you, — WHO NOT ? — I will maiatain 
 My truth and honor firmly. 
 
234 ORTHOPHONY. 
 
 II. UNIMPASSIONED EMPHASIS. 
 
 Emphasis of Designation, 
 
 Description of a Booksellek's Literary Dinner, — Inmg, 
 
 The host seemed to have adopted Addison's idea as to 
 the literary precedence of his guests. A popular poet ha,i 
 the post of honor ; opposite to whom was a hot-pressed trav- 
 eller in quarto, with plates. A grave-looking antiquary, who 
 had produced several solid works, that were much quoted 
 and little read, was treated with great respect, and seated 
 next to a neat, dressy gentleman in hlach, who had written a 
 thin, genteel, hot-pressed octavo on political economy, that was 
 getting into fashion. Several three-volumed-duodecimo men 
 of fair currency, were placed about the centre of the table, 
 while the lower end was taken up with small poets, trans- 
 lators, and authors who had not as yet risen with much 
 
 notoriety. 
 
 True Worth. — Alice Cary. 
 
 True worth is in being, n6t seeming — 
 
 In doing each day that goes by 
 Some little good — not in dreaming 
 
 Of great things to do ^ and bp; 
 For whatever men say in their blindness, 
 
 And spite of the fancies of youth, 
 There is nothing so kingly as landness, 
 
 And nothing so royal as trvth. 
 
 Proteus. — Shahespeare. 
 
 His words are bonds, his oaths are oracles ; ^ 
 His love sincere, his thoughts immaculate ; ^ 
 His tears pure messengers sent from the heart ; 
 His heart as far ivoia. fraud as heaven from earth. 
 
EMPHASIS. 235 
 
 Emphasis. 
 Comparison and Oontrast. 
 Dhyden and Pope. — Johnson. 
 Poetry was not the sole praise of either, for both ex- 
 celled likewise in pr6se ; but P6pe did not borrow his 
 prose from his predecessor. The style of Drpden is capn- 
 cious and varied; that of Pope is cautious and uniform. 
 Drpden observes the motions of his own nu'nd ; Pope con- 
 strains his mind to his own rules of composition. Drpden 
 is sometimes vehement and rapid ; Pope is always smooth, 
 uniform, and gentle. Dr^den's page is a natural field ris- 
 ing into inequalities, and diversified by the varied exuber- 
 ance of abundant vegetation ; Pope's is a velvet lawn, 
 shaven by the scythe and levelled by the roUer. 
 
 Phrases of Successive Emphatic Words. 
 
 The British army, traversing the Carnatic, after the 
 desolation effected by Hyder AH, beheld not one living 
 thing, not one man, not one woman, not one chUd, not one 
 four-footed beast, of any description whatever. 
 
 Shouting. 
 
 ("Orotund and Pure Tone:" I' Impassioned and Sustained" Force: 
 " Tiiorough Stress : " " High " Pitch : " Quick Movement." ) 
 
 Battle Shout of Henry V. — Shakespeare. 
 
 The game's afoot ; 
 FoUoio your spirit : and, upon this charge, 
 Cry — God for Haeby ! England ! and Saint 
 Geokgb ! 
 
 HI. "akbitraet emphasis "-(^ ^' ' 
 The form of utterance to which this designation may be 
 applied is that " expression " or significance, whether of 
 loudness, pitch, " time," " melody," or other property of 
 
236 ORTHOPHONY. 
 
 vocal effect, in consequence of which the sense, or the con- 
 nection and structure of the parts of a sentence, may be 
 rendered apparent by modification of voice, applied extem- 
 poraneously, during the moipent of reading, at the discre- 
 tion and by the will of the reader, rather than in compliance 
 with any general rule of feeling or of elocution. This 
 " arbitrary emphasis " is greatly aided in its effect by a cor- 
 responding abatement or depression of voice, in clauses 
 which precede or follow the word or phrase of " arbitrary 
 emphasis," or which occur between two such words or 
 phrases. This " discharging " of " expression," as it may 
 be termed, will, of course, take place by a reduction, abate- 
 ment, or depression of one or all the elements of vocal 
 effect. The " arbitrary emphasis " may, at the pleasure of 
 the reader, heighten the " expression " arising from " qual- 
 ity," force, pitch, " slide," " melodial phrase," " time," 
 " quantity," " movement," etc. ; so may the " reduction " of 
 emphasis diminish or subdue, or destroy any or all of these. 
 " Arbitrary emphasis " and " reduction " may be em- 
 ployed where but a single parenthetic word intervenes to 
 break the current of language ; as in the sentence, " The 
 sprout was carefully protected by a stratum, or layer, of 
 leaves." The words " stratum " and " leaves " are in this 
 instance, pronounced with a slight additional force, an en- 
 larged interval of " slide " and prolonged " quantity ; " 
 while the words " or layer " are reduced in force, shortened 
 jn " quantity," and levelled into " monotone," in the man- 
 ner of parenthesis. 
 
 The following example will exhibit the same effects more 
 distinctly ; as poetic language is naturally more expressive 
 than prose. 
 
 " On the other side. 
 Incensed with indignation, Satan stood 
 Unterrified, and like a comet (^burned,) 
 
 1 The crotchets of parenthesis are introduced here, not as belonging te 
 the text but as an ocular aid, with a view to suggest the proper style cH 
 reading to the ear. 
 
EMPHASIS. ~<^ 237 
 
 That fires the length of Ophiuchus huge, 
 lu the arctic skj." 
 
 The arrangement of the words, in this sentence, throws 
 the word " burned " into a parenthetic situation, in conse- 
 quence of the grammatical connection between the words 
 " comet " and " that." To atone to the ear for this verbal ■ 
 dislocation, the word " comet " takes on an additional force, 
 91 lower " slide," a longer " quantity " in its accented sylla- 
 ble, and a more descriptive swell of " stress," than it would 
 otherwise have. The line, " That fires," etc., is also read 
 with a resuming force of expression, borrowed, as it were, 
 from the style of voice in the word " comet ; '' while the 
 word " burned " (which, as being a descriptive verb, must 
 possess a degree of accent) is rendered parenthetic in effect, 
 by being thrown into " monotone," instead of a downward 
 " slide," and by being somewhat reduced in force, and raised 
 in pitch ; while its descriptive power is retained by pro- 
 longed " quantity " and " median swell." 
 
 The following examples will illustrate the effect of '.' arbi- 
 trary emphasis " and " reduction," Where a clause is to be 
 partially parenthesized, so as to preserve the connection of 
 sense, on each side of it. 
 
 " Say first, for Heaven, (hides nothing from thy view,) 
 Nor the deep tract of hell." 
 
 " Thus while he spake, each passion (dimmed his face, 
 Thrice changed with pale,) ire, envy, and despair : " 
 
 '' There was a Brutus once that would have brooked 
 (The eternal Devil to keep his state in Rome) 
 As easily \ as a king." 
 
 The student may analyze for himself the effect of the 
 " arbitrary emphasis " and " reduced expression," as indi- 
 cated by the italics and the parenthesis. 
 
 The slight, level, and rapid " expression " which takes 
 
238 ORTHOPHONY. 
 
 place on clauses such as that included within crotchets, Dr. 
 Rush has termed the " flight " of the voice, and the emphatic 
 connecting " expression " the " emphatic tie." 
 
 The efEect of these modifications of voice will be rendered 
 still more apparent by longer examples. 
 
 He stood, and called 
 His legions, angel forms, who lay entranced 
 Thick as autumnal leaves (that strow the brooks 
 In Vallambrosa, where the Etrurian shades, ^ 
 
 High over-arched, embower ;) or scattered sedge \ A 
 Afloat, when with fierce winds Orion armed CA^ ^t 
 
 Hath vexed the Eed-sea coast. , '^'' \ 
 
 Zanga, relating the origin op his hatred op Alonzo. — Tvang. 
 'T is twice three years since that great man, 
 (Great let me call him, for he conquered me,) 
 Made me the captive of his arm in fight. 
 
 One day, (may that returning day be night, 
 The stain, the curse, of each succeeding year) 
 For something, or for nothing, in his pride 
 He struck me. (While I tell it do I live ?) 
 He smote me on the cheek. 
 
 Corporal Trim's Eloquehce. — Sterne. 
 
 " My young master in London is dead," said Obadiah. 
 
 " Here is sad news, Trim," — cried Susannah, wiping 
 her eyes as Trim stepped into the kitchen, — " master 
 Bobby is dead." 
 
 " I lament for him from my heart and my soul," — said 
 Trim, fetching a sigh, — " Poor creature ! — poor boy ! — 
 poor gentleman ! " 
 
 " He was alive last Whitsuntide," said the coachman. 
 
 " Whitsuntide ! alas ! " cried Trim, extending his right 
 arm, and falling instantly into the same attitude in which he 
 read the sermon, " What is Whitsuntide, Jonathan," (foi 
 
EXPRESSION. 239 
 
 that was the coachman's name,) " or Shrovetide, or any tide 
 or time past, to this ? Are we not here now ? " continued the 
 corporal, (striking the end of his stick perpendicularly upon 
 the floor, so as to give an idea of health and stability.) 
 "and are we not" (dropping his hat upon the ground) 
 " gone ! in a moment ! " — It was infinitely striking ! Su- 
 sannah burst into a flood of tears. — We are not stocks and 
 stones: — Jonathan, Obadiah, the cookmaid, all melted. — 
 The foolish fat scullion herself, who was scouring a flsh-ket- 
 tle upon her knees, was roused with it. — The whole kitchen 
 crowded about the corporal. 
 
 " Are we not here now, — and gone in a moment ? " — 
 There was nothing in the sentence : — it was one of your 
 self-evident truths we have the advantage of hearing every 
 day ; and if Trim had not trusted more to his hat than his 
 head, he had made nothing at all of it. 
 
 " Are we not here now ? " continued the corporal, " and 
 are we not " (dropping his hat plump upon the ground, — 
 and pausing before he pronounced the word) " gone ! in a 
 moment ! " — The descent of the hat was as if a heavy lump 
 of clay had been kneaded into the crown of it. — Nothing 
 could have expressed the sentiment of mortality, — of which 
 it was the type and forerunner, — like it : his hand seemed 
 to vanish from under it ; it fell dead ; the corporal's eye 
 fixed upon it, as upon a corpse ; — and Susannah burst into 
 a flood of tears. 
 
 " Expression." 
 
 Emphasis, fully defined for the purposesof elocution, is 
 prominent " expression," embodied in an accented syllable. 
 It bears the same relation to " expression," in its full sense, 
 that " syllabic accent " bears to " rhythmical accent." It 
 may be restricted to a single word : " expression " applies, as 
 in music, to the sequence of sounds, in connected and consec- 
 utive utterance, designed for the communication oi feeling. 
 
 " Expression," however, while it contains the same ele- 
 
240 OKTHOPHONY. 
 
 ments with emphasis, comprises a few more. It includes 
 the effects arising from " quality " in all its forms, " pure," 
 " aspirated," etc., and from the " effusive," " expulsive," and 
 " explosive " modes of utterance "", from force in all its gra- 
 dations from whispering to shouting ; " stress," in its " radi- 
 cal," " median," " vanishing," " compound," and " thorough " 
 forms ; " tremor ; " " melody," " pitch," " slide " and " wave " 
 in all their forms ; " time," in all its influence over " move- 
 ment," " rhythm," and metre. These modifications of voice 
 have all been discussed and exemplified. But to all these, 
 " expression " adds the effect of " drift," as it has been 
 termed by Dr. Rush, — or, in other words, the impression <= 
 produced on the ear by the frequent or successive recurrence 
 I )f any mode or element of " expression." 
 
 " Drift," accordingly, is either an excellence or a fault, ac- 
 cording to the circumstances in which it is adopted as a 
 mode of effect, and we may observe that the " drift " of re- 
 curring " melody," or what, in popular language, is termed 
 a " tone," is often a means of powerful and deep impression 
 on the ear and on the external sympathies of an audience, 
 when there is little ol unity, force, or weight in the senti- 
 ment which the speaker utters. A gentle and chaste " drift " 
 is 'one of the natural secrets of effect, in elocution, and <; 
 should be carefully observed and closely analyzed by every 
 student who is desirous of securing a master-key to the ha- , 
 man heart. ^ ^haJ 
 
TABLES FOR DAILY EXERCISE. 
 
 (Occupying not less than fifteen minutes in the drill.) 
 
 I. BREATHING EXERCISES. 
 
 (Deep Breathing : EfEuslve, Expulsive, and Explosive : Sighing : tab- 
 bing : Gasping : Panting. For description see pages 1-5.) 
 
 II. ORTHOEPY. 
 ELEMENTS OP THE ENGLISH LANGUAGE. 
 
 Classified according to the action of the Organs of Speech 
 in Articulation. 
 
 1. ORAL AND LARYNGEAL SOUNDS. 
 
 (Formed by the mouth and larynx.) 
 
 In practising the sounds, the mouth should be freely 
 opened, and firmly held in the position proper for the 
 formation of each sound, and every position should be 
 carefully observed. 
 
 1, .4-11; 2, ^-rm; 3, A-n; 4, ^ve ; 5, Oo-ze, L-oo-k ; 
 6, ^rr; 7, ^nd ; 8, In; 9, Ai-i; 10, U-p; 11, O-i ; 12, 
 0-n; 13, ^-le; 14, /-ce; 15, 0-ld; 16, Ou-i; 17, Oi-1; 
 18, C/-se (verb, long) ; Use (noun, short). 
 
 2. LABIAL OR LIP SOUNDS. 
 
 1, B-A-be; 2, P-i-pe; 3, M-ai-m ; 4, W-oe; 5, V-al-vt; 
 6, F-i-fe. 
 
 3. PALATIC OR PALATE SOUNDS. 
 
 1, G-A-kQ; 2, G-a,g; 3, Z-e. 
 
 4. ASPIRATE OR BREATHING SOUND. 
 
 E-t. 
 
 16 
 
242 ORTHOPHONY. 
 
 5. NASAL, OE NOSTRIL SOUNDS. 
 
 1, If-a-n ; 2, Si-nff. 
 
 6. LINGUAL OE TONGUE SOUNDS. 
 
 1, L-n-U; 2, JB-ap; 3, Fa-r. 
 
 7. DENTAL SOUNDS. 
 
 1, D-i-d; 2, T-en-t ; 3, TTi-in; 4, 2%-ine ; 5, A-z-ure ; 
 6, Fash ; 7, C-earS-e ; 8, Z-one ; 9, J-oj ; 10, Gh-MT-ch. 
 
 1. INITIAL SYLLABLES. 
 
 £1, cl, fl, gl, pi, spl ; br, cr, dr, fr, gr, pr, spr, tr, sir, shr ; 
 sm, sn, sp, sk, sf. 
 
 2. FINAL SYLLABLES. 
 
 Ld, If, Ik, Im, Ip, he, Is, {Iz), h, Ive; m'd, nd,nce,ns, (nz), 
 nk, (ngk), nt ; rb, rd, rk, rm, m, rse, rs, (rz), rt, rve, rb'd, rk'd, 
 rm'd, m'd, rs'd, rv'd; sm, (zm), s'n, (zn), sp, st; ks, ct, k'd, 
 (U,)f'd, {ft),p'd, {pi); d'n, k'n,p'n,v'n; ble,(bl),Jle, {fl,) 
 gle, {gl),ple, {pi), die, {dl), tie, {tl),rl ; 1st, nst, rst, dst, rdst, 
 rmdst, mdst ; hl'dj pl'd, rl'd; ngs, ngst, ng'd ; bles, {biz), 
 cles, {clz),fles, {flz), gles, {glz) ; sms, {zmz), s'ns, {znz), sps, 
 its; sties, {slz,) stens, {snz). 
 
 lU. EXERCISES ON THE ELEMENTS OF EXPRESSION. 
 WHISPEEING. 
 
 " All 's hushed as midnight, yet ! 
 No noise ! and enter." 
 
 HALF-WHISPEE. 
 
 " Step softly, and speak low. 
 For the old year lies a dying ! " 
 
 "PUEE TONE." 
 
 " Pale mourned the lily where the rose had died I " 
 " Oh '. that this lovely vale were mine ! " 
 " Joy I joy forever ! My task is done ! " 
 
TABLES FOE DAILY EXEECISE. 243 
 
 " OROTUKD." 
 
 " Farewell ! a long farewell to all my greatness.*' 
 
 " Hail ! holy Light, — offspring of heaven, first-born ! " 
 
 " Sound drums and trumpets, boldly and cheerfully ! " 
 
 FOECE. 
 
 (Yawning, Coughing ( moderate), Laugliing with the Vowel Sounds.) 
 
 Very Sojl: " Oh ! lightly, lightly tread ! " 
 Soft: « Take, holy Earth, all that my soul holds dear I" 
 Moderate : " The breath of spring awakens the flowers." 
 Loud : " Up ! let us to the fields away ! " 
 Very Loud : " Liberty ! Freedom ! Tyranny is dead ! " 
 
 STRESS. 
 
 Impassioned Eocplosive Radical : " Up ! comrades, up ! In 
 Eokeby's halls 
 Ne'er be it said our courage falls ! " 
 Vhimpassioned Sadieal: " A clear, distinct articulation 
 
 is an invaluable accomplishment." 
 Median Stress : " Oh ! I have lost you all, parents, and 
 home, and friends ! " 
 " O Lord, my God, Thou art very great ! " 
 " The shades of eve came slowly down." 
 Vanishinff Stress : " For Heaven's sake, Hubert, let me 
 not be bound ! " 
 " While a single foreign troop remained on my na- 
 tive shore, I would never lay down my 
 arms. Never, never, NEVER ! " 
 Compound Stress : " What ! to attribute the sacred sanc- 
 tions of God and nature to the massa- 
 cres of the Indian scalping-knife ! " 
 Thorough Stress : " Awake .' arise ! or be forever fallen ! " 
 
244 ORTHOPHONY. 
 
 PITCH. 
 
 Lowest : " Silence how dead ! and darkness how pre 
 
 found ! " 
 Low : " Dark flow thy tides o'er manhood's noble head." 
 Middle : " Lovely art thou, O Peace, and lovely are thy 
 
 children." 
 " He leadeth me by the still waters." 
 High : " Now even now, my joys run high ! " 
 Highest: "Wheel the wild dance, till the morning 
 
 break!" 
 
 MOVEMENT. 
 
 Slowest: " Creation sleeps: — 'T is as the general pulse 
 Of life stood still, and Nature made a pause, — 
 An awful pause, — prophetic of her end ! " 
 Slow : " Now fades the glimmering landscape on the 
 sight, 
 And all the air a solemn stillness holds." 
 Moderate : " One great end to which all knowledge ought 
 to be employed, is the welfare of humanity." 
 Lively : " Crowned with her pail, the tripping mUkmaid 
 
 sings ! " 
 Brisk : " Haste thee, Nymph, and bring with thee 
 
 Mkth and youthful jollity ! " 
 Rapid : " And rushing and flushing and brushing and 
 gushing. 
 And flapping and rapping and clapping and slap- 
 
 ing, 
 And curling and whirling and purling and twirl- 
 ing, 
 Advancing and glancing and prancing and dano' 
 
 ing,— 
 'T is this way the water comes down at Lodore.'' 
 
TABLES FOB DAILY EXERCISE. 245 
 
 IV. COMBINATIONS OF EXPRESSION, IN TONES OF EMOTION. 
 COUEAGE. 
 
 Orotund Quality, Loud Utterance, Thorough Stress, High 
 Pitch, Brisk Movement. 
 
 " Come one, come all, — this rock shall fly 
 From its firm base as soon as I." 
 
 FEAE. 
 
 Half Whisper, Suppressed Force, Explosive Radical Stress, 
 lEghest Pitch, Rapid Movement. 
 
 " While thronged the citizens, with terror dumb, 
 Or whispering with white lips, ' The foe ! they come, they 
 come ! ' " 
 
 JOY. 
 
 Orotund Quality, Loudest Utterance, Thorough Stress, High 
 Pitch, LAvely Movement. 
 
 " Joy, joy ! shout, shout aloud for joy ! " 
 
 GEIEP. 
 
 Orotund Quality, Subdued Force, Vanishing Stress and 
 Tremor, Middle Pitch, Slow Movement. 
 
 " Oh ! pardon me, thou bleeding piece of earth ! " 
 
 AWE. 
 
 Orotund, slightly aspirated. Suppressed Force, Median Stress, 
 Lowest Pitch, Slowest Movement. 
 
 " It thunders ! — sons of dust in reverence bow .' " 
 
 ANGEB. 
 
 Mpirated Orotund, Loudest Utterance, Explosive Radical 
 Stress, Middle Pitch, Rapid Movement. 
 
 " Back to thy punishment, false fugitive ! " 
 
246 OETHOPHONY. 
 
 ADMIRATION. 
 
 Pure Tone, Earnest Utterance, Median Stress, High IHlch, 
 Lively Movement. 
 
 " Oh ! speak again, bright angel ! " 
 
 HURKT. 
 
 Aspirated Orotund, Loudest Utterance, Explosive Radical 
 Stress, Middle Pitch, Rapid Movement. 
 
 " Send out more horses ! skirr the country round ! " 
 
 TEANQUILI.ITT. 
 
 Orotund Quality, Gentle Utterance, Median Stress, Middle 
 Pitch, Slow Movement. 
 
 " O'er all the peaceful world the smile of heaven shall lie ! " 
 
 V. EXERCISES IN THE DIFFERENT FORMS OF VERSE. 
 IAMBIC METRE. 
 
 Blank Verse: "And earthly pride' | is like the passing 
 
 flower, 
 That springs | to fall, and blossoms | but to 
 
 die." 
 Heroic Verse : " Like leaves on trees | the race of man | is 
 
 found. 
 Now I green in youth, now ] withering on 
 
 the ground." 
 Octosyllabic Verse : " The spacious firmament | on high. 
 
 With all the blue ethereal sky, 
 
 And spangled heavens, a shining frame, 
 
 Their great Original proclaim." 
 
 1 The careful observance of these shorter pauses Is the surest means ol 
 (voiding the tendency to a jingling style in reading verse. 
 
TABLES FOR DAILY EXERCISE. 247 
 
 Vommon Metre: "Thy love | the power of thought be- 
 stowed ; 
 To Thee | my thoughts would soar : 
 Thy mercy | o'er my life has flowed, 
 That mercy | I adore." 
 
 TEOCHAIC METRE. 
 
 • " Softly sweet, in Lydian measures, 
 Soon he soothed his soul to pleasures : 
 War, he sung, is toil and trouble, — 
 Honor | but an empty bubble." 
 
 ANAP^STIC METRE. 
 
 " How fleet | is a glance of the mind ! 
 
 Compared with the speed of its flight. 
 The tempest itself | lags behind, 
 
 And the swift-winged arrows of light." 
 
 " The evening was glorious, and light through the trees 
 Flayed the sunshine | and raindrops, the birds | and the 
 
 breeze ; 
 The landscape, outstretching in loveliness, lay | 
 On the lap of the year, in the beauty of May." 
 
1 \ 
 
 Mi 
 
 %: 
 
 XD 
 
 
 X 
 
 
 
 4//- 
 
 • 
 
 <v 
 
THE ORGANS OF VOICE.' 
 
 Aj( es:act anatomical knowledge of the vocal organs is 
 not essential to our purpose. All that is aimed at, in the 
 following observations, is to impart such an idea of organic 
 structure and action as is indispensable to an intelligent, 
 voluntary use of the vocal organs. 
 
 We commence our investigation with the primary action 
 of inspiration, or inhaling breath. A person in good health 
 draws in breath by an.exertion, partly involuntary, partly 
 voluntary, of those muscles which, by a combined act, ex- 
 pand, and at the same time raise the chest, and consequently 
 enlarge the cavity called the thorax, — the region between 
 the neck and the stomach. The degree of freedom and 
 energy, in this muscular action, decides of course the ex- 
 tent to which the thoracic cavity is enlarged, and the vol- 
 ume of air which is inhaled : it decides, also, as a natural 
 consequence, the capacity of resonance in the chest, and the 
 fulness of the supply of breath, — the material of sound. 
 
 These preliminary facts teach us the first practical lesson 
 in the cultivation of the voice, — the necessity of maintain- 
 ing an erect, free, expansive, unembarrassed posture of the 
 chest, as an indispensable condition of full, clear, distinct, 
 effective, and appropriate utterance. 
 
 The next practical lesson here taught is that utterance 
 demands a free expulsion, not less than a deep inhalation 
 of breath ; that there must be a vigorous consentaneous 
 action of the will, along with the silent involuntary process 
 of nature. 
 
 1 For further study the student is referred to Dr. Ghislani Durant's ad* 
 nlrable work on the Hj'giene of the Voice. 
 
254 OETHOPHONT. 
 
 The full function of expiration, when carried to the ex- 
 tent of vocalized exclamation, implies an energetic use of 
 the lower muscles of the trunk, — those which are termed 
 the abdominal,^ — to impart, by upward and inward im- 
 pulse, a powerful percussion to the diaphragm, by which 
 the breath contained in the air-cells of the lungs is forced 
 through the bronchial tubes and the trachea, towards the 
 glottis and the larynx, where it is converted into sound, 
 and thence into and through the mouth, and the cavity of 
 the head, where it is modified into speech by the action of 
 the nasal passage, the tongue, the palate, the teeth, and the 
 lips, in the various functions of articulate utterance. 
 
 The engraved figures will serve to impart a clearer idea 
 than can be conveyed by words of the place and form of 
 the vocal organs, together with their action in the produc- 
 tion of sound. 
 
 Figure 1 represents the principal abdominal muscle by 
 which the first expulsory movement terminating in sound is 
 produced. The action of this muscle, in energetic and ab- 
 rupt forms of utterance, is nearly the same in kind, though 
 not in degree, with that which takes place in the sudden 
 shrinking from a blow aimed at or below the stomach. In . 
 vigorous utterance of a steady and sustained character, or in 
 the energetic singing of long notes, a powerful and con- 
 tinued upward and inward pressure of the abdominal mus- 
 cles takes place, as in the attitude observed in swift riding 
 on horseback. 
 
 2. The diaphragm, which by an upward impulse, consen- 
 taneous with that of the abdominal muscles, and imparted 
 to the pleura or enveloping membrane of the lungs, forces 
 the breath from the air cells into the bronchi, and thence 
 into the trachea and the larynx. 
 
 3. The thorax, the great cavity of the chest. By the ex- 
 
 1 In shouting and calling, and other violent exertions of voice, the dtrrsiA 
 muscles — those of the lower part of the back — partake in the expulsory 
 effort. 
 
THE ORGANS OF VOICE. 255 
 
 pansion and compression of this capacious organ, the pro- 
 cess of breathing is conducted ; and by its resonance the 
 Toice receives depth and volume. 
 
 4. The intercostal muscles at the lower, and 
 
 5. The thoracic and pectoral muscles, at the upper part 
 of the chest, serve to dilate and compress it, in the acts of 
 breathing and of utterance. 
 
 6. The pleura, a membrane which envelops the lungs, 
 and propagates to their cells the impulse by which these 
 are emptied of their successive supplies of air inhaled at the 
 intervals of speaking or singing. 
 
 7. The lungs, a spongy body in the form of lobes, into 
 the cells or little cavities of which the air inhaled in . 
 breathing is drawn, and from which it is expelled by the 
 impulse communicated, as mentioned before, by the pleura, 
 and derived from the diaphragm and the abdominal muscles. 
 
 8. The bronchi, or two main branches of the trachea or 
 wind-pipe. These two tubes are themselves subdivided into 
 many subordinate and minute ramifications, which serve to 
 distribute to the air-cells of the lungs — iu which they ter- 
 minate — the breath inhaled through the trachea, and to 
 convey that which is expelled from the lungs by the im- 
 pulsive action of the diaphragm into the trachea, the lar- 
 ynx, and the mouth. One important office of the bronchial 
 ramifications is to vibrate, and thereby aid in rendering vo- 
 cal the column of air which is emitted from the cells of the 
 lungs. 
 
 9. The trachea or wind-pipe, a series of connected carti- 
 laginous or gristly rings, forming the great air-tube, which 
 receives and conducts the breath to and from the lungs, in 
 the acts of inspiration and expiration, and in the function 
 of utterance. 
 
 10. The larynx, a cartilaginous box on the top of the 
 trachea, the exterior projection of which is familiarly called 
 the Adam's apple, in allusion to the fabled origin of this 
 part, which was anciently said to have owed its existence 
 
256 ORTHOPHONY. 
 
 to Adam's fatal offence in swallowing the forbidden fruit. 
 The whole larynx is the immediate seat and general instru- 
 ment of vocal sound. The portions of this organ which 
 are immediately concerned in the production of sound are, 
 
 11. The cricoid cartilage, situated immediately over the 
 uppermost ring of the trachea, resembling in form a seal- 
 ring, from which it takes its name, but having the broad 
 part at the back, and the narrow in front. The form and 
 position of this portion of the larynx admit of the eleva- 
 tion and depression of its parts, — one step in the process 
 by which tone is rendered grave or acute. 
 
 12. The aryteBno'id cartilages so called from their fancied 
 resemblance in shape to a ladle, funnel, or pitcher. These 
 fill up the space at the back of the thyroid and cricoid car- 
 tilages, and are connected with both ; while they serve also 
 as points of support and of tension for the vocal ligaments. 
 
 13. The thyroid cartilage, which has its name from its 
 partial resemblance to the form of a buckler or shield, but 
 much bent. Its two main plates form the walls or sides of 
 the larynx ; and their size usually determines the capacity 
 of the voice, as we observe, in their comparative smallness 
 in females and children, and their great expansion and pro- 
 jection in men. 
 
 The comparative solidity of texture, in all these com- 
 ponent portions of the larynx, and in the gristly rings of 
 which the trachea is itself composed, give them the power 
 of rendering the voice compact and sonorous. 
 
 14. The vocal ligaments extend across the upper part of 
 the larynx, and form the lips of the glottis, and by their 
 vibration, together with the action of the current of air 
 expelled through the trachea and larynx, produce the phe- 
 nomena of vocal sound or voice, and, by their tension or re- 
 jnission, the effect of high or low pitch. 
 
 15. The glottis, so denominated from the partial resem- 
 blance of its shape to that of the tongue, is a small chink, 
 or opening, which forms the mouth of the larynx. Tha 
 
THE OSGANS OF VOICE, 257 
 
 opening and the contraction of this portion of the vocal 
 apparatus decide, in part, the gravity or the shrillness o£ 
 tone. 
 
 All the parts of the larynx are interconnected by liga- 
 ments, and by muscles which move in concerted action, so 
 as to expand or contract, raise or lower the whole larynx, 
 and thus enlarge or diminish its capacity, and elevate or 
 depress the pitch of the voice, and increase or diminish its 
 force. The whole interior of the larynx is lined with a 
 continuation of the mucous membrane of the mouth, which 
 imparts to it a vivid sensibility and a unity of action. 
 Hoarseness is the result of the embarrassment or obstruc- 
 tion of this membrane, by the mucous accumulations aris- 
 ing from colds or catarrh, or the injudicious habit of using 
 cold water too freely during the exercise of speaking. 
 
 16. The epiglottis, the valve or lid, which, when the lar- 
 ynx is elevated, as in the act of swallowing, covers the glot- 
 tis or orifice of the windpipe and prevents strangulation. 
 Its usual erect position allows free ingfess and egress to the 
 breath. But in some instances of intensely impassioned 
 utterance its pressure against the glottis becomes an ad- 
 ditional preparative for the ultimate explosive eruption of 
 voice. 
 
 17. At the root of the tongue lies a small crescent- 
 shaped or horseshoe-formed bone. Called, from its resem- 
 blance to the Greek v, the hydid, or u-like bone. This mem- 
 ber serves, by its firm texture, as a gateway from the 
 trachea and larynx to the mouth, or from the latter to the 
 former. It forms a point of tension for the muscles which 
 connect the larynx with the mouth. Its hard texture en- 
 ables it to perform this office effectually, and thus to aid in 
 giving pitch in vocal sounds. 
 
 18. The thyro-hydidean membrane connects the thyroid 
 cartilage with the instrument just described, and facilitates 
 the functions of both in elevating or depressing the pitch 
 of the voice. 
 
 17 
 
258 OETHOPHONY. 
 
 19. The crico-ihyroid ligament attaches, as its oame im- 
 plies, the cricoid or the thyroid cartilage ; and (20) ths 
 crico-thyrdid muscle facilitates their consentaneous move- 
 ment, in the production of vocal sound, acute or grave. 
 
 21. The pharynx or swallow, situated immediately be- 
 hind and above the larynx, although not directly concerned 
 in the production of sound, has, by resonant space, a great 
 efEect on its character. Persons in whom this organ is 
 large have usually a deep-toned voice; those in whom it 
 is small have comparatively a high pitch. When it is al- 
 lowed to interfere with the sound of the voice, through 
 negligence of habit or bad taste, it causes a false and dis- 
 agreeable guttural swell in the quality of the voice. 
 
 22. The nasal passages. Through these channels the 
 breath is inhaled in the usual tranquil function of breathing. 
 The innermost part of the nostrils is united into one reso- 
 nant channel, and opens into the back part of the mouth, 
 behind the " veil," or pendent and movable part, of the 
 palate, which serves as a curtain to part the nasal arch from 
 the anterior portion ofthe mouth. 
 
 23. The interned tubes of the ears. Above the valve of 
 the orifice of the windpipe, on each side of the root of the 
 tongue, is a small opening, leading to a tube which com- 
 municates with the ear, and whose orifice is always opened 
 in the act of opening the mouth. These tubes have a great 
 effect in rendering vocal tone clear and free ; as is per- 
 ceived in the case of obstructions arising from disease, from 
 accident, or from cold, which impart a dull and muffled 
 sound to the voice. " The ear," says an eminent writer on 
 this subject, " being formed of very hard bone, and con- 
 taining the sonorous membrane of the drum, the sound of 
 the voice entering it through the air-tubes must necessarily 
 be increased by its passage along what may be termed the 
 whispering galleries of the ear." 
 
 The effect of these passages, as conductors of vocal sound, 
 may be traced in the fact that the middle and innermost 
 
THE ORGANS OF VOICE. 259 
 
 parts of the nostrils open into several hollows or cells in 
 the adjacent bones of the face and forehesid. By this ar- 
 rangement the whole cavity of the head is rendered sub- 
 servient to the resonance of the voice. That degree of 
 clear, ringing, bell-like sound, which is so obvious a beauty 
 of the human voice, seems to be dependent on this circum- 
 stance. Hence, too, the stifled tone caused by obstruction 
 arising from cold, from accident, from the deleterious effect 
 of snuff-taking, or from malformation of organic parts. 
 
 The fault of utterance which is termed nasal tone arises 
 from lowering too far the veil of the palate, the mem- 
 brane which separates the mouth from the nasal passages, 
 and raising too high the root of the tongue, in producing a 
 vocal sound. The consequence of these errors is that an 
 undue proportion of breath is forced against the nasal pas- 
 sages, and that these organs are at once overcharged and 
 obstructed. Hence the twanging and false resonance which 
 constitutes " nasal " tone. 
 
 24. The cavity, and more particularly (25) the roof, or 
 ridgy arch, of the mouth, — in the anterior part of it, — 
 together with (26) the palate, and (27) the veil, or pendent 
 and movable part of the palate, and (28) the uvula, or the 
 terminating tag of the veil of the palate in the back part of 
 the mouth, as well as (29) the upper gum and (30) the 
 teeth, in the fore part of it, all serve important purposes in 
 modifying the sound of the voice, and aiding the fuuction 
 of speech. 
 
 The most satisfactory mode of forming a correct idea oi 
 these organs is to inspect the interior of the mouth by the 
 use of a looking-glass. In this way the position and action 
 of all these parts in the function of speech may be dis- 
 tinctly observed. 
 
 The mouth, by its arched structure, exerts a great influ- 
 ence in moulding the sound of the voice. It serves at once 
 to give it scope and partial reverberation. It gives sweet- 
 ness and smoothness to tone ; as we perceive in contrast 
 
260 ORTHOPHONY. . 
 
 ing tlie voice duly modified by it with that which loses its 
 softening effect in undue nasal ring or guttural suffoca- 
 tion. 
 
 To give the voice the full effect of round, smooth, and 
 agreeable tone, the free use of the cavity of the mouth is 
 indispensable : the whole mouth must be thrown open, by 
 the unimpeded action and movement of the lower jaw. A 
 smothered, imperfect, and lifeless utterance is the necessary 
 consequence of restraint in the play of this most effective 
 implement of speech. A liberal opening of the mouth is 
 the only condition on which a free and effective utterance 
 can be produced. 
 
 30. The teeth. These instruments, by their hard and 
 sonorous texture, serve to compact and define the volume 
 of the voice, while they aid one of the important purposes 
 of distinct articulation, in the function of speech. Used 
 with exact adaptation to their office, they give a clear and 
 distinct character to enunciation ; but, remissly exerted, 
 they cause a coarse hissing, resembling the sibilation of the 
 inferior animals. 
 
 31. The tongue. The various positions and movements 
 of this organ are the chief means of rendering vocal sound 
 articulate, and thus converting it into speech. They ex- 
 ert, at the same time, a powerful influence on the quality 
 of the voice, by contracting or enlarging the cavity of the 
 mouth, and giving direction to vocal sound : it is the posi- 
 tion and action of the root of the tongue which render the 
 voice guttural, nasal, or oral, in its effect on the ear. 
 
 32. The lips. These important aids to articulation not 
 only give distinctness to utterance, but fulness of effect to 
 the sounds of the voice. Imperfectly jised, they produce 
 an obscure mumbling, instead of definite enunciation ; and, 
 too slightly parted, they confine the voice within the mouth 
 and throat, instead of giving it free egress and emissive 
 force. In vigorous speech, rightly executed, the lips are 
 slightly rounded, and even partially, though not boldly 
 
THE ORGANS OF VOICE. 261 
 
 projected. They thus become most effective aids to the 
 definite projection and conveyance of vocal sound : they 
 emit the voice well moulded, aad, as it were, exactly aimed 
 at the ear. 
 
 Figures 33 and 34 are intended to exhibit the effect of 
 the epiglottis on the character of vocal sound. When the 
 voice is thrown out with abruptness, or even with a clear, 
 decided force and character of sound, there is first a mo- 
 mentary occlusion of the glottis, attended, in impassioned 
 utterance, by the downward pressure of the epiglottis (the 
 lid of -the glottis), as in the act of swallowing: [see figure 
 33]. To this preparatory rallying of the muscular appa- 
 ratus, and its accompanying effect of resistance, — the nat- 
 ural preliminary to a powerful and sudden effort, — suc- 
 ceeds an abrupt and instantaneous explosion of breath and 
 sound, produced by the sudden upward impulse of the ab- 
 dominal muscles and the diaphragm, acting on the pleura 
 and the air-cells of the lungs, and forcing the breath up- 
 ward, through the bronchi and the trachea, to the larynx. 
 The breath, thus impelled, bursts forth, parting in the act, 
 the glottis from the epiglottis (34), and issues from the 
 mouth in the form of vocal sound. 
 
 Figures 35 ^and 36 represent the position of the uvula, 
 the one at rest and the other elevated, as in the production 
 of some of the .higher, clearer, or harsher sounds of the 
 voice. 
 
 Figure 37 represents a view of the vocal cords, reflected 
 by means of the laryngoscope. Figure 38 displays different 
 positions of the vocal cords : A, the position during in- 
 spiration ; B, in the formation of low notes, C, in the for^ 
 mation of high notes. 
 
MISCELLANEOUS PIECES. 
 
 EXTRACTS FOR GENERAL PRACTICE. 
 ExEKCiSE I. A P-5A-VOTAGE. — Irving. 
 
 [This extract exemplifies, in its diction, the forms of narra- 
 tive, descriptive, and didactic style. The emotions arising from 
 the subject and the language are those of tranquillity, wonder, 
 admiration, pathos, and av}e.'\ 
 
 The first of these emotions prevails through the first two 
 paragraphs, and produces, in the vocal "expression," "pure 
 tone," decreasing gradually from gentle "expulsion" to 
 "effusion;" the "force" is "moderate;" the "stress," at 
 first " unimpassioned radical," gradually changing to a soft 
 "median;" the "pitch" is on "middle notes;" the "mel- 
 ody" "diatonic," in prevalent "intervals of the second," 
 varying from the "simple concrete" to the "wave;" the 
 "movement" is "slow;" the pauses moderately long; the 
 " rhythm " requires an attentive but delicate marking. 
 
 Wonder is the predominating emotion expressed in the third 
 paragraph. It produces a slight deviation from perfect " purity 
 of tone" towards "aspiration;" the "force" increases 
 gently after the first sentence; a slight tinge of "vanishing 
 stress " pervades the first sentence; an ample " median " pre- 
 vails in the first two clauses of the second, and a vivid " radi- 
 cal " in the third clause; and, in the closing clause, a stronger 
 "vanishing stress" than before becomes distinctly audible in 
 proportion to the increasing emphasis; the " pitch " of this 
 paragraph is moderately "low" at first, and gradually de. 
 scends, throughout, as far as to the last semicolon of the para^ 
 graph; the "slides" are principally downward "seconds and 
 thirds;" the "movement" is "slow," excepting in the lasf 
 clause of the second sentence, in which it is "lively;" the 
 pauses are long; and the "rhythm" still requires perceptibls 
 marking. 
 
MISCELLANEOUS PIECES. 263 
 
 Admiration is the prompting emotion in the " expression " of 
 the fourth paragraph. After the first sentence, which is neutral 
 in effect, the voice passes from " pure tone " to " orotund," as 
 the "quality" required in the union of &eau(^ and grandeur; 
 the "force" passes from " moderate" to "declamatory; " the 
 "stress" becomes bold "median expulsion;" the "middle 
 pitch" inclining to "low," for dignity of effect; and down- 
 ward "thirds" in emphasis; the "movement" is "moder- 
 ate;" the pauses correspondent; and the "rhythm" somewhat 
 strongly marked. 
 
 The fifth and sixth paragraphs are characterized, in "ex- 
 pression," hy pathos and awe. The first two sentences of the 
 fifth paragraph are in the neutral or unimpassioned utterance 
 of common narrative and remark ; the next three sentences in- 
 troduce an increasing effect of the " pure tone " of pathos; the 
 last three of the paragraph are characterized by the expression 
 of awe carried to its deepest effect ; and the preceding pure tone, 
 therefore, gives way to "aspiration," progressively, to the end 
 of the paragraph. The " force " in the first part of the para- 
 graph is "subdued;" in the latter it is "suppressed;" the 
 ."stress" is "median" throughout, — gently marked in the 
 pathetic part, &aA fully in that expressive of awe. The "pitch " 
 is on " middle " notes, inclining high in the pathetic expression, 
 and " low," descending to " lowest," in the utterance of awe ; 
 the "melody" contains a few slight effects of "semitone," 
 on the emphatic words in the pathetic strain, and full down- 
 ward "slides" of "third" and "fifth," in the language of 
 awe. The " movement " is " slow " in the pathetic part, and 
 ' ' very slo w " in the utterance of awe ; the pauses courespond ; 
 and the " rhythm " is to be exactly kept in the pauses of the 
 latter, as they are the chief source of effect. 
 
 The first two sentences of the sixth paragraph are character- 
 ized by the expression of deep pathos, differing from that of the 
 first part of the preceding paragraph by greater force, lower 
 notes, fuller " stress," slower " movement," and longer pauses. 
 The " expression " of the third sentence passes through the 
 successive stages of apprehension, or fear, awe, and horror, 
 marked by increasing " aspiration " and force, deepening notes, 
 slower "movement," and longer pause, so as at last to reach 
 the extreme of these elements of effect. The fourth sentence 
 
264 OETHOPHONY. 
 
 expresses still deeper pathos than before, and by the increased 
 effect of the same modes of utterance. In the last sentence, in 
 which awe combines with pathos, the " expression " becomes 
 yet deeper and slower, but without increase of " force." 
 
 [A similar analysis should be performed on all the following 
 pieces previous to the exercise of reading them. The analogy 
 of emotion, exemplified in the numerous examples contained in 
 the body of the book, will be found a sufficiently definite guide 
 for this purpose. 3 
 
 To an American visiting Europe, the long voyage he has 
 to make is an excellent preparative. From the moment 
 you lose sight of the land you have left, all is vacancy 
 until you step on the opposite shore, and are launched at 
 once into the bustle and novelties of another world. 
 
 I have said that at sea all is vacancy. I should correct the 
 expression. To one given up to day-dreaming and fond of 
 losing himself in reveries, a sea-voyage is full of subjects 
 for meditation ; but then they are the wonders of the deep, 
 and of the air, and rather tend to abstract the mind from . 
 worldly themes. I delighted to loll over the quarter-railing, 
 or climb to the main-top on a calm day, and muse for hours 
 together on the tranquil bosom of a summer's sea ; or to 
 gaze upon the piles of golden clouds just peering above the 
 horizon, fancy them some fairy realms, and people them 
 with a creation of my own ; or to watch the gentle, undulat- 
 ing billows rolling their silver volumes as if to die away 
 on those happy shores. 
 
 There was a delicious sensation of mingled security and 
 awe, with which I looked down from my giddy height on 
 the monsters of the deep at their uncouth gambols : shoals 
 of porpoises tumbling about the bow of the ship ; the 
 grampus slowly heaving his huge form above the surface : 
 or the ravenous shark, darting like a spectre through the 
 blue waters. My imagination would conjure up all that I 
 had heard or read of the watery world beneath me ; of the 
 finny herds that roam its fathomless valleys ; of shapeles« 
 
MISCELLANEOUS PIECES. 265 
 
 monsters that lurk among the very foundations of the earth ; 
 and those wild phantasms that swell the tales of fishermen 
 and sailors. 
 
 Sometimes a distant sail gliding along the edge of the 
 ocean would be another theme of idle speculation. How 
 interesting this fragment of a world hastening to rejoin the 
 great mass of existence ! What a glorious monument of 
 human invention, that has thus triumphed over wind and 
 wave ; has brought the ends of the earth in communion ; 
 has established an interchange of blessings, pouring into 
 the sterile regions of the north all the luxuries of the south ; 
 diffused the light of knowledge and the charities of culti- 
 vated life ; and has thus bound together those scattered 
 portions of the human race, between which nature seemed 
 to have thrown an insurmountable barrier ! 
 
 We one day descried some shapeless object drifting at a 
 distance. At sea, everything that breaks the monotony of 
 the surrounding expanse attracts attention. It proved to 
 be the mast of a ship that must have been completely 
 wrecked ; for there were the remains of handkerchiefs, by 
 which some of the crew had fastened themselves to this 
 spar, to prevent their being washed ofE by the waves. 
 There was no trace by which the name of the ship could 
 be ascertained. The wreck had evidently drifted about for 
 many months ; clusters of shell-fish had fastened about it, 
 and long sea-weed flaunted at its sides. But where, 
 thought I, is the crew ? Their struggle has long been 
 over ; — they have gone down amidst the roar of the 
 tempest ; -r- their bones lie whitening in the caverns of the 
 deep. Silence, — oblivion, — like the waves, have closed 
 over them ; and no one can tell the story of their end. 
 
 What sighs have been wafted after that ship ! what 
 prayers offered up at the deserted fireside of home ! How 
 often has the mistress, the wife, and the mother, pored over 
 the daily news, to catch some casual intelligence of this ro- 
 ver of the deep ! How has expectation darkened into 
 
266 ORTHOPHONY. 
 
 anxiety — anxiety into dread — and dread into despair ! 
 Alas ! not one memento shall ever return for love to cher- 
 ish. All that shall ever be known is, that she sailed from 
 her port, " and was never heard of more." 
 
 II. Death op Morris. — Scott. 
 
 (Vivid Narrative, exemplifying, after the introductory sentence, Sympa- 
 thetic Horror, then successively. Terror, Scorn, Revenge, Horror, and 
 Awe.) 
 
 It was under the burning influence of revenge that tha 
 wife of Macgregor commanded that the hostage, exchanged 
 for her husband's safety, should be brought into her pres- 
 ence. I believe her sons had kept this unfortunate wretch 
 out of her sight, for fear of the consequences ; but if it 
 was so, their humane precaution only postponed his fate. 
 They dragged forward, at her summons, a wretch, already 
 half-4ead with terror, in whose agonized features I recog- 
 nized, to my horror and astonishment, my old acquaintance 
 Morris. 
 
 He fell prostrate before the female chief with an effort 
 to clasp her knees, from which she drew back, as if his 
 touch had been pollution, so that all he could do in token of 
 the extremity of his humiliation, was to kiss the hem of 
 her plaid. I never heard entreaties for life poured forth 
 with such agony of spirit. The ecstasy of fear was such, 
 that, instead of paralyzing his tongue, as on ordinary occa- 
 sions, it even rendered him eloquent ; and, with cheeks as 
 pale as ashes, hands compressed in agony, eyes that seemed 
 to be taking their last look of all mortal objects, he pro- 
 tested, with the deepest oaths, his total ignorance of any de- 
 sign on the life of Rob Roy, whom he swore he loved and 
 honored as his own soul. — In the inconsistency of his ter- 
 ror, he said he was but the agent of others, and he mut- 
 tered the name of Rashleigh. — He prayed but for life — ■ 
 for life he would give all he had in the world ; — it was bu. 
 life he asked — life, if it were to be prolonged under tor- 
 
MISCELLANEOUS PIECES. 267 
 
 tures and privations ; — he asked only breath, though it 
 should be drawn in the damps of the lowest caverns of their 
 hills. 
 
 It is impossible to describe the scorn, the loathing, and 
 contempt, with which the wife of Macgregor regarded this 
 wretched petitioner for the poor boon of existence. 
 
 " I could have bid you live," she said, " had life been to 
 you the same weary and wasting burden that it is to me — 
 that it is to every noble and generous mind. — But you — 
 wretch ! you could creep through the world unaffected by 
 its various disgraces, its ineffable miseries, its constantly 
 accumulating masses of crime and sorrow, — you could live 
 and enjoy yourself, while the noble-minded are betrayed, 
 — while nameless and birthless villains tread on the neck 
 of the brave and long-descended, — you could enjoy your- 
 self, like a butcher's dog in the shambles, battening on 
 garbage, while the slaughter of the brave went on around 
 you ! This enjoyment you shall not live to partake of ; 
 you shall die, base dog, and that before yon cloud has 
 passed over the sun." 
 
 She gave a brief command, in Gaelic, to her attendants, 
 two of whom seized upon the prostrate suppliant, and hur- 
 ried him to the brink of a clifE which overhung the flood. 
 He set up the most piercing and dreadful cries that fear 
 ever uttered — I may well term them dreadful ; for they 
 haunted my sleep for years afterwards. As the murderers, 
 or executioners, call them as you will, dragged him along, 
 he recognized me even in that moment of horror, and ex- 
 claimed, in the last articulate words I ever heard him utter, 
 " 0, Mr. Osbaldistone, save me ! — save me ! " 
 
 I was so much moved by this horrid spectacle, that, al- 
 though in momentary expectation of sharing his fate, I did 
 attempt to speak in his behalf, but, as might have been ex- 
 pected, my interference was sternly disregarded. The vic- 
 tim was held fast by some, while others, binding a large 
 heavy stone in a plaid, tied it round his neck, and others 
 
268 ORTHOPHONY. 
 
 again eagerly stripped him of some part of his dress. 
 Half naked, and thus manacled, they hurried him into the 
 lake, there about twelve feet deep, drowning his last death- 
 shriek with a loud halloo of vindictive triumph, over which, 
 however, the yell of mortal agony was distinctly heard. 
 The heavy burden splashed in the dark-blue waters of the 
 lake ; and the Highlanders, with their pole-axes and 
 swords, watched an instant, to guard, lest, extricating him- 
 self from the load to which he was attached, he might have 
 struggled to regain the shore. But the knot had been 
 securely bound ; the victim sunk without effort ; the waters, 
 which his fall had disturbed, settled calmly over him ; and 
 the unit of that life for which he had pleaded so strongly, 
 was forever withdrawn from the sum of human existence. 
 
 III. Eulogy of President Garfield. — Blaine. 
 
 His terrible fate was upon him in an instant. One mo- 
 ment he stood erect, strong, confident in the years stretch- 
 ing peacefully out before him. The next he lay wounded, 
 bleeding, helpless, doomed to weary weeks of torture, to 
 silence and the grave. 
 
 Great in life, he was surpassingly great in death. For 
 no cause, in the very frenzy of wantonness and wickedness, 
 by the red hand of murder, he was thrust from the full tide 
 of this world's interest, from its hopes, its aspirations, its 
 victories, into the visible presence of Death — and he did 
 not quail. Not alone for the one short moment in which, 
 stunned and dazed he could give up life, hardly aware of 
 its relinquishment, but through days of deadly languor, 
 through weeks of agony that was not less agony because 
 silently borne, with clear sight and calm courage, he looked 
 into his open grave. What blight and ruin met his an- 
 guished eyes, whose lips may tell — what brilliant broken 
 plans, what baffled high ambitions, what sundering of strong 
 warm manhood's friendships, what bitter rending of sweet 
 household ties ! Behind him a proud, expectant Nation, « 
 
MISCELLANEOUS PIECES. 269 - 
 
 great host of sustaining friends, a cherished and happy 
 mother, wearing the full, rich honors of her early toil and 
 tears ; the wife of his youth, whose whole life lay in his ; 
 the little boys not yet emerged from childhood's days of 
 frolic ; the fair, young daughter, the sturdy sons just spring- 
 ing into closest companionship, claiming every day and 
 every day rewarding a father's love and care, and in his 
 heart the eager rejoicing power to meet all demand! Be- 
 fore him desolation and great darkness ! And his soul was 
 not shaken. His countrymen were thrilled with instant, 
 profound, and universal sympathy. Masterful in his mortal 
 weakness, he became the centre of a Nation's love, en- 
 shrined in the prayers of a world ; but all the love and all 
 the sympathy could not share with him his suffering. He 
 trod the wine-press alone. With unfaltering front he faced 
 death. With unfailing tenderness he took leave of life. 
 Above the demoniac hiss of the assassin's bullet he heard 
 the voice of God. With simple resignation he bowed to 
 the Divine decree. 
 
 As the end drew near his early craving for the sea re- 
 turned. The stately mansion of power had been to him 
 the wearisome hospital of pain, and he begged to be taken 
 from its prison walls, from its oppressive, stifling air, from 
 its homelessness and its hopelessness. Gently, silently, the 
 love of a great people bore the pale sufEerer to the longed- 
 for healing of the sea, to live or to die as God should will, 
 within sight of its heaving billows, within sound of its man- 
 ifold voices. With wan, fevered face tenderly lifted to the 
 cooling breeze, he looked out wistfully upon the ocean's 
 changing wonders ; on its far sails whitening in the morn- 
 ing light ; on its restless waves rolling shore-ward to break 
 and die beneath the noonday sun ; on the red clouds of 
 evening arching low to the horizon ; on the serene and 
 shining pathway of the stars. Let us think that his dying 
 eyes read a mystic meaning which oa?y the rapt and parting 
 ioul may know. Let us believe that in the silence of the 
 
270 ORTHOPHONY. 
 
 receding world he heard the great waves breaking on a 
 farther shore, and felt already upon his wasted brow the 
 breath of the eternal morning. 
 
 IV. Chatham's Rebuke of Lord Suffolk. 
 (Declamatory Interrogation, Detestation, and Abhorrence.) 
 
 Who is the man that, in addition to the disgraces and 
 mischiefs of the war, has dared to authorize and associate 
 to our arms the tomahawk and scalping-knife of the savage? 
 — to call into civilized alliance the wild and inhuman in- 
 habitant of the woods ? — to delegate to the merciless In- 
 dian the defence of disputed rights, and to wage the horrors 
 of his barbarous war against our brethren ? My lords, these 
 enormities cry aloud for redress and punishment. But, my 
 lords, this barbarous measure has been defended, not only 
 on the principles of policy and necessity, but also on those 
 of morality ; " for it is perfectly allowable,'' says Lord Suf- 
 folk, " to use all the means which God and nature have put 
 into our hands." I am astonished, I am shocked, to hear 
 such principles confessed ; to hear them allowed in this 
 house or in this country ! 
 
 My lords, I did not intend to encroach so much on your 
 attention, but I cannot repress my indignation — I feel my- 
 self impelled to speak. My lords, we are called upon as 
 members of this house, as men, as Christians, to protest 
 against such horrible barbarity ! — " That God and nature 
 have put into our hands ! " "What ideas of God and nature 
 that noble lord may entertain I know not ; but I know that 
 such detestable principles are equally abhorrent to religion 
 and humanity. What ! to attribute the sacred sanction of 
 God and nature to the massacres of the Indian scalping- 
 knife ! to the cannibal savage, torturing, murdering, devour- 
 ing, drinking the blood of his mangled victims ! Such 
 notions shock every precept of morality, every feeling of 
 humanity, every sentiment of honor. These abominabls 
 
MISCELLANEOUS PIECES. 271 
 
 principles, and this more abominable avowal of them, de- 
 mand the most decisive indignation. 
 
 , I call upon that right reverend, and this most learned 
 bench to vindicate the religion of their God, to support the 
 justice of their country. I call upon the bishops to inter- 
 pose the unsullied sanctity of their lawn, — upon the judges 
 to interpose the purity of their ermine, to save us from this 
 pollution. I call upon the honor of your lordships to rev- 
 erence the dignity of your ancestors, and to maintain your 
 own. I call upon the spirit and humanity of my country 
 to vindicate the national character. I solemnly call upon 
 your lordships, and upon every order of men in the state, to 
 stamp upon this infamous procedure the indelible stigma of 
 the public abhorrence. More particularly, I call upon the 
 holy prelates of our religion to do away with this iniquity ; 
 let them perform a lustration to purify the country from 
 this deep and deadly sin. 
 
 V. ExTBACT FKOM Patkick Hehky's Speech in favok op the War 
 OF Independence. 
 
 (Declamatory Expostulation, Courage, Confidence, Resolute Defiance, 
 Rousing Appeal, Deep Determination.) 
 
 They tell us, sir, that we are weak — unable to cope 
 with so formidable an adversary. But when shall we be 
 stronger ? Will it be the next week, or the next year ? 
 Will it be when we are totally disarmed ; and when a Brit- 
 ish guard shall be stationed in every house ? Shall we 
 gather strength by irresolution and inaction ? Shall we ac- 
 quire the means of effectual resistance by lying supinely on 
 our backs, and hugging the delusive phantom of hope, until 
 our enemies shall have bound us hand and foot ? 
 
 Sir, we are not weak, if we make a proper use of those 
 means which the God of nature hath placed in our power. 
 Three millions of people, armed in the holy cause of liberty, 
 and in sucli a country as that which we possess, are invinci- 
 ble by any force which our enemy can send against us. 
 
272 ORTHOPHONY. 
 
 Besides, sir, we shall not fight alone. There is a just God 
 who presides over the destinies of nations, and who will 
 raise up friends to fight our battles for us. » 
 
 The battle, sir, is not to the strong alone : it is to the 
 vigilant, the active, the brave. Besides, sir, we have no 
 election. If we were base enough to desire it, it is now too 
 late to retire from the contest. There is no retreat but in 
 submission and slavery ! Our chains are forged. Their 
 clanking may be beard on the j)lains of Boston ! The war 
 is inevitable — and let it come ! I repeat it, sir, let it 
 come ! 
 
 It is in vain, sir, to extenuate the matter. Gentlemen 
 may cry peace, peace, — but there is no peace. The war 
 is actually begun. The next gale that sweeps from the 
 north will bring to our ears the clash of resounding arms ! 
 Our brethren are already in the field. Why stand we here 
 idle ? What is it that gentlemen wish ? What would they 
 have ? — Is life so dear, or peace so sweet, as to be pur- 
 chased at the price of chains and slavery ? Forbid it, Al- 
 mighty God ! — I know not what course others may take ; 
 but as for me, — give me liberty or give me death ! 
 
 VI. Passimg Away. — J. Pierpont. 
 
 Was it the chime of a tiny bell, 
 
 That came so sweet to my dreaming ear, — 
 Like the silvery tones of a fairy's shell. 
 
 That he winds on the beach so mellow and clear, 
 When the winds and the waves lie together asleep, 
 And the moon and the fairy are watching the deep ; — 
 She dispensing her silvery light. 
 And he, his notes as silvery quite. 
 While the boatman listens, and ships his oar. 
 To catch the music that comes from the shore ? — 
 Hark ! the notes, on my ear that play 
 Are set to words : — as they float they say, 
 •' Passing away ! Passing away ! " 
 
MISCELLANEOUS PIECES. 273 
 
 But no ; it was not a fairy's shell, 
 
 Blown on the beach, so mellow and clew ; 
 Nor was it the tongue of a silver bell, 
 Striking the hour, that filled my ear, 
 As I lay in my dream ; yet was it a chime 
 That told of the flow of the stream of time. 
 For a beautiful clock from the ceiling hung. 
 And a plump little girl, for a pendulum, swung 
 (As you 've sometimes seen, in a little ring 
 That hangs in his cage, a canary bird swing ;) 
 
 And she held to her bosom a budding bouquet. 
 And, as she enjoyed it, she seemed to say, 
 " Passing away 1 Passing away ! " 
 
 Oh ! how bright were the wheels, that told 
 
 Of the lapse of time as they moved around slow I 
 And the hands, as they swept o'er the dial of gold, 
 
 Seemed to point to the girl below. 
 And lo ! she had changed : — in a few short hours 
 Her bouquet had become a garland of flowers. 
 That she held in her outstretched hands, and flung 
 This way and that, as she, dancing, swung 
 In' the fulness of grace and womanly pride, 
 That told me she soon was to be a bride ; — 
 Yet then, when expecting her happiest day 
 In the same sweet voice I heard her say, 
 " Passing away ! passing away ! " 
 
 While I gazed at that fair one's cheek, a shade 
 
 Of thought, or care, stole softly over, 
 Like that by a cloud in a summer's day made. 
 
 Looking down on a field of blossoming clover. 
 The rose yet lay on her cheek ; but its flush 
 Had something lost of its brilliant blush ; 
 And the light in her eye, and the light on the wheals. 
 
 That marched so calmly around and above her, 
 18 
 
274 ORTHOPHONY. 
 
 Was a little dimmed, — as when evening steals 
 
 Upon noon's hot face : yet one could n't but love he^ 
 For she looked like a mother, whose first babe lay 
 Eocked on her breast, as she swung all day ; 
 And she seemed in the same silver tone to say, 
 " Passing away ! passing away ! " 
 
 While yet I looked, what a change there came ! 
 
 Her eye was quenched, and her cheek was 'wan: 
 Stooping and stafEed was her withered frame^ 
 
 Yet just as busily swung she on ; 
 The garland beneath her had fallen to dust, 
 The wheels above her were eaten with rust ; 
 The hands, that over the dial swept, 
 Grew crooked and tarnished, but on they kept , 
 And still there came that silver tone 
 From the shrivelled lips of the toothless crone, 
 (Let me never forget till my dying day 
 The tone or the burden of her lay ! ) 
 " Passing away ! passing away I " 
 
 VII. — Battle of Waterloo. — Byron. 
 
 There was a sound of revelry by night ; 
 
 And Belgium's capital had gathered then 
 Her Beauty and her Chivalry ; and bright 
 
 The lamps shone o'er fair women and brave men : 
 
 A thousand hearts beat happily ; and when 
 Music arose with its voluptuous swell, 
 
 Soft eyes looked love to eyes which spake again, 
 And all went merry as a marriage bell ; — 
 put hush ! hark ! a deep sound strikes like a rising knelL 
 
 Did ye not hear it ? — No ; 't was but the wind, 
 
 Or the car rattling o'er the stony street : 
 On with the dance ! let joy be unconfined ; 
 
MISCELLANEOUS PIECES. 276 
 
 No sleep till morn, when Youth and Pleasure meet 
 To chase the glowing Hours with flying feet — 
 
 But, hark ! — that heavy sound breaks in once more, 
 As if the clouds its echo would repeat ; 
 
 And nearer, clearer, deadlier than before ! 
 Arm ! arm ! it is ! — it is ! — the cannon's opening roar. 
 
 Ah ! then and there was hurrying to and fro. 
 
 And gathering tears, and tremblings of distress, 
 And cheeks all pale, which but an hour ago 
 
 Blushed at the praise of their own loveliness ; 
 
 And there were sudden partings, such as press 
 The life from out young hearts, and choking sighs 
 
 "Which ne'er might be repeated : who could guess 
 If ever more should meet those mutual eyes, 
 Since upon night so sweet such awful morn could rise ? 
 
 And there was mounting in hot haste : the steed. 
 
 The mustering squadron, and the clattering car. 
 Went pouring forward with impetuous speed. 
 
 And swiftly forming in the ranks of war ; 
 
 And the deep thunder, peal on peal, afar. 
 And near, the beat of the alarming drum. 
 
 Roused up the soldier ere the morning star ; — 
 While thronged the citizens with terror dumb, 
 Or whispering, with white lips — " The foe ! they come ! 
 they come ! " 
 
 And wild and high the " Cameron's gathering " rose ! 
 
 The war-note of Lochiel, which Albyn's hills 
 Have heard ; — and heard, too, have her Saxon foes : — 
 
 How in the noon of night that pibroch thrills. 
 
 Savage and shrill ! But with the breath which fills 
 Their mountain-pipe, so fill the mountaineers 
 
 With the fierce native daring, which instils 
 The stirring memory of a thousand years ; 
 And Evan's, Donald's fame rings in each clansman's ears I 
 
276 ORTHOPHONY. 
 
 And Ardennes waves above them her green leayes, 
 
 Dewy with nature's tear-drops, as they pass, 
 Grieving, — if aught inanimate e'er grieves, — 
 Over the unreturning brave, — alas ! 
 Ere evening to be trodden like the grass 
 Which now beneath them, but above shall grow 
 In its next verdure ; when this fiery mass 
 Of living valor, rolling on the foe, 
 And burning with high hope, shall moulder cold and low ! 
 
 Last noon beheld them full of lusty life, 
 
 Last eve in Beauty's circle proudly gay. 
 The midnight brought the signal-sound of strife. 
 
 The morn, the marshalling in arms, — the day 
 
 Battle's magnificently-stern array ! 
 The thunder-clouds close o'er it, which when rent 
 
 The earth is covered thick with other clay, 
 Which her own clay shall cover, — heaped and pent, 
 Eider and horse, — friend, foe, — in one red burial blent ! 
 
 VIII. Satan kalltino the Fallen Angels. — Milton. 
 
 He scarce had ceased when the superior fiend 
 
 Was moving toward the shore ; his ponderous shield 
 
 Ethereal temper, massy, large, and round. 
 
 Behind him cast, the broad circumference 
 
 Hung on his shoulders, like the moon, whose orb, 
 
 Through optic glass, the Tuscan artist views, 
 
 At evening, from the top of Fiesole, 
 
 Or in Valdarno, to descry new lands. 
 
 Rivers, or mountains, on her 'spotty globe. 
 
 His spear, to equal which the tallest pine 
 
 Hewn on Norwegian hills to be the mast 
 
 Of some great admiral, were but a wand, 
 
 He walked with to support uneasy steps 
 
 Over the burning marl : (not like those steps 
 
MISCELLANEOUS PIECES. 277 
 
 On Heaven's azure !) and the torrid clime 
 
 Smote on him sore besides, vaulted with fire. 
 
 Nathless he so endured till on the beach 
 
 Of that inflamed sea he stood, and called 
 
 His legions, angel forms, who lay, entranced 
 
 Thick as autumnal leaves that strew the brooks 
 
 In Vallombrosa, where the Eturian shades. 
 
 High over-arched embower ; or scattered sedge 
 
 Afloat, when with fierce winds, Orion armed. 
 
 Hath vexed the Ked Sea coast, whose waves o'erthrew 
 
 Busiris and his Memphian chivalry. 
 
 While with perfidious hatred they pursued 
 
 The sojourners of Goshen, who beheld 
 
 From the safe shore their floating carcasses 
 
 And broken chariot wheels: so thick bestrown, 
 
 Abject and lost, lay these, covering the flood, 
 
 Under amazement of their hideous change. 
 
 He called so loud, that all the hollow deep 
 
 Of hell resounded. 
 
 " Princes ! Potentates ! 
 "Warriors ! the flower of heaven, once yours, now lost, 
 If such astonishment as this can seize 
 Eternal spirits : or have ye chosen this place. 
 To rest your wearied virtue, for the ease ye find 
 To slumber here, as in the vales of heaven ? 
 Or in this abject posture have you sworn 
 To adore the Conqueror, who now beholds 
 Cherub and seraph rolling in the flood, 
 With scattered arms and ensigns ; till, anon, 
 His swift pursuers, from heaven's gates discern 
 The advantage, and descending, tread us down 
 Thus drooping ; or with linked thunderbolts 
 Transfix us to the bottom of this gulf ? 
 Awake ! arise ! or be forever fallen ! " 
 
278 OETHOPHONY. 
 
 IX. Hymn to Mont Blanc. — Coleridge, 
 
 Hast thou a charm to stay the morning star 
 
 In his steep course ? so long he seems to pause 
 
 On thy bald, awful head, O sovran Blanc ! 
 
 The Arv^ and Arveiron at thy base . 
 
 Rave ceaselessly, while thou, dread mountain form, 
 
 Risest from forth thy silent sea of pines 
 
 How silently ! Around thee and above 
 
 Deep is the sky and black : transpicuous deep, — 
 
 An ebon mass ! methinks thou piercest it 
 
 As with a wedge ! But when I look again 
 
 It seems thine own calm home, thy crystal shrine, 
 
 Thy habitation from eternity. 
 
 dread and silent form ! I gazed on thee 
 Till thou, still present to my bodily eye, 
 
 Didst vanish from my thought. Entranced in prayer, 
 
 1 worshipped the Invisible alone, 
 
 Yet thou, methinks, wast working on my soul, 
 E'en like some deep enchanting melody. 
 So sweet we know not we are listening to it. 
 But I awake, and with a busier mind 
 And active will, self-conscious, offer now, 
 Not, as before, involuntary prayer 
 And passive adoration. 
 
 Hand and voice 
 Awake, awake ! and thou, my heart, awake ! 
 Green fields and icy clifEs ! all join my hymn ! 
 And thou, silent mountain, sole and bare, 
 O blacker than the darkness, all the night. 
 And visited all night by troops of stars, — 
 Or when they climb the sky, or when they sink, — 
 Companion of the morning star, at dawn, 
 Thyself earth's rosy star, and of the dawn 
 Co-herald ! wake, oh ! wake, and utter praise ! 
 Who sank thy sunless pillars in the earth ? 
 
MISCELLANEOUS PIECES. 279 
 
 Who filled thy countenance with rosy light ? 
 Who made thee father of perpetual streams ? 
 And you, ye five wild torrents, fiercely glad, 
 Who called you forth from night and utter death ? 
 From darkness let you loose, and icy dens, 
 Down those precipitous, black, jagged rocks, 
 Forever shattered, and the same forever ? 
 Who gave you your invulnerable life, 
 Your strength, your speed, your fury, and your joy, 
 Unceasing thunder and eternal foam ? — 
 
 And who commanded — and the silence came, 
 " Here shall the billows stiffen and have rest ? " 
 Ye ice-falls ! ye that from your dizzy heights 
 Adown enormous ravines steeply slope, — 
 Torrents, methinks, that heard a mighty noise, 
 And stopped at once amidst their maddest plunge, — 
 Motionless torrents !' silent cataracts ! 
 Who made you glorious as the gates of heaven. 
 Beneath the keen full moon ? Who bade the Sun 
 Clothe you with rainbows ? Who with lovely flowers 
 Of living blue spread garlands at your feet ? — 
 God ! God ! the torrents like a shout of nations 
 Utter : the ice-plain bursts, and answers, God ! — 
 God ! sing the meadow streams with gladsome voice, 
 And pine-groves with their soft and soul-like sound. 
 
 The silent snow-mass, loosening, thunders, God ! 
 Ye dreadless flowers, that fringe the eternal frost ! 
 Ye wild goats bounding by the eagle's nest ! 
 Ye eagles, playmates of the mountain blast ! 
 Ye lightnings, the dread arrows of the clouds ! 
 Te signs and wonders of the elements. 
 Utter forth God ! and fill the hills with praise ! 
 And thou, O silent form, alone and bare, — 
 Whom as I lift again my head, bowed low 
 In silent adoration, I again behold, 
 And to thy summit upward from thy base 
 
280 OETHOPHONY. 
 
 Sweep slowly, with dim eyes suffused with tears, — 
 Awake thou mountain form ! Rise like a cloud, 
 Rise, like a cloud of incense, from the earth ! 
 Thou kingly spirit throned among the hills. 
 Thou dread Ambassador from earth to heaven, 
 Great Hierarch, tell thou the silent sky, 
 And tell the stars, and tell the rising sun, 
 Earth with Tier thousand voices calls on God. 
 
 X. Bhvme of the Duchess Mat. — E. B. Browning. 
 
 'T was a duke's fair orphan-girl, and her uncle's ward, th» 
 
 earl 
 Who betrothed her, twelve years old, for the sake of dowry 
 
 gold. 
 To his son Lord Leigh, the churl. 
 
 But what time she had made good all her years of woman- 
 hood, — 
 
 Unto both those lords of Leigh, spake she outright sov- 
 ranly, 
 
 " My will runneth as my blood. 
 
 "And while this same blood makes red this same right 
 
 hand's veins," she said, — 
 " 'T is my wiU, as lady free, not to wed a lord of Leigh, 
 But Sir Guy of Lmteged." 
 
 The old earl he smiled smooth, then he sighed for wilful 
 
 youth, — 
 " Good my niece, that hand withal, looketh somewhat soft 
 
 and small, 
 
 For so large a will, in sooth." 
 
 She, too, smiled by that same sign, — but her smile wag 
 cold and fine,— 
 
MISCELLANEOUS PIECES. 251 
 
 " Little hand clasps muckle gold ; or it were not worth the 
 hold 
 
 Of thy son, good uncle mine ! " 
 
 Then the young lord jerked his breath, and sware thickly 
 
 in his teeth, — 
 " He would wed his own betrothed, an she loved him an 
 
 she loathed. 
 
 Let the life come or the death." 
 
 Up she rose with scornful eyes, as her father's child might 
 
 rise, — 
 " Thy hound's blood, my lord of Leigh, stains thy knightly 
 
 heel," quoth she, 
 
 " Though he moans not where he lies. 
 
 "But a woman's will dies hard, in the hall or on the 
 
 sward ! — 
 " By that grave, my lords, which made me, orphaned girl 
 
 and dowered lady, 
 
 I deny you wife and ward." 
 
 Unto each she bowed her Lead, and swept past with lofty 
 
 tread, — 
 Ere the midnight-bell had ceased, in the chapel had the 
 
 priest 
 
 Blessed her, bride of Linteged. 
 
 Fast and fain the bridal train, along the night-storm rode 
 
 amain : — 
 Wild the steeds of lord and serf, struck their hoofs out on 
 
 the turf, 
 
 Li the pauses of the rain. 
 
 F^st and fain, the kinsmen's train, along the storm pursued 
 limain-^ 
 
282 ORTHOPHONY. 
 
 Steed on steed-track, dashing off — thickening, doubling 
 hoof on hoof. 
 
 In the pauses of the rain. 
 
 And the bridegroom led the flight, on his red-roan steed of 
 
 might, — 
 And the bride lay on his arm, stiU, as if she feared no 
 
 harm, 
 
 Smiling out into the night. 
 
 "Dost thou fear?" he said at last; — "Nay!" she an- 
 swered him in haste, — 
 
 " Not such death as we could find — only life with one be- 
 hind — 
 
 Ride on fast as fear — ride fast ! " 
 
 Up the mountain wheeled the steed — girth to ground, and 
 
 fetlocks spread, — 
 Headlong bounds and rocking flanks, down he staggered — 
 
 down the banks, 
 
 To the towers of Linteged. 
 
 High and low the serfs looked out, red the flambeaus tossed 
 
 about, — 
 In the courtyard rose the cry, — " Live the Duchess and Sir 
 
 Guy!" - 
 
 But she never heard them shout. 
 
 On the steed she dropt her cheek, kissed his mane and kissed 
 
 his neck, — 
 " I had happier died by thee, than lived on a Lady 
 
 Leigh," 
 Were the words which she did speak. 
 
 But a three months' joyaunce lay 'twixt that moment and 
 to-day, — 
 
MISCELLANEOUS PIECES. 283 
 
 When five hundred archers tall, stand beside the castle wall, 
 To recapture Duchess May. 
 
 And the castle standeth black, with the red sun at its 
 
 back, — 
 And a fortnight's siege is done — and, except the Duchess, 
 
 none 
 
 Can misdoubt the coming wrack. 
 
 Then the captain, young Lord Leigh, with his eye so gray 
 
 of blee, — 
 And thin lips, that scarcely sheath the cold white gnashing 
 
 of his teeth. 
 
 Gnashed in smiling, absently, — 
 
 Cries aloud — " So goes the day, bridegroom fair of Duch- 
 ess May ! — 
 
 Look thy last upon that sun. If thou seest to-morrow's 
 one,' 
 'T will be through a foot of clay. 
 
 " Ha, fair bride ! Dost hear no sound, save that moaning 
 
 of the hoimd ? — 
 Thou and I have parted troth, — yet I keep my vengeance 
 
 oath. 
 
 And the other may come round. 
 
 "Peck on blindly, netted dove ! — If a wife's name thee be- 
 hove, — 
 
 Thou shalt wear the same to-morrow, ere the grave has hid 
 the sorrow 
 
 Of thy last ill-mated love. 
 
 " O'er his fixed and silent mouth, thou and I will call back 
 troth, — 
 
284 ORTHOPHONY. 
 
 He shall altar be and priest, — and he will not cry at 
 least 
 
 ' I forbid you — I am loath ! ' 
 
 " I will wring thy fingers pale, in the gauntlet of my 
 
 mail, — 
 ' Little hand and muckle gold ' close shall lie within my 
 
 hold, 
 
 As the sword did to prevail." 
 
 Oh, the little birds sang east, and the little birds sang 
 
 west, — 
 Oh, and laughed the Duchess May, and her soul did put 
 
 away 
 
 All his boasting, for a jest. 
 
 In her chamber did she sit, laughing low to think of 
 
 it,— 
 " Tower is strong and wUl is free — thou canst boast, my 
 
 Lord of Leigh, — 
 
 But thou boastest little wit." 
 
 In her tire-glass gazed she, and she blushed right wom- 
 anly,— 
 
 She blushed half from her disdain — half, her beauty was 
 so plain, 
 
 — " Oath for oath, my Lord of Leigh ! " 
 
 Straight she called her maidens in, — " Since ye gave me 
 
 blame herein, — 
 That a bridal such as mine should lack gauds to make it 
 
 fine, 
 
 Come and shrive me from that sin. 
 
 " It is three months gone to-day, since I gave my hand 
 away. — 
 
MISCELLANEOUS PIECES. 285 
 
 Bring the gold and bring the gem, we will keep bride state 
 in them, 
 
 While we keep the foe at bay. 
 
 " On your arms I loose my hair, — comb it smooth and 
 
 crown it fair, — 
 I would look in purple pall, from this lattice down the wall, 
 And throw scorn to one that's there ! " 
 
 On the tower the castle's lord leant in silence on his sword, 
 With an anguish in his breast. 
 
 With a spirit-laden weight, did he lean down passionate, — 
 They have almost sapped the wall, — they wUl enter there 
 withal, 
 
 With no knocking at the gate. 
 
 Then the sword he leant upon, shivered — snapped upon 
 
 the stone, — 
 " Sword," he thought, with inward laugh, " ill thou servest 
 
 for a staff. 
 
 When thy nobler use is done ! 
 
 " Sword, thy nobler use is done ! — tower is lost, and shame 
 
 begun ; — 
 If we met them in the breach, hilt to hilt or speech to 
 
 speech. 
 
 We should die there, each for one. 
 
 " If we met them at the wall, we should singly, vainly fall, 
 Bat if /die here alone, — then I die, who am but one. 
 And die nobly for them all. 
 
 « Five true friends lie for my sake, — in the moat and in 
 the brake, — 
 
286 ORTHOPHONY. 
 
 Thirteen warriors lie at rest, with a black wound in the 
 breast, 
 
 And none of these will wake. 
 
 " And no more of this shall be ! heart-blood weighs too 
 
 heavily — 
 And I could not sleep in grave, with the faithful and the 
 
 brave 
 
 Heaped around and over me. 
 
 " Since young Clare a mother hath, and young Balph a 
 
 plighted faith, — 
 Since my pale young sister's cheeks blush like rose when 
 
 Konald speaks, 
 Though never a word she saith, — 
 
 "These shall never die for me — life-blood falls too 
 
 heavily : — 
 And if /die here apart, — o'er my dead and silent heart 
 They shall pass out safe and free. 
 
 " When the foe hath heard it said, — ' Death holds Guy 
 
 of Linteged,' — 
 That new corse new peace shall bring ; and a blessed, 
 
 blessed thing, 
 
 Shall the stone be at his head. 
 
 " Then my friends shall pass out free, and shall bear my 
 
 memory, — 
 Then my foes shall sleek their pride, soothing fair my 
 
 widowed bride, 
 
 "Whose sole sin was love of me. 
 
 " Ah, sweet May — ah, sweetest grief! — once I vowed the* 
 my belief, 
 
MISCELLANEOUS PIECES. 287 
 
 That thy name expressed thy sweetness, — May of poets, 
 in completeness ! 
 
 Now my May-day seemeth brief." 
 
 All these silent thoughts did swim o'er his eyes grown 
 
 strange and dim, — 
 Till his true men in the place wished they stood there 
 
 face to face 
 
 With the foe instead of him. 
 
 " One last oath, my friends, that wear faithful hearts to do 
 
 and dare ! 
 Tower must fall, and bride be lost ! — swear me service 
 
 worth the cost ! " — 
 
 Bold they stood around to swear. 
 
 " Each man clasp my hand, and swear, by the deed we 
 
 failed in there, — 
 Not for vengeance, not for right, will ye strike one blow 
 
 to-night ! " — 
 
 Pale they stood around to swear. 
 
 " One last boon young Balph and Clare ! faithful hearts 
 
 to do and dare ! 
 Bring that steed up from his stall, which she kissed before 
 
 you all, — 
 
 Guide him up the turret-stair. 
 
 ' Ye "shall harness him aright, and lead upward to this 
 
 height ! — 
 Once in love and twice in war, hath he borne me strong 
 
 and far, — 
 
 He shall bear me far to-night." 
 
 Then his men looked to and fro, when they heard him 
 speaking so, — 
 
288 OBTHOPHONY. 
 
 " 'Las ! the noble heart," they thought, — " he in sooth is 
 grief -distraught. — 
 
 Would we stood here with the foe ! " 
 
 But a fire flashed from his eye, 'twixt their thought and 
 
 their reply, — 
 " Have ye so much time to waste ! "We who ride here 
 
 must ride fast. 
 
 As we wish our foes to fly." 
 
 They have fetched the steed with care, in the harness he 
 
 did wear, -^ 
 Past the court and through the doors, across the rushes of 
 
 the floors ; 
 
 But they goad him up the stair. 
 
 ' then from out her bower-chambere, did the Duchess May 
 
 repair, — 
 ' ' Tell me now what is your need," said the lady, " of this 
 
 steed, 
 
 That ye goad him up the stair ? " 
 
 Calm she stood ! unbodkined through, fell her dark hair to 
 
 her shoe, — 
 And the smile upon her face, ere she left the tiring-glass 
 Had not time enough to go. 
 
 " Qet thee back, sweet Duchess May ! hope is gone like 
 
 yesterday, — 
 One half-hour completes the breach ; and thy lord grows 
 
 wild of speech. — 
 
 Get thee in, sweet lady, and pray. 
 
 " In the east tower, high'st of all, — loud he cries for steed 
 from stall, ^- 
 
MISCELLANEOUS PIECES. 289 
 
 ' He would ride as far,' quoth he, ' as for love and vic- 
 tory, 
 
 Though he rides the castle-wall.' 
 
 "And we fetch the steed from stall, up where never a hoof 
 
 did fall. — 
 Wifely prayer meets deathly need ! may the sweet Heavens 
 
 hear thee plead, 
 
 If he rides the castle-wall." 
 
 Low she dropt her head, and lower, till her hair coiled on 
 
 the floor, — 
 And tear after tear you heard, fall distinct as any word 
 Which you might be listening for. 
 
 She stood up in bitter case, with a pale yet steady face, — 
 Like a statue thunderstruck, which, though quivering, 
 seems to look 
 
 Right against the thunder-place. 
 
 And her foot trod in, with pride, her own tears i' the stone 
 
 beside, — 
 " Go to, faithful friends, go to ! Judge no more what ladies 
 
 do, — 
 
 No, nor how their lords may ride ! " 
 
 Then the good steed's rein she took, and his neck did kiss 
 
 and stroke : — 
 Soft he neighed to answer her ; and then followed up the 
 
 stair. 
 
 For the love of her sweet look. 
 
 Oh, and steeply, steeply wound up the narrow stairs 
 around, — 
 19 
 
290 ORTHOPHONY. 
 
 Oh, and closely, closely speeding, step by step beside her 
 treading, 
 
 Did he follow, meek as honnd. 
 
 Oq the east tower, high'st of all, — there, where never a 
 
 hoof did fall, — 
 Out they swept, a vision steady, — noble steed and lovely 
 
 lady. 
 
 Calm as if in bower or stall ! 
 
 Down she knelt at her lord's knee, and she looked np 
 
 silently,— 
 And he kissed her twice and thrice, for that look within 
 
 her eyes, 
 
 Which he could not bear to see. 
 
 Quoth he, " Get thee from this strife, — and the sweet 
 
 saints bless thy life ! — 
 In this hour, I stand in need of my noble red-roan steed — 
 But not of my noble wife." 
 
 Quoth she, " Meekly have I done all thy biddings under 
 
 sun: — 
 But by all my womanhood, — which is proved so true and 
 
 good, 
 
 I will never do this one. 
 
 " Now by womanhood's decree, and by wifehood's ver- 
 ity,— 
 In this hour if thou hast need of thy noble red-roan steed, 
 Thou hast also need of me. 
 
 " By this golden ring ye see on this lifted hand pardi^, — 
 If this hour, on castle-wall, can be room for steed from 
 stall. 
 
 Shall be also room for me. 
 
MISCELLANEOUS PIECES. 291 
 
 " So the sweet saints with me be " (did she utter sol- 
 emnly), — 
 " If a man, this eventide, on the castle-waU will ride, 
 He shall ride the same with me." 
 
 Oh, he sprang up in the sella, and he laughed out bitter- 
 well, — 
 
 " Wouldst thou ride among the leaves, as we used on other 
 eves. 
 
 To hear chime the vesper bell ? " 
 
 She clang closer to his knee — " Aye, beneath the cypress- 
 tree ! — 
 
 Mock me not ; for otherwhere, than along the green-wood 
 fair. 
 
 Have I ridden fast with thee ! 
 
 " Fast I rode, with new-made vows, from my angry kins- 
 man's house ! 
 
 What ! and would you men should reck, that I dared more 
 for love's sake, 
 
 As a bride than as a spouse ? 
 
 " What, and would you it should fall, as a proverb, before 
 
 all,— 
 That a bride may keep your side, while through castle-gate 
 
 you ride. 
 
 Yet eschew the castle-wall ? " 
 
 Ho ! the breach yawns into ruin, and roars up against her 
 
 suing, — 
 With the inarticulate din, and the dreadful falling in — 
 Shrieks of doing and undoing ! 
 
 Twice he wrung her hands in twain ; but the small hands 
 closed again, — 
 
292 ORTHOPHONY. 
 
 Back he reined the steed — back, back? but she trailed 
 along the track, 
 
 With a frantic clasp and strain ! 
 
 Evermore the foemen pour through the crash of window 
 
 and door, — 
 And the shouts of Leigh and Leigh, and the shrieks of " kill ! " 
 
 and "flee!" 
 
 Strike up clear the general roar. 
 
 Thrice he wrung her hands in twain, — but they closed and 
 
 clung again, — 
 Wild she clung, as one, withstood, clasps a Christ upon the 
 
 rood, 
 
 In a spasm of deathly pain. 
 
 She clung wild and she clung mute, — with her shuddering 
 
 lips half-shat, — 
 Her head fallen as in swound, — hair and knee swept on 
 
 the ground, — 
 
 She clung wild to stirrup and foot. 
 
 Back he reined his steed, back-thrown on the slippery 
 
 coping stone, — 
 Back the iron hoofs did grind, on the battlement behind, 
 Whence a hundred feet went down. 
 
 And his heel did press and goad on the quivering flank be- 
 strode, 
 
 " Friends, and brothers ! save my wife ! — Pardon, sweet, ■ 
 in change for life, — 
 
 But I ride alone to God ! " 
 
 Straight as if the Holy name did upbreathe her as a 
 flame, — 
 
MISCELLANEOUS PIECES. 293 
 
 She upsprang, she rose upright ! in his selle she sat iu 
 sight ; 
 By her love she overcame. 
 
 And her head was on his breast, where she smUed as one at 
 
 rest, — 
 " Ring," she cried, " O vesper bell, in the beech-wood's old 
 
 chapelle ! 
 
 But the passing bell rings best." 
 
 They have caught out at the rein, which Sir Guy threw 
 
 loose — in vain, — 
 For the horse in stark despair, with his front hoofs poised 
 
 in air, 
 
 On the last verge, rears amain. 
 
 And he hangs, he rocks between — and his nostrUs curdle 
 
 in,— 
 And he shivers head and hoof, and the flakes of foam fall 
 
 off; 
 
 And his face grows fierce and thin ! 
 
 And a look of human woe, from his staring eyes did go, — 
 And a sharp cry uttered he in a foretold agony 
 Of the headlong death below, — 
 
 And, " Ring, ring, — thou passing bell," still she cried, 
 
 « i' the old chapelle ! " — 
 Then back-toppling, crashing back — a dead weight flung 
 
 out to wrack. 
 
 Horse and riders overfell ! 
 
 Oh, the little birds sang east, and the little birds sang 
 west, — 
 
294 ORTHOPHONY. 
 
 And I read this ancient Rhyme in the kirkyard while the 
 chime 
 
 Slowly tolled for one at rest. 
 
 And beneath a willow tree, I a little grave did see, — 
 "Where was graved, — " Here undeflled, 
 Lieth Maud, a three-year child. 
 
 Eighteen hundred forty-three." 
 
 Then, O Spirits — did I say — ye who rode so fast that 
 
 day,— 
 Did star-wheels and angel-wings, with their holy winnow- 
 
 ings, 
 
 Keep beside you all the way ? 
 
 Though in passion ye would dash, with a blind and heavy 
 
 crash, 
 Up against the thick-bossed shield of God's judgment in the 
 
 field, — 
 
 Though your heart and brain were rash, — 
 
 Now your will is all unwilled — now your pulses are aP 
 
 stilled, — 
 Now ye lie as meek and mild (whereso laid) as Maud th* 
 
 child, 
 
 Whose small grave to-day was filled. 
 
 In your patience ye are strong ; cold and heat ye take no* 
 
 wrong : — 
 When the trumpet of the angel blows eternity's evangel. 
 Time will seem to you not long. 
 
 Oh, the little birds sang east, and the little birds sang 
 west, 
 
MISCELLANEOUS PIECES. 295 
 
 And I said in underbreath, — all our lif* ts mixed with 
 death, — 
 
 And who knoweth which is best ? 
 
 Oh, the little birds sang east, and the little birds sang 
 
 west, — 
 And I smiled to think God's greatness flowed around our 
 
 incompleteness, — 
 
 Round our restlessness. His best. 
 
 XI. The Uses of Knowledge. — Alison. 
 
 The first end to which all wisdom or knowledge ought to 
 be employed, is to illustrate the wisdom or goodness of the 
 Father of Nature. Every science that is cultivated by 
 men, leads naturally to religious thought, from the study of 
 the plant that grows beneath our feet, to that of the Host 
 of Heaven above us, who perform their stated revolutions 
 in majestic silence, amid the expanse of infinity. When, 
 in the youth of Moses, " the Lord appeared to him in Ho- 
 reb," a voice was heard, saying, " Draw nigh hither, and 
 put off thy shoes from off thy feet ; for the place where 
 thou standest is holy ground." It is with such a reverential 
 awe that every great or elevated mind will approach to the 
 study of nature, and with such feelings of adoration and 
 gratitude, that he will receive the illumination that gradually 
 opens upon his soul. 
 
 It is not the lifeless mass of matter, he will then feel, that 
 he is examining, — it is the mighty machine of Eternal 
 Wisdom : the workmanship of Him, " in whom everything 
 Jives, and moves, and has its being." Under an aspect of 
 this kind, it is impossible to pursue knowledge without 
 mingling with it the most elevated sentiments of devotion; 
 — it is impossible to perceive the laws of nature without 
 perceiving, at the same time, the presence and the Provi- 
 dence of the Lawgiver ; — and thus it is, that, in every ag^ 
 
296 ORTHOPHONY. 
 
 the evidences of religion have advanced with the progress 
 of true philosophy ; and that science, ia erecting a monu- 
 ment to herself, has, at the same time, erected an altar to 
 the Deity. 
 
 The second great end to which all knowledge Qught to bo 
 employed, is the welfare of humanity. Every science is 
 the foundation of some art beneficial to men ; and while 
 the study of it leads us to see the beneficence of the laws 
 of nature, it calls upon us also to follow the great end of 
 the Father of Nature in their employment and application. 
 I need not say what a field is thus opened to the benevolence 
 of knowledge ; I need not tell you that in every depart- 
 ment of learning there is good to be done to mankind ; I 
 need not remind you that the age in which we live has 
 given us the noblest examples of this kind, and that science 
 now finds its highest glory in improving the condition, or in 
 allaying the miseries of humanity. But there is one thing 
 of which it is proper ever to remind you, because the mod- 
 esty of knowledge often leads us to forget it, — and that is 
 that the power of scientific benevolence is far greater than 
 that of all others, to the welfare of society. 
 
 The benevolence of the great, or the opulent, however 
 eminent it may be, perishes with themselves. The benevo- 
 lence even of sovereigns is limited to the narrow boundary 
 of human life ; and, not unfrequently, is succeeded by dif- 
 ferent and discordant counsels. But the benevolence of 
 knowledge is of a kind as extensive as the race of man, 
 and as permanent as the existence of society. He, in what- 
 ever situation he may be, who, in the study of science, has 
 discovered a new means of alleviating pain, or of remedy- 
 ing disease ; who has described a wiser method of prevent- 
 ing poverty, or of shielding misfortune ; who has suggested 
 additional means of increasing or improving the beneficent 
 productions of nature, has left a memorial of himself 
 which can never be forgotten ; which will communicate 
 happiness to ages yet unborn ; and which, in the emphatic 
 
MISCELLANEOUS PIECES. 297 
 
 language of Scripture, renders him a " fellow-worker " with 
 God himself, in the improvement of his Creation. 
 
 XIL The Last Hours of Sir Walter Scott. — Lockhart. 
 
 On the morning of Sunday, the 15th of July, he was 
 again taken out into the little pleasaunce, and got as far as 
 his favorite terrace-walk between the garden and the river, 
 from which he seemed to survey the valley and the hills 
 with much satisfaction. On reentering the house he desired 
 me to read to him from the New Testament, and after that 
 he again called for a little of Crabbe ; but whatever I se- 
 lected from that poet seemed to be listened to as if it made 
 part of some new volume published while he was in Italy. 
 He attended with this sense of novelty even to the tale of 
 Phcebe Dawson, which, not many months before, he could 
 have repeated every line of, and which I chose for one of 
 these readings, because, as is known to every one, it had 
 formed the last solace of Mr. Fox's deathbed. On the con- 
 trary, his recollection of whatever I read from the Bible 
 appeared to be lively ; and in the afternoon when we made 
 his grandson, a child of six years, repeat some of Dr. 
 Watts's hymns by his chair, he seemed also to remember 
 them perfectly. That evening he heard the church service, 
 and when I was about to close the book, said, " Why do 
 you omit the office for the Visitation of the Sick ? " which 
 I added accordingly. 
 
 On Monday he remained in bed and seemed extremely 
 feeble; but after breakfast on Tuesday, the 17th, he 
 appeared revived somewhat, and was again wheeled about 
 on the turf. Presently he fell asleep in his chair, and 
 after dozing for perhaps half an hour, started awake, and 
 shaking the plaids we had put about him from ofE his 
 shoulders, said, " This is sad idleness ; I shall forget what 
 I have been thinking of, if I don't set it down now. Take 
 me into my own room, and fetch the keys of my desk." 
 He repeated this so earnestly that we could not refuse ; his 
 
298 ORTHOPHONY. 
 
 daughters went into his study, opened his writing-desk, and 
 laid paper and pens in the usual order, and I then moved 
 him through the hall and into the spot where he had always 
 been accustomed to work. When the chair was placed at 
 the desk, and he found himself in the old position, he 
 smiled and thanked us, and said, " Now give me my pen 
 and leave me for a little to myself." Sophia put the pen 
 into his hand, and he endeavored to close his fingers upon 
 it, but they refused their office — it dropped on the paper. 
 He sank back among his pillows, silent tears rolling down 
 his cheeks ; but composing himself by and by, motioned 
 to me to wheel him out of doors again. Laidlaw met us at 
 the porch, and took his turn of the chair. Sir Walter, 
 after a little while, again dropt into slumber. When he 
 was awaking, Laidlaw said to me, " Sir Walter has had a 
 little repose." " No, Willie," said he — " no repose for 
 Sir Walter but in the grave." The tears again rushed from 
 his eyes. " Friends," said he, " don't let me expose my- 
 self — get me to bed — that 's the only place." 
 
 With this scene ended our glimpse of daylight. Sir 
 Walter never, I think, left his room afterwards, and hardly 
 his bed, except an hour or two in the middle of the day ; 
 and after another week he was unable even for this. 
 
 As I was dressing, on the morning of Monday, the 17th 
 of September, Nicolson came into my room and told me 
 that his master had awoke in a state of composure and 
 consciousness, and wished to see me immediately. I found 
 him entirely himself, though in the last extreme of feeble- 
 ness. His eye was clear and calm — every trace of the 
 wild fire of delirium extinguished. " Lockhart," he. said, 
 " I may have but a minute to speak to you. My dear, be 
 a good man — be virtuous — be religious — be a good man. 
 Nothing else will give you any comfort when you come to 
 lie here.'' — He paused and I said, " Shall I send for 
 Sophia and Anne ? " — " No," said he, " don't disturb them. 
 Poor souls ! I know they were up all night — God bless 
 
MISCELLANEOUS PIECES. 299 
 
 jou all." — With this he sunk into a very tranquil sleep, 
 and, indeed, he scarcely afterwards gave any sign of con- 
 sciousness, except for an instant on the arrival of his sons. 
 They, on learning that the scene was about to close, ob- 
 tained a new leave of absence from their posts, and both 
 reached Abbotsford on the 19th. About half-past one 
 p. M., on the 21st of September, Sir Walter breathed his 
 last, in the presence of all his children. It was a beauti- 
 ful day — so warm that every window was wide open — 
 and so perfectly still that the sound of all others most de- 
 licious to the ear, the gentle ripple of the Tweed over its 
 pebbles, was distinctly audible as we knelt round the bed, 
 and his eldest son kissed and closed his eyes. 
 
 XIII. Specimen op the Eloquence of John Adams. — Webster. 
 
 The war must go on. We must fight it through. And 
 if the war must go on, why put oiF longer the Declaration 
 of Independence ? That measure will strengthen us. It 
 will give us character abroad. 
 
 Why then, sir, do we not, as soon as possible, change this 
 from a civil to a national war ? And since we must fight it 
 through, why not put ourselves in a state to enjoy all the 
 benefits of victory, if we gain the victory ? 
 
 If we fail, it can be no worse for us. But we shall not 
 fail. The cause will raise up armies. The cause will create 
 i\^vies. The people, the people, if we are true to them, 
 will carry us, and will carry themselves, gloriously, through 
 this struggle. 
 
 I care not how fickle other people have been found. I 
 know the people of these colonies ; and I know that resist- 
 ance to British aggression is deep and settled in their 
 hearts and cannot be eradicated. Every colony, indeed, has 
 expressed its willingness to follow, if we but take the lead. 
 Sir, the declaration will inspire the people with increased 
 courage. Instead of a long and bloody war for restoration 
 of privileges, for redress of grievances, for chartered im- 
 
£,00 OETHOPHONT. 
 
 munities, held under a British king, set before them the glo 
 rious object of entire independence, and it will breathe into 
 them anew the breath of life. 
 
 Read this declaration at the head of the army ; every 
 sword will be drawn from its scabbard, and the solemn vow 
 uttered to maintain it or to perish on the bed of honor. 
 Publish it from the pulpit ; religion will approve it, and the 
 love of religious liberty will ding round it, resolved to stand 
 with it or fall with it. Send it to the public halls ; pro- 
 claim it there ; let them hear it who heard the first roar of 
 the enemy's cannon ; let them see it who saw their brothers 
 and their sons fall on the field of Bunker Hill, and in the 
 streets of Lexington and Concord, and the very walls will 
 cry out in its support. 
 
 Sir, I know the uncertainty of human affairs, but I see, 
 I see clearly through this day's business. You and I, in- 
 deed, may rue it. We may not live to the time when this 
 declaration shall be made good. We may die ; die colonists ; 
 die slaves ; die, it may be, ignominioualy and on the scaf- 
 fold. Be it so. Be it so. If it be the pleasure of Heaven 
 that my country shall require the poor offering of my life, 
 the victim shall be ready at the appointed hour of sacrifice, 
 come when that hour may. But while I do live, let me 
 have a country, or at least the hope of a country, and that 
 a free country. 
 
 But whatever may be our fate, be assured, be assured, 
 that this declaration will stand. It may cost treasure, and 
 it may cost blood ; but it will stand, and it will richly com- 
 pensate for both.- Through the thick gloom of the present, 
 I see the brightness of the future, as the sun in heaven. 
 We shall make this a glorious, an immortal day. When we 
 are in our graves, our children will honor it. ■ They will 
 celebrate it with thanksgiving, with festivity, with bonfires, 
 and illuminations. On its annual return they will shed 
 tears, copious, gushing tears, not of subjection and slavery, 
 not of agony and distress, but of exultation, of gratitude^ 
 and of joy. 
 
MISCELLANE9US PIECES. 301 
 
 Sir, before God, I believe the hour is come. My judg- 
 ment approves this measure, and my whole heart is in it. 
 All that I have, and all that I am, and all that I hope, in 
 this life, I am now ready here to stake upon it ; and I leave 
 oflf as I began, that live or die, survive or perish, I am for 
 the declaration. It is my living sentiment, and by the 
 blessing of God it shall be my dying sentiment : independ- 
 ence wow; and INDEPENDENCE EOEETER. 
 
 XrV. Slavery opposed to Natuke. — Brougham. 
 I trust at length the time is come when Parliament will 
 no longer bear to be told that slave-owners are the best law- 
 givers on slavery; no longer allow an appeal from the 
 British public to such communities as those in which the 
 Smiths and the Grimsdalls are persecuted to death for 
 teaching the Gospel to the negroes, and the Mosses held in 
 affectionate respect for torture and murder ; no longer suf- 
 fer our voices to roll across the Atlantic in empty warnings 
 and fruitless orders. Tell me not of rights ; talk not of 
 the property of the planter in his slaves. I deny the right ; 
 I acknowledge not the property. The principles, the feel- 
 ings of our common nature, rise in rebellion against it. Be 
 the appeal made to the understanding, or to the heart, the 
 sentence is the same that rejects it. In vain you teU me of 
 the laws that sanction such a crime ! There is a law above 
 all the enactments of human codes, — the same throughout 
 the world — the same in all times, — such as it was before 
 the daring genius of Columbus pierced the night of ages, 
 and opened to one world the sources of power, wealth, and 
 knowledge, to another, all unutterable woes, — such as it is 
 this day. It is the law written by the finger of God on the 
 heart of man ; and by that law, unchangeable and eternal, 
 while men -despise fraud, and loathe rapine, and abhor 
 blood, they wUl reject with indignation the wUd and guilty 
 fantasy, that man can hold property in man ! In vain you 
 appeal to treaties, to covenants between nations I the cove- 
 
302 ORTHOPHONY. 
 
 nants of the Almighty, whether the Old covenant or the 
 New, denounces such unholy pretensions. To those laws 
 did they of old refer who maintained the African trade. 
 Such treaties did they cite, and not untruly ; for by one 
 shameful compact you bartered the glories of Blenheim for 
 the traffic in blood. Yet despite of law and treaty, that in- 
 fernal traffic is now destroyed, and its votaries put to death 
 like other pirates. How came this change to pass ? Not, 
 assuredly, by Parliament leading the way ; but the country 
 at length awoke ; the indignation of the people was kindled ; 
 it descended in thunder and smote the traffic, and scattered 
 the guilty profits to the wind. Now, then, let the planters 
 beware — let their assemblies beware — let the government 
 at home beware — let the Parliament beware ! The same 
 country is once more awake — awake to the condition of 
 negro slavery ; the same indignation kindles in the bosom 
 of the same people : the same cloud is gathering that anni- 
 hilated the slave trade ; and if it shall descend again, they 
 on whom its crash may faU will not be destroyed before I 
 have warned them ; but I pray that their destruction may 
 turn away from us the more terrible judgments of God. 
 
a I 
 
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