ORTHOPHONY; OR, THE CULTIVATION OF THE VOICE IN ELOCUTION. ADAPTED TO DR. RUSH'S "PHILOSOPHY OF THE HUMAN VOICE," AND THE SYSTEM OF VOCAL CULTURE INTRODUCED BY MR. JAMES E. MURDOCH. DESIGNED AS AN INTRODUCTION TO RUSSELL'S "AMERICAN ELOCUTIONIST,' COMPILED BY WILLIAM RUSSELL, AUTHOR OF "LESSONS IN ENUNCIATION," ETC. WITH A SUPPLEMENT ON PURITY OF TONE, BY G. J. WEBB, PROF. BOSTON ACADEMY OF MUSIC. THIRTY-THIRD EDITION. BOSTON: TICKNOR AND FIELDS. 1868. * Entered, according to Act of Congress, in the year 1846, by WILLIAM RUSSELIL In the Clerk's Office of the District Court of the District of Massachusetts. TO DR. JAMES RUSH, WHOSE WORK ON THE PHILOSOPHY OF THE HUMAN VOICE, HAS UNDERED DEFINITE AND EXACT INSTRUCTION PRACTICABL IN ELOCUTION, THE FOLLOWING MANUAL RESPECTFULLY DEDICATED. PREFACE. THE design of the exercises presented in this manual, is to furnish the groundwork of practical elocution, and whatever 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, jwith the addition of copious examples and exercises, selected for the purpose of facilitatir.g 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 invaluable 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 manual now offered as an aid to the business of instruction, contains, - besides a compendious view of the system of Dr. Rush, - the practical methods of instruction introduced by Mr. James E. Murdoch, and taught by Mr. Francis T. Russell, in that part of elocution which comprises phonation, or the formation of vocal tone, and orthophony, or the training of the vocal organs, on the rudiments of articulation, force, "stress," pitch, and the other elements of "expression," - including the whole organic discipline of " vocal gymnastics." The exercises imbodied in the following pages, are designed equally for the assistance of two classes of students, - at very different stages of progress in general education, but requiring, alike,] the benetit of a thorough-going course of practice in elocution; - young learners, whose habits of utterance are, as yet, forming; and adults, whose professional duties involve the exercise of public speaking. To the former, this man al will furnish the materials for a progressive cultivation and development of the vocal organs, for the useful purposes of education, and as a graceful 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. The plan adopted, in arranging the sulsequent exercises, pre sents the various departments of elocution in the following order 1* vi PREFACE. i 1. The function of BREATHING, as a preliminary to the use of the voice. - 2. The practice of ENUNCIATION, in the act of articulating elementary sounds and syllables, and of pronouncing words. - 3. The study of the various " QU4LITIES" of the voice, as an instrument of sound, and the training of the organs, with reference to the formation of "purity," fulness, vigor, and pliancy of voice. - 4. The study and practice of FORCE, SSTRESS," " MELODY," pitch, "slide," f wave," "monotone," and " semitone," "TIME," " quantity," " movement," "rhythm," metre, and pause, - with a view to organic discipline and the command of the voice, ir EMPHASIS and t' EXPRESSION," - the appropriate utterance of thought and emotion. To adapt the work to the purposes of practical instruction, and to render it convenient, as a class-book, those parts which are most important to learners, are distinguished by (leaded" lines, and larger type; and these are intended either to be impressed, in substance, on the memory, or to be practised as exercises. The portions of the work which are in smaller type, contain the theory and the explanations requisite for the guidance of the adult student and the teacher. The sentential or grammatical department of elocfution, - that which concerns the modifications of voice, for the purposes of strictly intellectual communication, the adapting of the voice to the structure of sentences in prose, and stanzas in poetry,--involves a more extensive study of " slides," (inflections,) emphasis, and pausing, together with prosodial elocution, or the regulation of the voice in the reading of verse. The full discussion and practice of these branches, are reserved for a separate course of study, as prescribed in the "American Elocutionist," to which the present manual is intended as an introduction. In that volume will also be found an extended course of practice in articulation and in pronunciation, with remarks on the character of cadence; and, in addition to the vocal part of elocution, an outline of the principles of gesture, and a collection of pieces for practice in reading and declamation. The stereotype process, adopted in this new edition of the present work, enables the publishers to offer it in a more compact shape, without diminishing the actual extentof the matter; while the -iew arrangemerf of the chapters, and the addition of the Tables of Orthophcny, will, it is thought, render the volume more useful as a manual for schools and academies. 1 The arrang ment adopted in this improved edition of the Orthophony, Is intended to fa, ilitate the business of instruction, by presenting more prominently those parts of elocution which are most important in practice. The chapter on the structure and action of the vocal organs, has been transferred, therefore, to the appendix. But adult students may derive advantage from perusing it, before commencing the practice of the varions exercises. INTRODUCTORY OBSERVATIONS. ORTHOPHONY,1 OR THE SYSTEMATIC CULTIVATION (F THE VOICE. Tnz term orthophony is used to designate the art of cultivating the voice, for the purposes of speech, reading, declamation, recitation, or singing. This art, like all others, is founded on certain principles, the knowledge of which constitutes 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 geit eral. and from the science and art of music, as regards the regu lation of vocal sound, in particular. Orthophony is, to elocution, what solfeggi, and other rudimental exercises, are to music,--a course of elementary discipline, for the systematic cultivation of the voice. We may, it is true, read well, just as we may sing well, "by ear," or the teaching of nature, merely. But cultivation gives us, in both these uses of the voice, the immense advantages of knowledge, science, and skill. Furnished with these aids, and directed by discerning judgment and good taste, the cultivated reader or speaker has all the advantages of the cultivated singer, as regards the true and effective use of his organs. The preparatory training and discipline of the voice, for the putposes Df reading, recitation, and declamation, are of incalculable value, whether as regards the organic results connected with the 1 The terms phonation, (the act of producing vocal sound,) and phoiwlogy, (tie science of voice,) are in current use among physiologists. But the systematic cultivation of the vocal organs, on the elements of expressive utterance, is a branch of education for which our own language furnishes 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, "orthophonie," used to desiguatv the art of training the vocal organs. The etymology of'this term, when traced to the original Greek words, - signifying correct and voice, --sanctions its use in elocuticn, on the same ground with that of" orthodpy," in grammar. 8 IN1 RODUCTION. easy, vigorous, and salutary exertion of the voice, or the healthy ex pansion of the chest, and the inspiring. glow of vivid emotion, which is indispensable to effective expression. Dr. Rush's exact and scientific analysis of elocution, in its connection with the action of the organs of 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 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 emotion, or of distinctive meaning addressed to the understanding, 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 permanent salutary influence of the highest value. They produce a free and powerful exertion of the organs of respiration, 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 gymniastics, 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 dhe 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 exertion, when either pursued too long in succession, or practised 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 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, INTRODUCTION. 9 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 ruinous influence on the whole man.1 It will be perceived, by referring to the subjoined expressions of opinion, that, in pressing this subject on general attention, there is ample professional authority for the expectation of invaluable benefits, as the result of the systematic vocal training recommended in this volume. Opinions of Gentlemen of the 1Medical Profession, regarding Mr. Murdoch's System for the Cultivation of the Voice, "BosTON, July 29, 1842. "I have carefully examined Mr. Murdoch's system of Vocal Gymnastics. It is based upon an accurate knowledge of the anatomy and physiology of the larynx, or organ of the voice.. All the details of the system seem to me to be practical, ingenious, interesting, and in accurate conformity to scientific principles. Its obvious utility in developing the functions of the human larynx, and giving flexibility, beauty, facility, and permanent power to the voice; and its eminent effect both in the prevention and cure of the diseases to which public speakers are liable, give it a strong claim upon the attention of the Teachers in our Schools and Colleges, our Youth, and all whose duties demand a frequent or great use of the voice. EDWARD REYNOLDS, Jr." "We fully concur with Dr. Reynolds in the opinions above expressed. GEo., HAYWARD, D. HUMPIHREYS STORER." " July 30, 1842. "The exercise of Vocal Gymnastics, as recommended by James E. Murdoch, being founded on a correct knowledge of the anatomy end physiology of the vocal apparatus, cannot fail, if properly practised, under his direction, to develop and strengthen the voice. Persons of I Mr. Murdoch,- whose system of orthophony is imbodied in this volume, -seemed, at one time, while pursuing a profession in which the most intense exertion of the vocal organs is perpetually required, destined to sink under the effects of over-exertion; but,having seasonably turned his attention to the systematic practice of vocal gymnastics, he recovered his tone of health, and gained, to such an extent, in power and depth of voice, as to add to his previous range in the latter, a ftll octave, within the space of some months. On devoting himself to the daily occupation of conducting classes in the practice of regulated vocal exercise, the result continued to be a constant accession of vocal power and compass; and on returning to the practice of his early profession, in which he is now so distinguished, his utterance was at once "emarked for its round, deep, rich, and full tone. 10 INTRODUCTION, delicate constitutions and feeble voices, will receive great benefit from the practice of his system; as it is well calculated to give a healthy action to the vocal and pulmonary organs; and, in this particular, it is well worthy the attention of parents. WINsLow LEWIS, Jr." " All, (" Vanishing Stress.") < " ("Median Stress.") C " ("Compound Stress.") < " (" Thorough Stress.") 0 " ("Tremor.")... (Repeat six times in succession, with constantly increasing force.) it 44 c ( (( "( " " " I MELODY. 105 To commence with a definite idea of the mode of stress in each instance, set out from the standard of a given emotion 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 command: "Attend ALL!" -- the "vanishing stress " on the same element, in the following example of impatience and displeasure: I" 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' " - >< the "compound stress," in astonishment and surprise: "' What! ALL? did they ALL fail? "C~ 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. Ocular references may seem, at first sight, to have little value in a subject which relates to the ear. But notes and characters, as used in music, serve to show how exactly the ear may be taught through the eye; and even if we admit the comparatively indefinite nature of all such relations, when transferred to the forms of speech and of reading, the suggestive power of visible forms has a great influence on the faculty of association, and aids clearness and precision of thought, and a corresponding definiteness and exactness in sound. CHAPTER VI. "MELODY." THE word "melody" may be applied to speech m the same general sense as in the technical language of music, to lesignate the effect produced on the ear, by the successive notes of the voice, in a passage of music or of discourse. The use of this term presupposes, both in music and in speech, 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. The, term " melody," used as above, does not necessarily imply a melodious or pleasing succession of sounds, or the reverse. It has regard merely to the fact just mentioned, that the successive sounds to which this term is applied, are comparatively higher or lower on the musical scale, or in strict unison with the first sound of a series. In this technical sense, the word "melody" applies to speech, as well as to music. 106 ORTHOPHONY. Regarded in connection with the sense of beauty or of r leasure however, we perceive at once a marked difference between th " melody " of music and that of speech. The former, has, comparatively, the effect of poetry: beauty is its chief element; and it yields to the ear an exquisite sense of pleasure. The latter may, as in the recitation or the reading of verse, possess a degree of this charm, though comparatively an imperfect one. But it may, on the contrary, possess no such beauty: it may exhibit a succession of the most harsh and grating sounds, intended to jar and pain the ear, by the violence of discordant and disturbing passion; or it may, at least, be but a tame and insipid succession of articulation, in the utterance of a fact addressed exclusively to the understanding, as in the common relations of magnitude, shape, or number. The melody of speech, in such cases, intentionally divests itself of whatever quality in tone is adapted, whether to pleasure or to pain, and adheres to the customary intonation of dry fact and plain prose. In the latter case, however, not less than in the former, the relations'of sounds to each other, as4neasured by the musical scale, can be distinctly traced; and, on this account, the " melody of speech," or of " reading," is a phrase as truly significant as that of the " melody of a strain of music." PITCH. The word " melody," used in its technical sense, occupies, then, the'same ground in elocution as in music, and refers us, in the first instance, to an initial or commencing sound to which others in a series may be compared as high or low or neither. To this sound the term "pitch" is applied, as designating the particular point of the scale, as high or low, on which the voice is thrown out. Thus, we speak of the deep tones or low notes of an organ, as contrasted with the shrill sound of a fife, of the grave tone of the voice of a man, or of the comparatively high pitch of that of a woman; or of the low voice of devotion, as contrasted with the high, shrill scream of excessive fear, or the piercing shriek of terroi. The correct practice of elocution, as in appropriate speaking, recitation, or reading, implies the power of easily and instantly shifting the " pitch " of the voice, according to the natural note of emotion required for every shade of expression depicted in the composition which is spoken, recited, or read. Nature, or, -more properly speaking, -the Author of the human constitution, has so contrived the organization of the corporeal frame, in conjunction with the sensibility of the soul, that certain notes of the voice are necessarily associated with certain emotions. Thus a repetition of low and subdued tones overheard from an adjoining apartment, suggests to ua PITCH. 107 the thought that its occupant is employed in the exercise of dovotion; because solemn and reverential feeling is uniformly associated in voice with low notes of the scale. A succession of high and vivid tones, overheard, might suggest the idea of a lively conversation, or an earnest debate, or' a fierce dispute,. as the case might be; for the emotions implied in such communication, are all associated with high notes of the scale. The study of "'pitch," as an element of "melody," leads us accordingly to a classification of emotions as characterized by comparatively "high" or "'low" notes. The science of music possesses, in the department of " pitch," a great advantage over that of elocution; as it refers, in all cases, to a perfectly exact measure of sound, as ascertained by reference to the invariable standard of certain notes, at given points of the scale, executed by musical instruments not liable to variation. The musician can thus apply, as his rule, a definite scale of vast extent, and of perfect precision in admeasurement. 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. The musician, when speaking of a low strain of melody, can conveniently refer to a precise note of the scale, by the exact letter which designates it. The elocutionist, when referring to the low tone of awe, has no more definite measure in view than a note which lies low, in comparison even with the customary low notes of the voice of the reader or speaker. Due attention, may, no doubt, enable the elocutionist to ascertain, in a given case, the precise note of the scale required 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 designations 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 requires the precise measure of science. I. "Middle" Pitch. The "middle" pitch of the voice is that of our habitual utterance, on all occasions of ordinary communication in conversation or address. It implies a medium or average state of feeling, or a condition of mind free from every strong or marked emotion. It is the natural note of unimpassioned utterance, seeking to find its way to the understanding rather 108 ORTHOPHONYo than to the heart, and hence avoiding high or low pitch, ax belonging to the language of feeling or of fancy. Common conversation, a literary or a scientific essay, a doctrinal sermon, or a plain practical discourse on any subject limited to purposes of mere utility, and demanding the action of judgment and reason, principally, may be mentioned as examples of" middle" pitch. This form of" pitch" being that which is habitual, in comparison with others, becomes, in popular usage, the criterion of what is termed " natural " reading or speaking. It is, indeed, justly adopted as the standard of ordinary communication. The habit of observing this pitch on all common occasions of speech and of reading, becomes an important means of natural and true effect in elocution. Falling below this average of utterance, we drop necessarily into tones associated with grave and solemn effect; and, rising above it, we approach the style of light, gay, or humorous expression. Either of these extremes becomes not merely an error of taste in elocution, but of judgment and ear: it sets the voice at variance with the nature of the subject of communication, and defeats its proper effect. Both of the extremes which have been mentioned, however, are current faults of usage. Some juvenile readers, in consequence of the effort which they usually make in their exercises, cause a slight overstrain of voice, which becomes apparent in the pitch rising above its appropriate level: others, from embarrassment, let the voice sink, as it were into the chest, with a partially hollow sound, and a note too grave. Students and sedentary persons, from their exhausting mode of life, incline habitually to the latter fault; and, when excited by unusual interest in public communication, perhaps unconsciously assume the opposite extreme, of a pitch too high for the free use of the voice. The proper standard of middle pitch, for the purpose of vocal practice, is that of serious and earnest conversation in a numerous circle. In selecting examples according to the rhetorical characteristics of sty~e, the choice should be made from intermediate modes of writing, which are neither so deep-toned in their language, as those which are denominated "L grave " or "solemn," nor yet so high-pitched as the " gay," or brisk, and the " humbrous" or playful. The rhetorical styles intermediate to these, are the "serious " and the 1" animated." These are the fairest average representatives of plain expression, as it usually occurs in conversation and discourse: they serve also to exemplify the common forms of narrative and descrip. tive writing. Close attention and a discriminating ear, are required, to keep the pitch exactly true, in such examples as the following. The least deviation of voice, downward or upward on the scale, interferes with PITCH. 109 the appropriate utterance of sentiment; making the expression either too grave or too light. The practice of these examples should be accompanied by frequent repetition of the elements and of detached columns of words, with a view to fix permanently in the ear, the proper note of middle pitch, whether in " serious" or in " animated" utterance. The former is, of course, somewhat lower on the scale than the latter: the exact, degree depends on the shades of expression in particular passages. EXAMPLES OF < MIDDLE" PITCH. Serious Didactic Style. (" Pure Tone:" " Moderate" force: ' "Unimpassioned radical," and gentle" median stress." PLEASURES OF KNOWLEDGE.-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 no-thing either profitable or ornamental: the former beholds a beautiful ana 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." 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 deportment, reprehended the lightness of his manner. But Raleigh gave God thanks that he had never feared death; for it was but an opinion and an imagination; and, as for the manner of death, he had rather die so than in a burning fever; that some might have made shows outwardly; but he felt the joy within." 10 110 ORTHOPHONY. Serious Description. (" Quality," &c., as before.) A SCENE OF ARAB LIFE. -Anonymous. SAll that has been related concerning the passion for tales, which distinguishes the Arabs, is literally true. During the night which we passed on the shore of the Dead Sea, we observed our Bethlehemites seated around a large fire. with their guns laid near them on the ground, while their horses, fastened to stakes, formed a kind of circle about them. These Arabs, after having taken their coffee, and conversed for some time with great earnestness, and with their usual loquacity, observed a strict silence when the sheik began his tale. We could, by the light of the fire, distinguish his significant gestures, his black beard, his white teeth, and the various plaits and positions which he gave to his tunic, during the recital. His companions listened to him with the most profound attention; all of them with their bodies bent forward, and their faces over the flame, alternately sending forth shouts of admiration, and repeating, with great emphasis, the gestures of the historian. The heads of some few of their horses and camels, were occasionally ieen elevated above the group, and shadowing, as it were, the picture. When to these was added a glimpse of the scenery about the Dead Sea and the mountains of Jwdea, the whole effect wa. striking and fanciful, in the highest degree." Serious Conversational Style. IDLENESS. -Addison. SAn idle man is a kind of monster in the creation. All nature is busy about him: every animal he sees, reproacnes him. Let such a man, who lies as a burden or dead weight upon the species, and contributes nothing either to the riches of the commonwealth, or to the maintenance of himself and family, consider that instinct with which Providence has endowed the ant, and by which is exhibitei an example of industry to rational creatures." PITCH. 111 'Anmmated Narratze Style. (' Pure Tone:" " Moderate " force: Vivid " radical stress.") JULIUS CJESAR.--J. S. Knowles. To form an idea.of Caesar's energy and activity, observe him when he is surprised by the Nervii. His soldiers are employed in pitching their camp.--The ferocious enemy sallies from his concealment, puts the Roman cavalry, to the rout, and falls upon the foot. Everything is alarm, confusion, 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 moment. 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 contest is doubtful and dreadful: two of his legions are entirely surrounded. He seizes a buckler from one of the private men,-puts himself at the head of his broken troops,-darts into the thick of the battle,-rescues his legions, and overthrows the enemy!" Animated Description. (" Pure Tone:" " Moderate" force: Vivid " median stress.") PHENOMENA OF THE UNIVERSE. -Anonymous. ' The physical universe may be regarded as exhibiting, at once, all its splendid varieties of events, and uniting, as it were, in a single moment, the wonders of eternity. Combine, by your imagination, all the fairest appearances of things. Suppose that you see, at once, all the hours of the day, and all the seasons of the year, a morning of spring and a morning of autumn, a night brilliant with stars, and a night obscure with clouds,--meadows, enamelled with flowers,-- fields, waving with harvests,-woods, heavy with the frosts 1 The vividness of effect in this style, raises the pitch above that of "serious" narrative: the prevailing note, however, is still as ir conversation near the middle of the scale. 112 ORTHOPHONY. of winter;-you will then have a just notion of the spectacle of the universe. Is it not wondrous, that while you are admiring the sun plunging beneath the vault of the west, another observer is beholding him as he quits the region of the east,- in the same instant reposing, weary, from the dust of the evening, and awaking, fresh and youthful, in the dews of morn! There is not a moment of the day in which the same sun is not rising, shining in his zenith, and setting on the world! Or, rather, our senses abuse us: and there is no rising, nor setting, nor zenith, nor east, nor west; but all is one fixed point, at which every species of light is beaming, at once, from the unalterable orb of day." Animated Didactic Style, in Conversation. (" Pure Tone:" "Moderate" force: "Unimpassioned radical," and lively "median stress.") IMAGINARY HAPPINESS. -Anonymous. " People imagine they should be happy in circumstances which they would find insupportably burdensome in less than a week. A man that has been clothed in fine linen, and fared sumptuously every day, envies the peasant under a thatched hovel; who, in return, envies him as much his palace and his.pleasure-grounds. Could they exchange situations, the fine gentleman would find his ceilings were too low, and that his casements admitted too much wind; that he had no cellar for his wine, and no wine to put in his cellar. These with a thousand other mortifying deficiencies, would shatter his romantic project into innumerable frag ments in a moment." 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 thai. money. Indigent nobility looks down upon untitled opu PITCH. 113 4ence. 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 nobility of angels! It is the majesty of God!" 11. "Low" Pitch. This designation applies to the utterance of those feelings 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. The transition in the voice, from "middle" to "low" pitch would be exemplified in passing from the utterance of a thought which is merely serious,-and so termed in contradistinction, rather to one of an animated and sprightly character, - to that of one still deeper in its shade of feeling, and which would be appropriately termed grave. At the stage of voice expressive of the latter, we should perceive an obvious thohigh not very strikingly marked deepening of tone, or descent on the scale. It is to this degree of depression of voice, properly, that the word 'low," in its connection with pitch, is applied, in elocution, as a technical designation; there being still lower notes of the scale implied in the expression of those emotions which are still deeper in character and deeper in utterance. The full and impressive effect of a sentiment, particularly in circumstances of a grave character, as on the occasion of an address on topics of politics, morals, or religion, must often be dependent on appropriate gravity of tone. A uniformly grave tone, even in public reading or speaking, becomes, it is true, dull and uninteresting. But the absence of a due degree and application of it, divests public speaking of dignity and authoritative effect, and deprives deep senti.. ment of its impressive power over the mind. The " grave" sty.o carried too low, becomes "solemn," - a fault in consequence of which the lawyer and the popular orator sometimes seem to usurp the tone of the pulpit, and the preacher to lose the vocal and the moral power which comes from touching distinctly all the chords of sacred eloquence, and not dwelling exclusively upon one. There is more than a mere music to the ear, in the skill with which a practised elocutionist leads his own voice and the sympathies of his 10* 114 ORTHOPHONY. audience, as they glide gradually but perceptibly down the succes sive stages of emotion, from serious attention, to grave listening, and solemn impression. The attainment of a perfect control over ' pitch," renders the practice of all its gradations highly important. The following examples require attentive practice in conjunction with the repetition of the elements and of words selected from the exercises in enunciation EXAMPLES OF "LOW" PITCH. Grave and Impressive Thought. ('* Pure tone:" " Moderate" force: " Unimpassioned radical" and. moderate " median stress.") AGE.- Godman. " Now comes the autumn of life,-the season of ' the sere and yellow leaf.' The suppleness and mobility of the limbs diminish; the senses are less acute; and the impressions of external objects are less remarked. The fibres of the body grow more rigid; the emotions of the mind are more calm and uniform; the eye loses its lustrous keenness of expression. The mind no longer roams abroad with its original excursiveness: the power of imagination is, in great degree, lost. Experience has robbed external objects of their illusiveness: the thoughts come home: it is the age of reflection.It is the period in which we receive the just tribute of veneration and confidence from our fellow-men, if we have so lived as to deserve it, and are entitled to the respect and confidence of the younger part of mankind, in exact proportion to the manner in which our own youth has been spent, and our maturity improved." Grave, Austere, Authoritative Manner. ("Expulsive orotund:" "Declamatory" force: Firm "median stress.") CATO [IN REPLY TO C~SAR'S MESSAGE THROUGH DECIS.]--Addison. ( My life is grafted on the fate of Rome. Would he save Cato, bid him spare his country Bid him disband his legions, PITCH. 115 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." III. "Very Low" Pitch. This designation applies to the notes of those emotions which are of the deepest character, and which are accordingly associated with the deepest utterance. These are, chiefly, the following: deep solemnity, awe, amazement, horror, despair, melancholy, and deep grief. The exceedingly "low pitch " of these and similar states of feel ing, is one of those universal facts which necessarily become laws of vocal expression, and, consequently, indispensable rules of elocution. Any passage, strongly marked by the language of one of these emotions, becomes utterly inexpressive without its appropriate deep notes. Yet this fault is one of the most prevalent in reading, especially with youth. That absence of deep and powerful emotion of an expressive character and active tendency, which usually characterizes the habits of the student's life, often leaves a great deficiency in this element of vocal effect, even in individuals who habitually drop into the fault of a slackness of organic action which causes too low a pitch in serious or in grave style. The "very low " pitch is not a mere accidental or mechanical result: it requires the aid of the will, and a special exertion of organ, to produce it. This lowest form of pitch is one of the most impressive means of powerful natural effect, in the utterance of all deep and impressive emotions. The pervading and absorbing effect of awe, amazement, horror, or any similar feeling, can never be produced without low pitch and deep successive notes; and the depth and reality of such emotions are always in proportion to the depth of voice with which they are uttered. The grandest descriptions in the Paradise Lost, and the profoundest meditations in the Night Thoughts, become trivial in their effect on the ear, when read with the ineffectual expression inseparable from the pitch of ordinary conversation or discourse. The vocal deficiency which limits the range of expression to the middle and higher notes of the scale, is not, by any means, the unavoidable and necessary fault of organization, as it is so generally supposed to be. Habit is in this, as in so many other things, the cause of defect. There is truth, no doubt, in the remark so often made in defence of a high and feeble voice, that it is natural to the individual, or that it is difficult for some readers to attain to depth of voice without incurring a false and forced style of utterance. But, in most cases, it is habit, not organization, that has made certain notes natural or unnatural, - in other words, familiar to the ear, ox 116 ORTHOPHONY. the reverse. The neglect of the lower notes of the scale, and, consequently, of the organic action by which they are produced, ma) render a deep-toned utterance less easy than it would otherwise be. But most teachers of elocution are, from day to day, witnesses to the fact, that students, from the neglect of muscular action, and from all the other enfeebling causes involved in sedentary habits and intellectual application, sometimes commence a course of practice, with a high-pitched, thin, and feminine voice, which seems at first incapable of expressing a grave or manly sentiment, and, in some instances, appears to forbid the individual from ever attempting the utterance of a solemn thought, lest his treble tone should make the effect ridiculous; but that a few weeks' practice of vocal exercise on bass notes and deep emotions, as embodied in rightly selected exercises, often enables such readers to acquire a round and deep-toned utterance, adequate to the fullest effects of impressive eloquence. The exercise of singing bass, if cultivated as an habitual practice, has a great effect in imparting command of deep-toned expression, in reading and speaking. Reading and reciting passages from Milton and from Young, and particularly from the Book of Psalms, or from hymns of a deeply solemn character, are exercises of great value foi securing the command of the lower notes of the voice. The practice of the following examples should be accompanied by copious exercises on the elements, and on words selected for the purpose. These exercises should be repeated till the student can, at any moment, strike the appropriate note of awe or solemnity, with as much certainty as the vocalist can execute any note of the scale. EXAMPLES OF " VERY LOW" PITCH. Deep Solemnity, Sublimity, and Awe CATO, [IN SOLILOQUY.] -Addison. (" Effusive and Expulsive orotund:" " Subdued and Suppressec force: - Median stress.") "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 thhat points out an hereafter, And intimates Eternity to man. Eternity!-thou pleasing,- dreadful thought! Through what variety of untried being, PITCH. 117 Through what new scenes and changes must w pass! The wide, the unbounded prospect lies before me; But shadows, clouds, and darkness, rest upon it." Awe, Dismay, and Despair. ("Aspirated pectoral Quality:" "Suppressed" force: "Medita stress.") THE PESTILENCE.-Porteoub " At dead of night, In sullen silence stalks forth PESTILENCE: CONTAGION, close behind, taints all her steps With poisonous dew: no smiting hand is seen; No sound is heard; but soon her secret.path Is marked with desolation: heaps on heaps Promiscuous drop. No friend, no refuge, near: All, all is false 'and treacherous around, All that they touch, or taste, or breathe, is DEATH ~" Deep Grief. AFFLICTION AND DESOLATION.--Young. ("Effusive and expulsive orotund:" "Impassioned" and "subdued" force: " Vanishing " and " median stress.") "In every varied posture, place, and hour, How widowed every thought of every joy! Thought, busy thought! too busy for my peace! Through the dark postern of time long elapsed, Led softly, by the stillness of the night, Led like a murderer, (and such it proves!) Strays, (wretched rover!) o'er the pleasing past: In quest of wretchedness perversely strays, And finds all desert now!" IV. "High" Pitch. The analysis of vocal expression, as regards the effect of pitch," leads us now to the study of those modes of utterance which lie above the middle, or ordinary, level of the voice. The higher portion of the musical scale is associated with 118 ORTHOPHONY. the notes of brisk, gay, and joyous emotions, with the exception of the extremes of pain, 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 express those passions. ZTracing the voice upward, as it ascends from the usual pitch of " serious" or of "animated expression," we observe it obviously rise, when it passes from the "' animated," or lively, to the " gay" or brisk style, which implies a positive exhilaration, or vivid excitement of the animal spirits. Cheerfulness will suffice to produce " animation;" but joy is requisite to cause " gaiety." The properties of voice, in the utterance of these feelings, are correspondent to their gradations of sensibility. " Animation" is expressed by "I pure tone," "' unimpassioned radical stress," and "L middle pitch:" gaiety, by " expulsive orotund," vivid " radical and median stress," and "high pitch." The command over "pitch," in its application to joyous emotions, is not, it is true, of so much importance to the public speaker, as the power of adopting the appropriate tone of serious, grave, and solemn feeling. It is, however, an indispensable accomplishment in elocution, for the purposes of private and social reading; as much of the pleasure, as well as the true effect, of expression, in the reading of pieces adapted to the parlor, and the family or the social circle, depends on the vivid utterance and comparatively high pitch which occasionally prevail in the appropriate style of such reading; since it is not unfrequently marked by gay delineation and high-wrought graphic effect of incident, description, and sentiment. A c" pitch " too low for the natural effect of gay and exhilarated feeling deadens the effect of wit and vivacity, and renders, perhaps, a most expressive strain of composition, tame and dull, when it should abound in the tones of life and brilliancy. Juvenile readers, from diffidence, often withhold the true effect of the voice in the reading of scenes of gaiety and joyousness, by allow ing the pitch to remain too low. The gravity and austerity of the student's life, incline him to the same mode of utterance, as a habit, and hence impair that freshness of effect, even in serious communication, which comes from the frequent practice of utterance in strains of joy and gaiety. The proverbial dulness arising from " all work and no play," is felt nowhere more deeply than in the habits of the voice. Long-continued, intense mental application, betrays itself, uniformly, in a tendency to hollow, "pectoral" tone; and the uniform " drowsy bass " of some public speakers, is but the unconscious yielding to this natural effect. 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, till the" high pitch" of joy is perfectly at command. PITCH. J19 EXAMPLES OF "HIGH" PITCH. Gay, or brisk, style. Joy. FROM THE VOICE OF SPRINGa.-Mrs. Hemans. (. Expulsive. orotund:" " Impassioned" force: " Median stress.") " I come! I come!-ye have called me long: I come o'er the mountains with light and song! Ye may trace my step o'er-the wakening earth, By the winds which tell of the violet's birth, By the primrose stars in the shadowy grass, By the green leaves opening as I pass. ' From the streams and founts I have loosed the chain. They are sweeping on to the silvery main,They are flashing down from the mountain brows,They are flinging spray o'er the forest-boughs,They are bursting fresh from their sparry caves;And the earth resounds with the joy of waves!" Exultation. FROM THE HYMN OF THE STARS.--Brya/m. ((' Quality," force, and " stress," as before, but. more fully given.) "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: Lo! yonder the living splendors play! Away! on our joyous path away! 120 ORTHOPHONY. " Away, away! -In 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!" 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. As the appropriate utterance of excessive feeling, the 1" extremely high pitch" is not so important for the general purposes of elocution, as the "middle" or the "high." Passages requiring this mode of expression must obviously be of comparatively rare occurrence. It is not less true, however, that the peculiar beauty, or power, or natural effect, of a strain of poetry, may depend, for its true expression, on the command which the reader or reciter possesses over this element of voice. It is equally certain that practice and discipline on the uppermost notes of the scale, give the voice great pliancy, on the range immediately below; and that the frequent repetition of the highest note which the student can command, is one of the most efficacidus means of imparting firm, clear, and wellcompacted tone. 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 c VERY HIGH" PITCH. Ecstatic Joy. [SONG OF THE VALKYRIUR, OR FATAL SISTERS, TO THE DOOMED WAR RIOR.] -Mrs. Hemans. (" Expulsive Orotund:"" Sustained " force of calling and shouting: "Median stress.") " Lo' the mighty sun looks forth!Arm! thou leader of the north! PITCH. 121 Lo! the mists of twilight flyWe 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! There is joy in Odin's hall!" Astonishment. )DROMIO or SYRACUSE, [ON HIS BEING MISTAKEN FOR HIS BROTHER.] - Shakspeare. (" Expulsive Orotund:*' " Impassioned" force: "Thorough stress.") " 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 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 transformed me to a curtaildog, and made me turn i' the wheel." To attain a perfect command of " pitch," as an element of expression, it will be a useful exercise, to review, in close succession, all the examples of " pitch," and to add, at each stage, a repetition of the elements and of words. The student who can borrow the aid of the musical scale, will derive great benefit from the exactness which it will impart to his practice; as it will enable him to observe and to remember certain notes as the appropriate pitch for natural and impressive reading, in passages characterized by given emotions. The habit of analyzing passages, so as to recognize readily 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 determine its gradation of feeling, and its true note in utterance. Besides practising the examples of " pitch," in the order in which they occur in the preceding pages, it will contribute much to facility in changing the " pitch " of the voice, if tfie 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 reverse. The practice of the elements and of words, should always be added to the repetition of the examples. 11 122 ORTHOPHONY. " TRANSITION" IN PITCH. The paucity of terms in our language, fcr the various phenomena of voice, has laid writers on elocution under an imagined necessity of using some words, borrowed from other sciences or arts, in a manner not consistent with scientific accuracy of expression. Thus, the word " modulation," which has an exact meaning in music, has been usc.d in elocution, in an irregular manner, to designate the observance of the difference of pitch, in the utterance of emotions, as they occur successively in reading or speaking. Popular, and even reputable usage, has sanctioned this application of the term. But as it tends to create confusion of ideas, when it is used in certain relations to elocution which regard the " melody " of the component parts of sentences, it would be better, perhaps, to regard the transitions of the voice from one strain to another, in consecutive reading, as merely the necessary assumption of a new.' pitch," adapted to each successive emotion, and being nothing else, as a vocal accomplishment, than skill in instantly striking a given note of the scale. A passage of composition, in prose or verse, used as an exercise in reading, may be marked to the ear by one prevalent tone of feeling, which allows or requires little or no variation of voice, and, consequently, as little transition from one note of the scale to another. We find one piece, as Milton's Allegro, for example, pervaded by the expressive tones, and. " high" notes, and consequent " high pitch," of joy throughout, - another, as the same author's Penseroso, marked by the prevalence of the style of grave musing and poetic melancholy, with their appropriate expression in " low" notes, and, therefore, " low pitch." Other compositions are characterized by great and frequent transi tions of feeling and of utterance, and consequently by corresponding high or low notes, and the frequent transition from one to the other. It is to these changes of voice that the term "modulation" has sometimes been arbitrarily applied; and it is to the department of elocution sometimes designated by this term, that we-now proceed in our analysis. This branch of our subject is one of the utmost importance to the student. Without the power of easy and exact accommodation of voice to the natural " pitch " of every successive emotion in a piece, there can be no such thing as natural or impressive reading. But variation of " pitch " is a topic on which we need not dwell; as it is, practically, but the consecutive application of the same functions of voice to which we have just been attending in detached and separate instances. Let the student read in close sequence, and with perfect exactness of " pitch," all the examples given under that head, and he will have necessarily executed, at the same time, an extensive practice in " transition " from one portion of the scale to another, as he shifted the pitch of his voice in passing from one example to another. A piece of varied topics and style, in prose writing, or what has been termed a Pindaric ode, in lyric poetry, will furnish, by its changing character of thought and expression, appropriate occasiors PITCH. 123 for frequer.t and great transitions on the scale, as the voice passes from the utterance of one strain of emotion to that of another. EXAMPLES OF "TRANSITION" IN PITCH. 1. From Joy to Grave and Patchic Emotion. (From "High" to "Low Pitch.") THE VOICE OF SPRIN. -Mrs. Hemans. "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! what have ye looked on since last we met?" 2. From Horror to Tranquillity. (From "Very Low " to "Middle Pitch.") STANZAS FROM A RUSSIAN POET.--Bomring. "Very Low." How frightful the grave! h6w deserted and drear! 'ith the howls of the storm-wind, the creaks of the bier, Anid he white bones all clattering together! "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." 124 ORTHOPHONY 3. From Rapture to Grief. (From "Very High" to " Low Pitch.") STANZAS FROM MRS. HEMANS. "c 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?--goi e Where are the brows with the red rose crowned, And the floating forms with the bright zone bound 2 And the waving locks and the flying feet, That still should be where the mirthful meet?They are gone!--they are fled, they are parted all:Alas! the forsaken hall!" 4. From Triumph and Exultation, to Grave, Pathetic, ana Solemn feeling, and thence returning to Triumph and Exultation. (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, Io! thy son is come!" "Low." i "Who murmured of the dead? Hush! boding voice. We know PITCsH, 125 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." "High."1 " But now shed flowers, pour wine, To hail the conquerors home! Bring wreaths for every shrine!Io! they come, they come!" 5. From Tranquillity to Joy and Triumph, Awe, Scorn, Awe, Horror, Exultation, Defiance, Awe,--successively. [ISRAEL'S TRIUMPH OVER 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.- [Narrative: "Middle Pitch:"] All they shall speak, and say unto thee,- [Scorn: "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.'- [Exultation: "Middle Pitch:"] 'How art thou fallen from heaven, 0 Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!'-[Defiance: "High Pitch:"] For thou hast said in thy heari, " I will ascend into heaven, I will exalt my throne above the stars of God. I will ascend 11* 126 ORTHOPHONY. 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 passing from one paragraph or stanza to another, may also take place within the limits of a single sentence, if the feeling obviously changes from clause to clause, - as in the following extract. Reverence and Awe. (" Low pitch:" rising gradually to " middle," in the fourth lit e.) 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." Solemnity. (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!" THE " PHRASES" OF " SENTENTIAL MELODY." If we bring our analysis of a sentence into still closer distinctions of melody and pitch, we pass from clauses to phrases. The " melody PITCH. 127 Jf phrases and their relative " pitch," involve topics too nuinerous and too intricate for discussion in an elementary work. These sub jects will be found fully explained in the work of Dr. Rush. We will select a few points of practical application and of primary 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." OThe investgation of melody and pitch, in phrases, requires 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 similar 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 interrogatory interjection " eh " or when, in the laughing utterance 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, asjntimating that they exist apart. " Concrete " sounds, on the other hand, are produced by a succession of notes gliding into each other so-imperceptibly to the ear, that they cannot be detached from each other; as when the violinist, in playful execution, sometimes makes his instrument seem to hold dialogue, in the tones of question and answer, by drawing the bow across the strings, while he slips his left hand, upward and downward, so as to shorten or lengthen the strings, and thus cause the sounds to glide up or down the scale, in one continuous stream of " mewing" sound. A parallel illustration may be drawn from the natural use of the voice, when we pronounce the interrogatory "eh? of surprise, in a serious mood, but with great earnestness,- merely causing the voice to slide smoothly up the scale, through the interval 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 effect, in extreme cases; and it fobiids 128 ORTHOPHONY. the see-saw tone of exact alternation, 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 1" concretes " occur in succession, on the same " radical pitch," they form a " monotone," or produce upon the ear the effect of unity or sameness of sound or tone. This concrete pitch is often used in conjunction with the low notes of awe, sublimity, and solemnity, for impressive effect, resembling that of the deep tolling of a large bell. " Monotone," 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 movement" 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 " concretes," 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 a~ 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, popularty called " a tone," exists.. 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 appropriate words selected from the exercises in the chapter on enunciation, with a view, first, to observe the " concrete" 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 following illustration, selected from the work of Dr. Rush will suggest the idea how the exercises in this department 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 elo PITCH. 129 eution, but merely to aid the mind in attaining 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 exhibited 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 explaining its peculiarities till the means of instruction were furnished by exact analysis and precise nomenclature, - benefits for which science and education stand equally indebted to the discriminating genius and philosophic investigation of Dr. Rush. " That quarter most the skilful Greeks annoy, _J [..^ gL----------- ^ ^ ^ w!~ Monotone. Falling Ditone. Rising Tritone. Rising Ditone.. Where yon wild fig trees join the walls of Troy." ~,-~-----i?-i-----V~~----i -~-----a-l~--~ Falling Tritone. Alternation. Triad of the Cadence. To secure the fill 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 elements, on syllables, and on the following couplets. 1.--" Lo! the poor Indian, whose untutored mind Sees God in tempests, hears him in the wind." l 2.--" There, where a few torn shrubs the place disclose, The village preacher's modest mansionrose." 3.-" Thus every good his native wilds impart, Imprints the patriot passion on his heart." 1 The above example is intentionally introduced as one of cadence, for the sake of contrast with the tone of continuance, which belongs to it in the original text. 13U ORTHOPHONY. 4.-" The conscious swains, rejoicing in the sight, Eye the blue vault, and bless the useful light." THE " SLIDE." We proceed to the examination of another function cl the voice, connected with ",ielody," or the transition of vocal sound from one note to another of the musical scale.--The transit from the " radical" to the " vanish" of a sound, is, it will be recollected, limited, in " concrete pitch," to a single tone, or the distance measured to the ear, in passing from one note to the next above, on the scale. We should hear this transition exemplified in the sound of a in the word arm, in the following unimpassioned and incomplete phrase, if read as it would be in the case of a person' suddenly interrupted, at the moment of uttering that word, in the act of reading a sentence; thus, "He raised his arm"- The broken or interrupted, progress of the voice, is here indicated by the fact that the sound of a in the word arm does not descend, but remains suspended by the effect of " concrete pitch," or the common difference between the " radical" and the " vanishing movement," in an unimpassioned or inexpressive sound. But let us suppose the case of a person uttering the same element, in the vivid language of real or affected surprise, in the interjection "ah!" We shall now perceive, that the interval between the "radical" and the "vanish," is greatly enlarged, and that the voice has run up three, five, or perhaps, eight notes, according to the depth and earnestness of the feeling expressed in the utterance of the sound. The more slow and drawling the style of voice is made, in the repetition of the supposed example, the more distinct will be our perception of the transition of sound from note to note, as it glides up the scale. This vocal function is what, in elocution, is termed an "upward slide," or in the language of some elocutionists, a " rising inflection." Let us suppose, once more, the sound of the same element falling on the ear, in the tone of the bold military command, THE " SLIDE." 131 "Arm!" We shall now perceive that, in the time which transpires from the first to the last moment (f the sound, the voice glides down the scale, through an interval, greater or less, according to the boldness and fulness of the utterance. We have here an example of the " downward slide," or " falling inflection." The extent of the " slide " depends, usually, on the intensity of a prompting emotion, as in the case of surprise, mentioned before. Let the student who has not yet trained his ear to discriminate the degrees of the "' slide," and who wishes to attain a clear perception of its different forms, imagine a conversation going on between two persons, one of whom is relating to the other a series of events, each one successively more striking and more surprising than the preceding. Let the hearer be supposed to utter, at each stage in the narrative, the expressive interrogatory interjection of surprise, " indeed!" and with that marked increase of effect, which arises not only from the augmented intensity of force, but also from the wider interval of the scale, or the larger number of notes, which the voice traverses, in the " expressive melody " of speech-. The progressive change of feeling, which causes the progressive change of expression in the voice, may, for the sake of illustration, be supposed to rise from surprise to wonder, and from wonder to astonishment. In such circumstances, may be heard, 1st, the ordinary " slide " of surprise, - the interval occupied by the voice, from the moment of uttering the " radical " of the expressive sound, to that of uttering its " vanish," being a rising " third;" the voice gliding upward, with a continuous sound, terminating in the note which lies on the third degree of the scale above the " radical:"- 2d, the more expressive " slide " of greater surprise, or of wonder, - occupying the interval of an upward " fifth;" the gliding sound terminat ing on the note which is on the fifth degree of the scale above the " raiical:" - 3d, extreme surprise, excessive wonder, or astonishment, whether real or affected, (and, particularly, if the latter,) will impel the voice with a slide which glides through a whole " octave," or interval of eight notes, from the " radical " to the " vgalish." Again, let it be supposed that the person who is listening to the narrator, is answering in the derisive tone of mockery. The voice, in this case, will utter the word " indeed!" in the downward " slide;" and if we suppose, farther, the tone of emotion increased in intensity of expression, at each stage, the effect may be to produce the same three intervals of the scale as before, but in the opposite direction: - 1st, the downward " third," - 2d, the downward " fifth,"-3d, the downward " octave;" the voice gliding down with a continuous sound, through each of these intervals, in succession, while uttering the last syllable of the expressive word " indeed!" Similar illustrations might be drawn from the natural " expression " of other strong or distinctly marked emotions. But these will occur in subsequent examples. A clear and broad definition is all that is now requisite. 132 ORTHOPHONY. The "slides" of the voice have three important and dis tinct offices; 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, comparison, and contrast,-3d, the " mechanical slide," which belongs 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 another exrnple in the " triad" of the full and final cadence falling en'liely within one syllable, as in the following emphatic negation: "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 raising 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 descending sun of the year, into the fields of nature." Few parts of elocution are more important to the practical teacher or to the earnest student, than the discrimination of the " partial" and the " final " cadence. The confounding of these two descents of voice, causes the two prevalent errors of school reading and popular oratory, as contradistinguished from true, natural, arid appropriate expression. The school-boy, in attempting to give the " partial" cadence, when endeavoring to comply with his teacher's injunction, to use a falling inflection," gives the full " triad " of the cadence, on the last three syllables, in the phritse of the preceding example, " be select:" which of course produces, at the colon, the proper effect of a period. The habitual tone of school reading, inclining, in didactic style, to a declamatory chant, the young reader, when he comes to the proper place of the cadence, at the close of the sentence, substitutes, for the proper " triad," -on the last three syllables,- the Srising ditone," on the first and second, and a " concrete third" with a downward " vanish," on the third; and these are commonly rendered still more conspicuous by the unhappy effect, (intended, THE CC SLIDE."9 133 apparently, as a compensation for the want of true cadence,) of a superadded "l wave." This "drift," or prevailing effect of false intonation, in the " melody of sentences," pervades thsstyle of voice current in school reading, in academic declamation, and in public addresses, and substitutes something like the effects of song for those of speech. The "triad" of the cadence derives its closing effect of repose and" approaching cessation of voice, partly from its contrasting with the previous " penultimate upward slide," which usually occurs at the last comma, or similar pause, of a sentence, and terminates the penultimate clause; sometimes from a previous " falling tritono" preceding the penultimate rise; and always from its own regular descent, which resel bles the effect of a gradual but distinct succession of downward steps. The " partial " cadence of complete sense, but incomplete period, on the contrary, preserves its more abrupt effect of imperfectly finished succession of sounds, by adopting, in the last three syllables of the clause to which it is applied, the " rising ditone " on the first and second, and the " concrete of the second," with downward " vanish," on'the third. The effect of full cadence is thus entirely avoided, and yet that of partial completeness of sense, secured; the voice ending on a strain too high for the one, and yet, by the " concrete of the second " with the downward "vanish," preserving the indication of temporary cessation and slight repose. I. THE SLIDE OF EMOTION. The "slide of emotion" extends through an interval corresponding, 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 by the " downward slide;" except surprise, and earnest, or impassioned interrogation, which usually adopt the " upward slide " of the " fifth" or the 1" octave." EXAMPLES. 1. Impetuous Courage and Fierce Determination. RICHMOND TO ITS TROOrs. -Shakspeare. (" Orotund " and " aspirated pectoral quality:" Shouting: " Explo. sive radical" and " expulsive median stress:" " High pitch." The "' downward slide" of the " third," takes place on every emphatic word in the first four lines, and the "' downward fifth" on the remainder, as indicated by the grave accent, the usual mark for this " slide.") 12 134 ORTHOPHONY. " Fight, gentlemen of England! fight, bold yebmen' Draw, archers, draw your arrows to the head: Spur your proud horses hard, and ride in blbod, Amaze the welkin with your broken staves.A thbusand hearts are great within my bbsom: Advance our standards, set upon our f6es! Our ancient word of courage, fair Saint George, Inspire us with the spleen of fiery dragons! Upbn them! Victory sits on our helms." 2. Impassioned burst of Scorn. FROM CORIOLANUS.-Shakspeare. ("Aspirated pectoral and guttural quality:" Violent force: " Explosive radical stress:" " High pitch." The exemplification occurs in the reply of Coriolanus, which contains the " downward slide' of the L octave," in the words " Measureless liar!" and " Boy!" and the " downward fifth" on the other emphatic words.) Aufidius. " Name not the god, Thou boy of tears. Coriolanus. Measureless liar! thou hast made my heart Too great for what contains it. BMy! Cut me to pieces, Volscians: men and lads, Stain All your edges on me. Bby!If you have writ your annals true, 't is there That, like an eagle in a dovecot, I Fluttered your Volscians in Corioli: Alone I did it.- Bby!" 3. Indignant Rebuke. MARULLUS TO THE PEOPLE.-Shakspeare. (" Orotund and aspirated pectoral quality:" " Impassioned" force: " Explosive radical stress:" " Low pitch:" " Downward slide" of the " fifth." " Begbne! run to your h-uses, fall upon your knees, Pray to the gbds to intermit the plagues That needs must light on this ingratitude!" THE c SLIDE." 135 4. Excessive Grief. ("Aspirated pectoral quality:" Weeping utterance: "Impassioned" force: Violent "vanishing stress:" " High pitch:" " Downward slide" of the " fifth.") DAVID, [BEWAILING THE DEATH OF ABSALOM.] "0 my son Absalom! my son, my son Absalom! Woull God I had died for thee, 0 Absalom, my son, my s6n!" 5. Exception.- Surprise, Earnest and Impassioned Interrogation. EXTRACT FROM CHATHAM. ("Aspirated pectoral quality " " Declamatory " force " Compound stress:" " High pitch:" " Upward fifth.") "Can ministers still presume to expect supp6rt2 in their infatuation? Can parliament be so dead to its dignity and its duty, as to give its support to measures thus obtruded and f6rced upon it?" FROM CICERO'S ACCUSATION OF VERRES. " Is it come to this? Shall an inferior magistrate, a g6vernor, who holds his whole power of the Roman people, in a Roman pr6vince, within sight of Italy, bind, sc6urge, t6rture with fire and red hot plates of iron, and at last put to the infamous death of the cr6ss, a Roman citizen?" MARULLUS TO THE PEOPLE.-Shakspeare. " 0 you hard hearts, you cruel men of Rome, Knew ye not Prnipey? Many a time and oft Have you climbed up to walls and battlements, To towers and windows, yea, to chimney-tops, SFor fuller exemplification of the " slide," see "American Elocutionist," in which this and the other departments of sentential and rhetorical elocution, are fully discussed. The present volume, being designed merely as a manual for training in orthophony, and as an introduction to the Elocutionist, is limited to such an outline of the subject as might afford sufficient ground for the intelligent practice of a course of elementary exercises. 2 The acute accent is the usual mark of the "upwarl slide," or "rising inflection." 136 ORTHOPHONY. Your infants in your arms, and there nave sat The live-long day, with patient expectation, To see great Pompey pass the streets of Rome: And when you saw his chariot but appear, Have you not made a universal shout, That Tiber trembled underneath her banks. To hear the replication of your sounds, Made in her concave shores?' And do you now put on your best attire? And do you now cull out a h6liday? And do you now strew flowers in his way, That comes in triumph over Pompey's bl6od?" II. THE " DISTINCTIVE" SLIDE. This slide, it will be recollected, is used not for purposes of pas. sion or emotion, but for suggestions connected with the understand. ing and judgment, - that which may be termed intellectual, not impassioned, expression. The "downward distinctive slide" extends, usually, through the interval of a " third." It is used, first, for mere designation, as in announcing a subject or topic, in didactic style, in introducing a person or an event in narrative, or an object, in descriptive style; as in the following examples: " The duties of the citizens of a repuiblic formed the subject of the orator's address." " Among the eminent men of the period of the American Revolution, Benjamin Franklin held a conspicuous place." " From the date of the American Revolution, 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 the latter of two correspondent or antithetic words or phrases, in which the contrast is exactly balanced; thus, "I would neither be rich nor pbor," or when the antithesis is unequal, and one word or phrase is intentionally made more expressive 1 An interrogation of peculiar emphasis, or of great length, takes the down ward slide; as, in such cases, the effect of interrogation is locs in that of assertion. THE "SLIDE. 137 than the other, in which case the more emphatic word or phrase takes the downward slide: thus, " I would rather be rich than poor."- The "distinctive upward slide" occurs in the word " rich," in the former of these examples; and it may be given also in the word "poor," in the latter, if pronounced with peculiar distinctive force, so as to authorize, in the sound of the word "poor," an upward slide, instead of a cadence, at the close of the sentence,-an effect which often takes place in the unstudied and natural use of the voice, and which corresponds somewhat to the rebound of the ball, when it is thrown against the wall with sufficient force to produce that effect. EXAMPLES OF " DISTINCTIVE SLIDES." I. Simple Designation. 1. Didactic Style. " The progress of the Italian opera, 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 rank in society, forms one of the most interesting topics of historical investigation." 2. Narrative Style. "The conspiracy of Catiline, as related by Sallust, was one of the most atrocious designs ever plotted by desperate and heartless villany." " From the time when the people enjoyed the right of electing their tribunes, they fondly deemed their liberty securIe against future encroachments." " The usurpation, as it has been termed, of Oliver Cromwell, rightly interpreted, is one of the most memoralle of lessons to monarchy, ever taught in the great school of history." 3. Descriptive Style. "A sudden shbwer puts an end to the gaiety of the revel12* 138 ORTHOPHONY. lers, and sends them scampering in all directions for shelter." "The spots on the disc of the sni, which, in some instances, 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. Comparison and Antithesis, or Contrast. 1. Comparison of Single Objects. " As is the beginning, so is the and." 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 iv knbwledge.Y 3. Contrast of Single Objects. "I mingled freely with all classes of society, arrd narrowly observed the life of the peasant, as well as that of the prince." 4. Double Contrast, or Antithesis. "( As it is the part of justice never to do violence, it is that of m6desty never to commit offence." 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 cadence; the latter, when the cadence, from the absence of accent on preceding syllables, descends in the form of a 1 In double contrasts, the full," distinctive slide of the third," falls only on the prominent parts of the contrast, the teading and determining words at the middle and the end of the sentence: the other pair of contrasted words are usually restricted to " falling" and "rising ditone," in their "radical pitch.' THE " SLIDE.)1 139 "concrete downward slide" on a single sound, which includes, within itself, the whole interval otherwise occupied by a "discrete triad." Another form of the " mechanical slide," is used to indicate, as mentioned before, complete sense, or the finishing of an independent part of a sentence. Its effect, 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 " partial" cadence, as contrasted with its opposite, the " upward slide" of the "1third," in incomplete sense, assumed, on purpose, in the middle of a sentence, to create expectation of farther expression, for the completion of a thought; or the " upward third " of unimpassioned interrogation, which also implies incomplete or undetermined sense. The " downward 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 illustration, is suddenly interrupted in the act of reading, and breaks off at an incomplete phrase. 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 poetry, the English have only to boast of Spenser and Milton, who neither of them wanted either genius or learning to have been perfect poets; and yet both of them are liable to many censures." 2. --"Partial Cadence," at the close of a clause which forms complete sense. " Greatness confers no exemption from the cares and sorrows of life: its share of them frequently bears a melancholy proportion to its exaltation." 140 ORTHOPHONY. "In man, we see a creature whose thoughts are not limited oy any narrow bounds either of place or time, who carries his researches into the most distant regions of this globe, and beyond this globe, to the planets and heavenly bbdies; looks backward to consider the first origin of the human race; casts his eyes forward to see the influence of his actions upon posterity, and the judgments which will be formed of his character a thousand years hence: a creature who traces causes and effects to great lengths and intricacy; extracts general principles from particular appearances; improves upon his discoveries, corrects his mistakes,' and makes his very errors profitable." 3.-" Upward Slide of incomplete or suspended sense." "Were men entirely free from vice, all would be uniformity, harmony, and order." " The idea of that Divine Being, whose benevolence and wisdom have, from all eternity, contrived and conducted the immense machine of the universe, so as at all times to produce the greatest possible quantity of 2happiness, is certainly, of all objects of human contemplation, by far the most sublime." "If a man is deeply impressed with the habitual and thorough conviction, that a benevolent and all-wise Being can admit into the system of His government no partial evil which is not necessary for the universal g6od, he must consider all the misfortunes which may befall himself, his friends, his society, or his country, as necessary for the prosperity of the universe, and therefore as what he ought, not only to submit to with resignation, but as what he himself, if he had known all the connexions and dependences of things, ought sincerely and devoutly to have wished for." 4.-" Upward Slide" of" unimpassioned interrogation." " Have you heard the n6ws? Can we place any depen1 "Penultimate upward slide." tA " rising tritone" is sometimes the equivalent of the " upward slide of the third." THE tc SLIDE." 141 dence on the report? Is it probable that such an event could have been kept so long concealed?" " Shall we ad6pt the measures proposed by this speaker? Are the arguments which he has advanced sufficient to produce 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 understanding, and amend the heart? Is it written with freedom and impartiality? Does it bear the marks of honesty and sincerity? Does it attempt to ridicule anything that is good or great? Does a manly style of thinking predominate in it? Do reason, wit, humor, and pleasantry, prevail in it? Does it contain new and useful truths?" CHAPTER VII. "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 discussed, as the ground of practical exercises in elocution. " QUANTITY." The study of time, as a measure of speech, will lead to the primary classification of single vowel sounds, as long or short, in duration, according to their character and expression, as elements of language. The contrast, in the duration of the " tonic element," or vowel sound, a, in the words male 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 142 ORTHOPHONY. 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 female, a "short quantity."- Such is the usual distinction recognized in prosody, and applied to versification. Syllables, when regarded in connexion with the " quantities" 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 example, in the word sick, or in the verb convict. " Immutable" syllables terminate with an abrupt, or " atonic " element, preceded by a short " tonic," as in the above examples. The propriety of the designation " immutable" will be apparent, on referring to the following examples, in the utterance of which, although there is the utmost intensity of emotion, the elements ic oppose an insuperable resistance to any attempt to heighten the expression of passion by prolonging the sound of the syllable or word in which they predominate. HOTSPUR, [EXCLAIMING ON HIS FATHER'S ILLNESS, AND CONSEQUENT ABSENCE FROM THE CAMP AT SHREWSBURY.] -Shakspeare. " 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 prolongation. Their "time," therefore, is mutable, or admits of gradation, according to the length or shortness of sound, in their constituent elements, as pronounced with more or less emotion of a nature which requires slow, rapid, or moderate utterance of the words or phrases in which they occur. The monosyllable yet, or the accented syllable of the word beset, uttered in the tone of any vivid emotion, will furnish an example. An instance occurs in the scene of the combat between Fitz James and Roderic Dhu, when the latter makes the taunting exclamation, "Not yet prepared? "-and another in Blanche's dying warning, "tQUANTITY. 143 " Te-path's beset, by flood and fell!" 3d. " Indefinite" syllables, or those which contain, or terminate with, a " tonic" element, or with any " subtonic " but b, d, or g. The "quantity" of the predominating element in such syllables, even when it is not positively long, admits, without offence to the ear, of a comparatively indefinite prolongation; as the a in the words min, unmannerly, pronounced with emotion. 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 piecefork is a man and LadyMaacbeth's indignant and reproachful interrogation addressed to her husband, when he stands horror-stricken at the vision of the ghost of Banquo, " Are ou a man? " The power and -eauty o vocal " expression," are necessarily dependent, to a great extent, on the command which a reader or speaker possesses over the element of" quantity." Poetry and eloquence derive their audible character from this source, more than from any other. The music of verse is sacrificed, unless the nicest regard be paid to " quantity," as the basis of rhythm and of metre; and, with the exception of the most exquisite strains of well-executed music, the ear receives no pleasure comparable to that arising from poetic feeling, imbodied in the genuine nielody of the heart, as it gushes from thp expressive voice which has the power of " Untwisting all the chains that tie The hidden soul of harmony." 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. The same is true, still more emphatically, of the magnificent language of the poetic passages of Scripture, in those strains of triumph and of adoration, which abound in the book of Psalms, and in the prophets. The necessity, on the other hand, of obeying the law of " immutabl quantity," even in the grandest and most emphatic expression, is an imperative rule of elocution. A false, bombastic. swell of voice, never sounds so ridiculous as when the injudicious *nd unskilful reader or speaker attempts to interfere with the conditions of speech, and to prolong, under a false excitement of utterance, those sounds which nature has irrevocably determined short. We have this fault exemplified in the compound of bawling, drawling, and redoubled "' wave," which some reciters contrive to crowd into the small space )of the syllable vie, in the conclusion of Moloch's war-speech, " Which if not victory is yet revenge." The fierce intensity of emotion, in the true utterance of this syllable, brings it on the ear with an instantaneous ictus, and tingling effect, resembling that of the lash of a whip applied to the organ. A simi 144 ORTHOPHONY. lar case occurs in Shylock's fiendish half-shriek, on the word hip, in his exclamation referring to Antonio, " If I do catch him once upon the hip, I will feed fat.the ancient grudge I bear him!" The sprawling, expanded utterance, which the style of rant preposterously endeavors to indulge, on this word, causes the voice, as it were, to fall in pieces in the attempt, and to betray the falsity of the style which it affects. But it is in the chaste yet generous effect of the judicious prolongation and indulgence of "mutable quantities," that the skill of the elocutionist, and the power and truth of expression, are peculiarly felt. It is in these, that the watchful analyst can trace, at once, the full soul and the swelling heart, which would impel the speaker to prolong indefinitely the tones of passion, to give " ample scope and verge enough" to overflowing feeling, -but, not less surely, the manly force of judgment, and the disciplined good taste, which forbid any display of mere sound, in the utterance of earnest emotion. A long-continued practice on the elements of the language, on sy'lables, 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 firmness, clearness, decision, and purity of the opening " radical," and the delicacy and distinctness of the " vanish." The latter should be occasionally practised in that long-protracted form, which, as Dr. Rush has expressively said, " knits sound to silence."' The elements may be practised in " effusive," " expulsive," and "explosive " utterance, on all the chief intervals of " slide " and " wave," commencing with the " second," and extending to the octave, both upward and downward, - and on the various degrees of " force " and modes of " stress," together with the distinctions of " pitch," and the " expression" of the chief characteristic emotions; as awe, reverence, fear, horror, despair, anger, grief, joy, love, &c. 1. Examples of Long "Quantities," and "Indefinite" syllables. A-ll A-rm Ai-r E-ve Oo-ze O-r a-we a-h! h-ai-r ee-1 f-oo-1 m-orn b-a-ll t-a-rn d-a-re ea-r p-oo-r f-o-rm aw-ful b-a-lmy c-a-reless e-vil m-oo-nless o-rder 1 The same thought is'expressed, with inimitable beauty, in the lines of Sheridan Knowles: " I hear a sound so fine, there 's nothing lives 'Twixt it and silence!" "C QUANTITY." ~14 145 al-ways h-a-rmless au-gur t-a-rnish app-a-il af-a-r bef-a-ll dis-a-rm rec-a-11 bec-a-lm A-le R-e avd i-sic ai-rn d-ie b-a- eful, i-vy h-ai-ling dy-ing w-ai-ling h-i-ghly unv-ei-l repl-y recl-ai-m def-y disd-as-n den-y w-a-ry ea-sy s-oo-ner o-rphan r-a-rely fee-ble c-oo-ling o-rgan bew-a-re rev-ea-l rem-o-ve ad-o-rn ensn-a-re conc-ea-1 unm-oo-r acc-o-rd decl-a-re app-ea-1 repr-o-ve- forl-o-rna 0-id Ou-r Oi-l ow-n ow-i j-oi-n o-de v-ow b-oy o-ver li-ow-ling v-oi-celess o-nly d-ow-nward n-oi-sy li-o-ly b-ou-ndless p-oi-son bel-ow -reb-ou-nd enj -oy, foreg-o res-ou-nd rej-oi-ce beh-o-ld unh-ou-sed empl-oy U-se yIou d-ew d-u-ly p-u-rer m-u-ral ref-u-se am-u-se den-u-do 2. - Short "1Quantities," and "Immutable" Syllables.' B-a-ck b-e-ck h-a-ck n-e-ck b-a-ckward b-e-ckon 1-a-ckey sp-e-ckled att-a-ck bed-e-ck M-a-p r-a-p t-a-p t-a-pster str-a-pping B-a-t c-a-t p-a-t b-a-tten t-a-tter p-i-ck s-i-ck w-i-cked f--ckle unp-i-cked D-i-p t-ip 1-ip s-i-pping tr-i-pping B-i-t p-i-t f-i-t b-i-tter f-i-ttest d-o-ck d-u-ck m-o-ck t-u-ck s-o-cket 1-u-ckleaa kn-o-cking b-u-cket bem-o-ck rel-u-et U-p c-u-p s-u-p u-pper C-u-pful B-u-t c-u-t n-u-t m-u-tter c-u-tting 3, -Variable "Quantities," and " IMutable" Syllables. A-pc Wh-a-t B-e-t A-dd B-i-g 0-dd C-u-b I" "Immutable" syllables do not admit -of", effusive" utterance. They are nest adapted -to the display of"1 explosive"1 style, although they occur also in "6expulsive" and "declamatory expression." 146 ORTHOPHONY. g-ai-t n-o-t d-e-bt b-a-d d-i-g g-o-d d-u-o f-a-te g-o-t.p-e-t m-a-d f-i-g n-o-d t-u-b b-a-sely d-o-tted b-e-tter s-a-dden g-i-ggle b-o-dy b-u-bble w-a-keful c-o-ttage p-e-ttish m-a-ddest d-i-gger s-o-dden d-o-uble EXAMPLES OF "QUANTITY," IN PHRASES AND SENTENCES. 1.- Long "Quantities," and "Indefinite" Syllables. [The object in view in these exercises, is, to enable the studeiA to trace distinctly the wide scope of " expression " afforded by " indefinite " syllables, for the full prolongation of all elements which imbody the sounds of passion and emotion. " Time," in elocution, is the opportunity of effect, which inattention and rapidity throw away. Young readers, in particular, need much practice in this department; 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 consecutive 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.] Grie':-"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 I." 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! offspring of Heaven firstborn." Disdain: -" None left but by submission; and that word Disdain forbids me." Shouting:-" ' To arms! to arms! to arms!' they cry." Regret:- "Ah! why will kings forget that they are men, And men that they are brethren?" Delight: -" The balmy breath of incense-breathing morn""0 my soul's joy!" Fear:--" While the deep thunder, peal on peal, afar"Triumph:- "lo! they come, they come!" tc QUANTITY. 147 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!" Defiawce:-" Thy threats, thy mercy, I defy!" 'I give thee, in thy teeth, the lie!" 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!" Exultation:--" Poison, and Plague, and yelling Rage are fled!" Adoration:--"Azr, earth, and sea, resound 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 dar'st thou, then, To beard the lion in his den, The Douglas in hislall? 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 toe. "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. "Evil! be thou my good!" Pity:-- " Sickness, and want, and feeble, trembing age "Distraction:-" Blow, wind, and crack your cheeks! rage! blow!" 148 ORTHOPHONY. Gloom:-- Thou drear and howling wilderness!" Vastness and Sublimity:-" Boundless, endless, and sub. lime!" Self-reproach -" 0 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 blinding flames Into her scornful eyes!" Accusaton:---" Nathan said unto David, 'Thou art the man! '" " All the treasons, for these eighteen years, Complotted and concocted in this land, Fetch from false Mowbray 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 butchers!" Sorrow: - " Ah! lady, now full well I know What 't is to be an orphan boy!" Delight: - " Of pure now purer air Meets his approach," " Of bloom ethereal the light-footed Dews."-- 2. - Short "Quantities," and " Immutable" Syllables. [The object in view, in the following examples, is to exhibit thb " explosive " mode of utterance, and to impart the power of concen trating and condensing expression into the shortest sounds. Instan taneous execution is, in these examples, the point to be aimed at; - the voice tto be charged with the utmost impetuous force of utter ance, on every expressive syllable; and any approach to prolonga tion to be carefully avoided, as tending to weaken the proper effect The " explosion," in many of these instances, should resemble the startling abruptness of a sudden and violent blow,] 19 QUANTITY." 149 Wfrat.:-' Back to thy punishment! false fugitive." Maddened Resolve:-" I'll fight till from my bones my flesh be hacked!" Reproach: - "Up! sluggards, up!" " Wicked, remorseless wretch!" " 0 fickle fool!" Indignation:-" Thou impious mocker, hence!" " Be ready, gods, with all your thunderbolts! Dash him in pieces!" Terror:-- " Whence is that knocking?" Command:-" Sound, tuckets!" Scorn:-" You, wretch! you could enjoy yourself, like a butcher's dog in the shambles, battening on garbage, while the slaughter of the brave went on around you." Contempt:-" Thou tattered starveling!" " The swaggering upstart reels!" Mirth:-"( Come, and trzp it, as ye go, On the light fantastic toe!" Boasting:-" I have seen the day, with my good biting falchion 1 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! - fit 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 way! 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 will ease thy heart." Horror: " I could not say, Amen, When they did say, God bless us! 13 150 ORTHOPHONY. "Amen Stuck 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,--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" Syllables. [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 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" ren dered as brief as possible.] 1. -Impatience, and Revenge. [MACDUFF, AFTER HEARING OF THE MASSACRE OF HIS FAMILY BY TUB ORDER OF MACBETH.] -Shakspeare. " But gentle Heaven, Impatience: (S. q.1) " Cut short all intermission: front to front, Bring thou this fiend of Scotland and myself; Revenge: (L. q.2) " Within my sword's length set him; - if he scape, Heaven forgive him too!" I Shorter quantity. 2 Longer quantity. c QUANTITY." J51 2. - Cheerfulness, and Scorn. Cheerfulness: (S. q.) THE BANISHED DUKE, IN THE FOREST, TO HIS FRIENDS.]-Shakspeare " Now my co-mates, and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp?" Scorn: (L. q.) tSATAN TO ITHURIEL AqD ZEPHON.]--Milton. " Know ye not me? Ye knew me 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 ATHENIANS.] " Will you forever, Athenians, do nothing but walk 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.) [BA1&uo, TO MACBETH, ON THE VANISHING OF THE WITCHES.]--Shaks peare. " The earth hath bubbles, as the water has; And these are of them." Contempt: (L. q.) [FROM DRYDEN'S ODE FOR SAINT CECILIA'S DIAY. " War, he sung, was toil and trouble, Honor, but an empty bubble." 152 ORTHOPHONY. 5. -Impatience, and Awe. Impatience: (S. q.) [CAssIUS, IN THE QUARREL WITH BRUTUS.] - Shakspem. "Ye gods! ye gods must I endure all this?" Awe: (L. q.) [LEAR, IN THE THUNDER-STORM.]-Ibid. " 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.1) ANONYMOUS LINES. " He in his robe of virtue wraps himself, And smiles at Fate's caprice!" Despair: (L. q.) "Fate! do thy worst! " 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 between sentences and between their parts; as the intermissions of the voice are, virtually, though not nominally, constituents of " expression," whether we regarc thought or feeling. Without distinct and appropriate pauses, we cannot understand oral communication; and without occasional impressive cessations of voice, there can be no true sympathy between speaker and hearer. Pauses, as classified in elocution, are of two kinds: Ist, those which express emotion; 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 "expression" of all grave, deep, and solemn emotions, which incline to prolonged 1 Moderate quantity. " QUANTITY." 153 " quantities," are comparatively long, and thus correspond, in character, to the vocal sounds between which they occur, and which they aid by their harmonious effect, as in the following instances: Night,' II sable goddess, II from her ebon throne I In rayless majesty I now stretches forth I Her leaden sceptre o'er a slumbering world. Silence II how dead! IIII and darkness 11 how profound!' Brisk, gay, and lively feelings, are distinguished by brief " quantities," and corresponding short pauses, as in the following example: " Haste thee I Nymph, I and bring with thee I Mirth I and youthful jollity, I Quips and cranks I and wanton wiles, ] Nods and becks I 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 itself, 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 examination, 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 I to have moved along the dialplate, I but did not perceive its moving; II and it appears I that the grass has grown, I though nobody I ever saw it grow: IIII so the advances we make in knowledge, I consist of minute 1 The marks indicate the 7alue or length of the pauses, from |II1 the longest within a sentence, to ' the shortest. 154 ORTHOPHONY. successive steps; 11 and we are unconscious of them 1 until we look back, I and thus become aware I of the distance I to which we have attained." Pauses have sometimes been classified as follows: 1st, Poetic and oratorical pauses, or those which express emotion, and which are sometimes termed " impassioned" or " impressive;" 2d, "Rhetorical pauses," or those which divide a discourse into its heads and subdi. visions, 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 indicated by the usual points; 4th, Prosodial pauses, which are used only in verse. I.--POETIC AND ORATORICAL PAWSES. 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 intentional exaggeration and bombast. for the effect of bur. lesque. Pauses of this ctescription are.ometimes superadded to the usual grammatical points, and sometimes are thrown in before or after, (sometimes both before and after,) an impassioned expression or emphatic word, in vivid passages of poetry or of declamatory prose,--without regard to the grammatical punctuation; atnd 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. Young readers, in particular, are often deficient in this most striking and impressive of all the effects of appropriate reading and reci tation. It becomes, therefore, a matter of great moment, in practice, to cultivate the habit of watching the effect of full and long pauses, introduced at appropriate places. Without these the most solemn passages of Scripture, and the poetry of Milton and of Young, produce no effect, comparatively, on the mind; wJvile reading, aided by their "4 expressive silence," seems to be inspired with an unlimited power over the sympathies of the soul. It will be useful, here, to review, once, on purpose, the examples prescribed for practice on long " quantities " and " indefinite " sylla. bles, so as to trace the inseparable connection between the effect of PAUSES. 155 these and of long pauses. The repetition of columns of words from the chapter on enunciation, will also be of great service, if the practice is varied occasionally, so as to produce the pauses of various moods of emotion, from the ordinary rate of " expression" to the most solemn and impressive. EXAMPLES OF POETIC AND ORATORICAL PAUSES (Impassioned and Impressive Style.) 1.-Alarm, and Fear. ITHE BALL AT BRUSSELS, ON THE EVE OF WATERLOO.]- ByWrn. *' And all went merry as a marriage bell: But hush! II I| hark! |1 II a deep sound i1 strikes like a rising knell!" 2.-Awe, and Terror. [SHIPWRECK.] - Wilson. " Many ports will exult at the gleam of her mast: Hush! 11 hush! II thou vain dreamer! II this hour ii || is her last. Hi i Her keel hath struck on a hidden rock; I And her planks are torn asunder; I And down come her masts with a reeling shock, I And a hideous crashil like thunder! " 3.- Horror. [BERNARDO DEL CARPIO, DISCOVERING THAT KING ALPHONSO HAS LED HIM FORTH TO SALUTE; NOT THE LIVING PERSON, BUT THE LIFELESS BODY, OF HIS FATHER.] -Mrs. Hemans. SA lowly knee to earth he bent, - his father's hand he took - I ii What was there in its touch, that all his fiery spirit shook? 1i || That hand was cold! | II a frozen thing:- -I || it dropped from his like lead! Ij II [Ie looked up to the face above - II the face was of the dead: II II A plume waved o'er the noble brow - 1 that brow was fixed and white: II II Fie met, at last, his father's eyes - II i but in them was no sight! Hl) Up from the ground he sprang, and gazed -II I! but who could paint that gaze? II They husned their very hearts, II that saw its horror and amaze." 1 Agitating emotions, suca as those ot alarm, hurry, terror, and confusion, reduce the usual pauses to the shortest possible duration; so as to correspond to the rapid and breathless utterance inseparable from such feelings. 1.56 ORTHOPHONY. 4.-Stillness, and Awe. [NIGHT, FROM THE "NIGHT THOUGHTS."] -YOUng "Creation sleeps: III 't is as the general pulse of life ( stood still I And nature made a pause, II an atvful pause, II || Prophetic of her end!" 5.-Solemnity, and Triumph. [CAro, EXULTING IN THE CONTEMPLATION OF THE IMMORTALITY OF THE SOUL.] -Addison. ' The stars I shall fade away, 11 the sun I himself I Grow dim I with age, I1 and Nature I sink I in years; But thou I shalt flourish I in immortal youth, || Unhurt I amidst the war of elements, 1j The wreck of matter, 11 and the crush of worlds." 6.- Grief. [ADAM'S LAMENTATION OVER THE FALL OF EVE.] -Milton. " fairest of creation! 11 last | and best Of all God's works, II creature in whom excelled Whatever can to sight or thought be formed, Holy, I divine, I good, I amiable, I or sweet! II How art thou lost, II II how on a sudden I lost, II Defaced, jI deflowered, 11 and how to death I devote!" 7.-Contrition. [EVE IMPLORING FORGIVENESS OF ADAM.]--bid. "On me I exercise not Thy hatred I for this misery befallen, On me I already lost, jj me than thyself More miserable! 11 Ii both I have sinned, jI but thou I Against God I only, I | against God I and thee; [I And to the place of judgment I will return, [j There ] with my cries I importune Heaven, that all The sentence I from thy head removed, may light On me, I| sole cause I to thee ] of all this woe. I1 Me, (I me only, II just object of His ire!" PAUSES. 157 8. -Remorse, and Despair. ESATAN RECALLING THE BOAST WITH WHICH HE ARRAYED HIS LEGIONS, IN REBELLION.] -Ibid. " Ay me! II they little know I How dearly I abide that boast so vain, [ Under what torments I inwardly I groan, jj While they adore me on the throne of hell! 1 II With diadem I and sceptre I high advanced The lower still I fall, II only supreme In misery! 1i I| Such joy I ambition finds." 9. -Horror. [BURKE S DESCRIPTION OF THE DESOLATION EFFECTED BY HYDER ALI AND HIS SON.]-Burke. " So completely did these masters in their art, Hyder Ali, and his more ferocious son, absolve themselves of their impious 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, I they did not see one man, I not one*woman, 1[ not one child, || |I not one four-footed beast I of any description whatever. One I dead I uniform silence 11 reigned | over the whole region." 10.-Oratorical Interrogation. [BRUTUS'S HARANGUE TO THE PEOPLE, AFTER THE ASSASSINATION OF C.ESAR.] -Shakspeare. " Who's here so base that would be a bondman? - II If any, speak; 1I for him have I offended. JI II Who's here so rude, that would not be a Roman?--1 If any, speak; II for him have I offended. il i Who's here so vile, that will not love his country?--[ If any, speak; I| for him have I offended.- j| || I pause for a reply." II.-" RHETORICAL" PAUSES. These are of great practical utility in reading; as, besides prescribing the indispensable long pauses at heads of discourse and paragraphs, they direct the voice to many cessa14 158 ORTHOPHONY. tions 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, (indicated by the comma, semicolon, colon, and period,) coincides, in most instances, with the ceesations of voice which meaning requires. But this is not always the case; as they sometimes occur where the syntax of a sentence is interrupted or terminated, for the time, but where the sense requires 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 6" rhetorical " pauses are of indefinite length, and always vary, as to their duration, with the sentiment and the utterance, as brisk and animated, 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 semicolon;" &c., 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. (C Your house I is finished, I sir, I at last; A narrower house, || [ a house of clay." " Rhetorical" pauses may be briefly classed in the mannex before exemplified, in application to long and compound sentences, as dividing the whole, first, into two main parts, or compound clauses,- then, these into two minor portions, oi simple clauses,- these again into phrases,-last of all, these phrases into words. It is not meant that in every compound sentence all these divisions or subdivisions are invariably found, or that there may not be several successive principal and subordinate parts in one sentence. But in most compound sentences, and in many simple sentences, several of them will be found, and particularly the last two, -the rhetorica. pause-between clauses and words, - as in the following instances: " In a few days Ithe country was overrun." ") They fled I in haste." " The enemy I approached." The careful observance of th(f "rhetorical" pause, is one of the chief means of distinctness in the expression of thought. In narration and description, and in plain didactic style, it is equally important that the successive sourds of the voice should be relieved from PAUSES. 159 each other, in portions best adapted to present the component parts of the whole in a clear, distinct, impressive manner, according to their comparative length and importance. The t:hought or sentiment which is thus communicated, falls on the ear with a definite and satisfactory succession of sounds, which the mind easily receives and appreciates. The parts being thus exactly given, each takes its own due weight, and at the same time, enhances the effect of the whole. The result is that the communication is fully understood and makes its just impression.But young readers, especially, are apt to hasten on, in the act of reading till they come to a full stop; and even then to slight the due pause. This hurried mode of reading, renders it impossible to give a sentiment force or weight to the ear. Much time, therefore, should be spent in reading sentences of an unimpassioned character, such as usually require the most frequent application of the "rhetorical" pause. The following examples will serve to suggest the most important applications of this pause. EXAMPLES OF THE "RHETORICAL" PAUSE. I.- Between Phrases. Phrases commencing with a Preposition. 1. " Depart to the house which has I in this city I been prepared I for thy residence." 2. " My heart was wounded I with the arrow of affliction, and my eyes became dim I with sorrow." 3. " To increase the austerity of my life, I frequently watched all night, sitting at the entrance of the cave I with my face to the east, resigning myself I to the secret influences of the Prophet." 4. " When I awaked, I laid my forehead upon the ground, and blessed the Prophet | for the instruction of the morning." 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. "Hp has passed to that world I where the weary are at rest." 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 effort I ere it be too late." 160 ORTHOPHONY. 4. " He continued steadfast in his purpose I while others wavered." Phrases commencing with a Conjunction. 1. "It is more blessed to give I than to receive." 2. " Yet I know not I whether my danger is a reality J cr a dream." 3. " In the spirit of sympathy, we call on rocks I and streams I and forests j| to witness and share our emotions." 4. " The same sun which now marks the autumn of the year, will again arise in his brightness, and bring along with him the premise of the spring I and all the magnificence of summer." 5. " The voice of despair now whispers I that all exertion is in vain." 6. " We are often deceived I because we are willing to be deceived." II.- Between Words. The Nominative and the Verb. 1. "The breeze | died away, as the sun I sank behind the hills." 2. "The smoke 1 rises not through the trees: for the honors of.the grove | are fallen." 3. " Weeping I may endure for a night; but joy | cometh in the morning." Ellipsis. " Add to your faith virtue; and to virtue knowledge; and to knowledge I temperance; and to temperance I patience.' III.- GRAMMATICAL PAUSES. The due observance of the pauses indicated by grammatical punrftuation, is one of the useful and effectual means of arresting the attention of young learners, and accustoming them to mark distinctly the component portions of a sentence. But the common fault of school reading, and., sometimes, of professional exercises,-a uniform 1 For farther statement and illustration of "rhetorical" pauses, see " American Elocutionist." The " prosodial pauses " will be found on a sub. sequent page of this manual, and, at greater length, in the "Elocutionist." PAUSES. 161 and mechanical sty le, is, in part, owing to exact compliance with the direction to pause, invariably, for a given time at each point. A change of feeling, or a shade of meaning, may lengthen, shorten, or destroy the usual pause at a comma. The syntax of a sentence may demand a separating point, where oral expression glides on continuously, and allows no break. The converse is as true. The rule of syntax may forbid a comma where a sudden change of feeling may produce a pause longer than that usually made at a period. - A most instructive lesson in elocution is given by Sterne, in his satirical sketch of the literal critic, with stop-watch in his hand, taking note of Garrick's " ungrammatical" pause between the nominative and the verb. The mistake, however, is too generally sanctioned by books and teachers, that the comma, semicolon, &c., are intended as guides to the ear. They-do, no doubt, incidentally, serve this purpose, -but by no means uniformly. The design of grammatical punctuation is to aid the eye of the reader, in resolving a sentence into its syntactical portions. These often coincide, in phrases and clauses, with the natural cessations of voice, which mark the divisions and subdivisions of utterance that constitute the portions of the oral expression of a thought: they enable the reader to refer a given word or clause to another at a distance from it in place, but connected with it in sense, and thus aid. his apprehension of its meaning. But, in many cases, this coincidence of grammatical and rhetorical*pausing does not take place. Even the close punctuation adopted in modern typography, does not present all the pauses which feeling and sentiment, or abstract thought itself, require; as may be seen by running the eye over the rhetorcal and other pauses marked in the exercises occurring in preceding pages. Nor is it possible to read correctly, in many instances, without omitting a pause at the grammatical points; as may be observed even in the familiar phrases, " Yes, sir," - " no, sir." The comma, if followed as a guide, would here produce an awkward, limping gait of voice, - resembling that of a young child in its first lessons. The exercise of reading aloud has but one true, safe, and uniform standard, - the ear, - or, rather the intuitive perception of the mind. The comma and other ocular points are, at best, but collateral and incidental aids, - not always to be depended on; and, sometimes, they are to be regarded as impediments which emotion is to put down, in order to attain true expression. 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 tha meaning, and to lengthen or shorten, or omit the pauses corresponding 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. 14* 162 ORTHOPHONY. " MOVEMENT." The application of "time" to speech, includes, in addition to points already discussed, the consideration of the rate of voice in successive sounds, -sometimes regulated by the predominating " quantities " of a passage, whether these be long, as in the solemn and slow utterance of" indefinite" syllables, or short, as in the brisk and rapid utterance of "immutable" syllables. "Movement," however, has its primary foundation on emotion; and although, in poetry, the " quantities " are often beautifully adapted, by the poet's natural ear and prosodial skill, to the expression of emotion, they are not uniformly so; and in prose, -which exhibits the effect of " movement" as distinctly as poetry, -less regard is usually paid to the effect of mere " quantity." " Movement," therefore, requires a distinct attention, as a separate element of expression in the voice, and of effect in elocution. The term " movement," for which the word "rate" is sometimes substituted, has the same application in elocution as in music; and while " quantity" regards single sounds as long or short, "movement" regards successive or consecutive sounds as fast or slow. It unites, too, with " quantity" in regulating the length of pauses; as we find that slow " movement," as well as long "quantity," requires long pauses; and that brisk, or rapid "movement," and brief*" quantity," equally require short pauses. " Movement," in elocution, is not measured with the comparative exactness implied in the musical terms, adagio, andante, mezzo, vivace, allegro, presto, &c. It approaches, however, to a considerable degree of definiteness 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:he soul; as horror, awe, profound reverence and solemnity, and adoration. -The "slow movement" characterizes, the utterance tf gloom, melancholy, grief, pathos, sublimity, solemnity and reverence, in their usual form, profound repose, grandeur. majesty, vastness, power, and splendor.--" Moderate movement" is the usual rate of utterance in unimpassioned language. It belongs to common narration and description, and CC MOVEMENT. 163 to didactic thought. The rhetorical modes of style to which it is applicable, are those which are denominated the " dry," the " plain," and the 1" 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 thisrstyle 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: the full feeling of joy is implied in its "expression." It gives utterance to all playful, humorous, and mirthful moods. It sometimes, on the other hand, gives its characteristic effect to fear.- The " movement" designated as 1" quickest," " very quick," or " rapid," is tklat of haste, hurry, alarm, confusion, andjfear, when rising to terror. It is evident from the very nature of" movement," that it must be an element of immense power, in expression. The funeral march suggests to the ear its effect, in music, as associated with awe, gloom, and grief; and the music of the dance reminds us of its power over the feelings of gladness and exhilaration. The grave psalm, and the song of serious sentiment, express, in their measured regularity, the adaptation of gentle and " moderate movement " to tranquil and sedate feeling. Similar effects, in degree, characterize the use of the voice, in recitation and in reading. Appropriate elocution accommodates the movement of the voice to every mood of thought, - from the slowest, prolonged, and lingering utterance of deep contemplation, and profound awe, to the swift and rapid strains of lyric rapture and ecstasy. Ivery mood of mind has its appropriate "movement," or " rate " of utterance, as definitely expressed as its " quality " of voice, its characteristic "force," or its peculiar " pitch," "slide," or "wave." Utterance, to be natural and effective, must have the genuine expression of its appropriate " movement." Solemnity cannot exist, to the ear, without slowness, nor gaiety without briskness of utterance, gravity without sedate style, nor animation without a lively " movement. " The power of " movement," in the elocution of a skilful reader ol speaker, is indefinite; as we may observe in the difference between a schoolboy gabbling through his task, in haste to get rid of it, and a great tragedian, whose whole soul is rapt in the part of Cato uttering the soliloquy on immortality, or Hamlet musing on the great themes of duty, life, and death. A command over the "lively" and "brisk movements" of the voice, is not less important than the power of slow and solemn utterance. The style of reading which is most frequently introduced to enliven the evening circle at home, requires of the reader 164 ORTHOPHONY. the power to " trip it as he goes," in the mood of gay description, light satire, vivid dialogue, and droll humor. The three principal faults of" movement," which are exemplified in the common practice of reading, are uniform slowness, 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, or 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 varieties of surface, as regards the tenor of language and the subject. The following examples of "movement" should be assiduously practised, in conjunction with the elements and with tables of words, selected as exercises for this purpose, from the chapter on enunciation. The repetition of such exercises should be continued till the student can execute with perfect precision, and with the utmost readiness, all the " movements " enumerated in,the classification. EXAMPLES OF " MOVEMENT." I. -" Slowest Movement." Amazement, Awe, and Horror. [FROM BYRON'S DREAM OF DARKNESS.] (" Aspirated pectoral quality:" " Suppressed" force: "Median stress:" "Lowest pitch:" Prevalent "monotone:" Extremely long pauses.) "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; 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. C MOVEMENT." 165 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; 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 Reverence, "Solemnity, and Adoration. [DERZHAVIN'S HYMN.] -Bowring. ' Effusive and expulsive orotund:" "Pectoral quality:" " Subdued" force: "Median stress:" "Low pitch:" Prevalent "downward slide," occasional "monotone:" Pauses extremely long.) " Thou from primeval nothingness didst call First chaos, then existence: -Lord! on thee Eternity had its foundation;-all Sprung forth from Thee, -of light, joy, harmony, Sole origin:-all life, all beauty thine. Thy word created all, and doth create; Thy splendor fills all space with rays divine. Thou art, and wert, and shalt be! Glorious! great! Light-giving, life-sustaining Potentate!" II.-" Slow Movement.' 1.-Reverence, Gratitude, and Prazse. [FROM THE BOOK-OF PSALMS.] (" Effusive orotund quality:"" Subdued" force: "Median stress:" " Low pitch:" Prevalent "downward slide:" Long pauses.) (' 0 Lord, our Lord, how excellent is Thy name in all the earth who hast set Thy glory above the heavens. " When I consider Thy heavens, the work of Thy fingers; the moon and the stars, which Thou hast ordained; what is man that Thou art mindful of him? and the son of man, that Thou visitest him? " For Thou hast made him a little lower than the angels, and hast crowned him with glory and honor. Thou madest 166 ORTHOPHONY. him to have dominion over the works of Thy hands: Thou hast put all things under his feet. " 0 Lord, our Lord, how excellent is Thy name in all the earth!" 2.-Sublimity, Majesty, and Power. [FROM DAVID'S PSALM OF PRAISE, ON HIS DELIVERANCE rROM HIS ENEMIES.] '" Expulsive orotund:" " Impassioned" force: "Radical and Median stress:" " Low pitch:" Prevalent " downward slide," occasional " monotone:" Long pauses.) " 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 scattered them; lightning, and discomfited them. And the channels df 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." 3. --Splendor. [THE PALACE OF PANDEMONIUM.] -Milton. ('Effusive and expulsive orotund:" " Moderate" force: "Median stress:" " Low pitch:" Prevalent "monotone:" Pauses of moderate length.) " Anon out of the earth a fabric huge Rose like an exhalation, with the sound Of dulcet symphonies, and voices sweet, Built like a temple, where pilasters round Were set, and Doric pillars, overlaid With golden architrave; nor did there want CC MOVEMENT." 167 Cornice, or frieze, with bossy sculptures graven; The roof was fretted gold. Not Babylon, Nor great Alcairo, such magnificence Equalled in all their glories, to enshrine Belus, or Serapis, their gods; or seat Their kings, when Egypt with Assyria strove In wealth and luxury. The ascending pile Stood fixed her stately height: and straight the doors Opening their brazen folds, discover wide Within, her ample spaces, o'er the smooth And level pavement: from the arched roof, Pendent by subtle magic, many a row Of starry lamps, and blazing cressets, fed With naptha and asphaltus, yielded light As from a sky." III. -"Moderate Movement." 1.-Narrative Style. [DESTRUCTION OF CARTHAGE.] -Anonymous. (" Pure tone:" "Moderate" force: "Unimpassioned radical stress:" " Middle pitch:" Varied " slides:" Moderate parses.) " 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 Carthage, but even to demolish and burn 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 magnificence, 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 168 ORTHOPHONY. calm ocean, that conceals forever the riches hid in its un. searchable abyss, now obscure all her magnificence." 2.--Descriptive Style. fASPECT OF EGYPT.] -Addison. (" Pure tone:" "Moderate" force: " Unimpassioned radical " and gentle " median stress:" "Middle pitch:" Varied "slides:" Moderate pauses.) t There cannot be a finer sight than Egypt, at two seasons of the year. For, if we ascend one of the pyramids, in the months of July and August, we behold, in the swollen waters of the Nile, a vast sea, in which numberless towns and villages appear, with several causeways leading from place to place; the whole interspersed with groves and fruit-trees, whose tops only are visible;--all which forms a delightful prospect. This view is bounded by mountains and woods, which terminate,-at the utmost distance the eye can discover,-the most beautiful horizon that can be imagined.-- In winter, on the contrary, that is to say, in the months of January and February, the whole country is like one continuous scene of beautiful meadows, whose verdure, enamelled with flowers, charms the eye. The spectator beholds, on every side, flocks and herds dispersed over all the plains, with infinite numbers of husbandmen and gardeners. The air is then perfumed by the great quantity of blossoms on the orange, lemon, and other trees, and is so pure that a wholesomer or more agreeable is not to be found in the world; so that nature being then dead, as it were, in all other climates, seems to be alive only for so delightful an abode." 3.--Didactic Style. [REASON AND INSTINCT.]--Addison. (" Pure tone:" " Moderate" force: " Unimpassioned radical stress:" " Middle pitch:" " Varied slides:" iloderate pauses.) " One would wonder to hear skeptical men disputing for the reason of animals, and telling us it is only our pride and prejudices that will not allow them the use of that faculty. " MOVEMENT.', 169 "Reason shows itself in all occurrences of life; whereas the brute makes no discc very of such a talent but in what Immediately regards his own preservation, or the continuance of his species. Animals, in their generation, are wiser than the sons of men; but their wisdom is confined to a few particulars, and lies in a very narrow compass. Take a brute out of his instinct, and you find him wholly deprived of understanding.- There is not, in my opinion, anything more mysterious in nature, than this instinct in animals, which thus rises above reason, and falls infinitely short of it. It cannot be accounted for by any properties in matter, and, at the same time, works after so odd a manner, that one cannot think it the faculty of an intellectual being. For my own part, I look upon it as upon the principle of gravitation in bodies, which is not to be explained by any known qualities inherent in the bodies themselves, nor from any laws of mechanism, but according to the best notions of the greatest philosophers, is an immediate impression from the First Mover, and the Divine energy acting in the creatures." IV. -" Animated, or Lively Movement." 1.-Narrative Style. [SuccESSIVE DECLINE OF POPULAR FALLACIES.]--Goldsmith. ("Pure tone:" "Moderate" force: "Unimpassioned radical stress:" " Middle pitch:" Varied " slides:" Short pauses.) "I have lived to see generals who once had crowds hallooing after them wherever they went, who were bepraised by newspapers and magazines,-those echoes of the voice of ihe vulgar; and yet they have long sunk into merited obscurity, 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 bottom of the sea: we were to supply all Europe with herrings, upon our own terms. At present, we hear no more of all this. We have fished up very little gold that I can learn, 1I 170 ORTHOPHONY. 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 ex')e:tations a herring-fishery." 2.-Descriptive Style. [RIDICULOUSNESS OF SELF-IMPORTANCE.] -Goldsmith. (" Pure tone:" "Moderate" force: "Expulsive median stress:" "Middle pitch " Varied " slides:" Varied pauses.) " There is scarce a village in Europe, and not one university, that is not furnished with its little great men. The head of a petty corporation, who opposes the designs of a prince who would tyrannically force his subjects to save their best clothes for Sundays; the puny pedant, who finds one undiscovered quality in the polypus, or describes an unheeded process in the skeleton of a mole, and whose mind, like his microscope, perceives nature only in detail; the rhymer, who makes smooth verses, and paints to our imagination, when he should only speak to our hearts; all equally fancy themselves walking forward to immortality, and desire the crowd behind them to look on. The crowd takes them at their word! 'Patriot philosopher, and poet!' are shouted in their train. ' Where was there ever so much merit seen? no times so important as our own! ages, yet unborn, shall gaze with wonder and applause!' To such music the important pigmy moves forward, bustling and swelling, and aptly compared to a puddle in a storm." 3.-Didactic Style. [ABsURDITY AND IMPUDENCE.] -Addison. (" Pure tone:" "Moderate" force: "Unimpassioned radical stress." " Middle pitch:" Varied "slides:" Short pauses ) " If we would examine into the secret springs of action, in the impudent and the absurd, we shall find, though they bear a great resemblance in their behavior, that they move upon very different principles. The impudent are pressing, though they know they are disagreeable; the absurd are importunate, because they think they are acceptable: impudence 'MOVEMENT, 171 ts a vice, and absurdity a folly. Sir Francis Bacon talks very agreeably upon the subject of impudence. He takes notice, that the Orator being asked, what was the first, second, and third requisite to make a fine speaker? still answered, Action. This, said he, is the very outward form of speaking; and yet it is what, with the generality, has more force than the most consummate abilities. Impudence is, to the rest of mankind, of the same use which action is to orators " V.--"Brisk, Gay, or Quick Movement." 1.-Narrative Style. [LOCHINVAR'S EXPLOIT OF CARRYING OFF ELLEN OF NETHERBY.]--Scott. (Haste, Joy, Hurry. -" Expulsive and explosive orotund:" "Impassioned " and shouting force: " Impassioned radical and median stress:" "High pitch:" Varied "slides:" Extremely short pauses.) " One touch to her hand, and one word in her ear, - When they reached the hall door, and the charger stood near; So light to the croupe the fair lady he swung, - So light to the saddle before her he sprung! 'She is won! - we are gone, over bank, bush, and scaur; They '11 have fleet steeds that follow,' quoth young Lochinvar. " There was mounting 'mong Greemes of the Netherby clan; Forsters, Fenwicks, and Musgraves, they rode and they ran:There was racing, and chasing, on Cannobie Lee; But the lost bride of Netherby ne'er did they see.So daring in love, and so dauntless in war, Have ye e'er heard of gallant like young Lochinvar?" 2. - Descriptive Style. [REPULSE OF THE ARCHERS: -BATTLE OF BEAL AN DHUINE.]-Scott. (Haste, Fear, Alarm.--" Explosive orotund:" "Impassioned" force: "Radical stress:" "High pitch:" Extremely short pauses.) " Forth from the pass in tumult driven, Like chaff before the winds of heaven, The archery appear; 172 ORTHOPHONY. For life, for life their flight they ply; While shriek and shout and battle cry, And plaids and bonnets waving high, And broadswords flashing to the sky,. Are maddening in their rear." 3.- Bold Address. [THE GHEBER TO HIS FOLLOWERS.]-Moore. (Courage, Revenge.-" Explosive orotund, aspirated quaity:' " Impassioned " force: " Radical stress:" " High pitch:" Varied "slides:" Short pauses.) " What! while our arms can wield these blades Shall we die tamely? die alone? Without one victim to our shades, One Moslem heart, where, buried deep, The sabre from its toil may sleep? No-God of Iran's burning skies! Thou scorn'st the inglorious sacrifice. No-though of all earth's hope bereft, Life, swords, and vengeance still are left.We 'll make yon valley's reeking caves Live in the awe-struck minds of men, Till tyrants shudder, when their slaves Tell of the Ghebers' bloody glen. Follow, brave hearts!-this pile remains Our refuge still from life and chains." 4.--Playful and Humorous Description. [CARNIVAL SCENES IN VENICE.] - Byron. (Mirth and Exhilaration.-"Pure tone:" "Moderate" force: "Radical stress:" "High pitch:" "Monotone:" Extremely short pauses.) " And gaiety 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. L MOVEMENT. 173 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." 5.- Anger, Fierce and Stubborn Resolve. (CORIOLANUS, MADDENED AGAINST THE ROMAN POPULACE.]--Shakspeare. ("Aspirated quality:" Intensely "impassioned" force: "Explosive radical and vanishing stress:" "High pitch:" Downward "slide " of " fifth " and " octave." Extremely short pauses.) " Let them pull all 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 will I still Be thus to them." VI.--"Rapid, or Quickest Movement." Lyric Style. [MAZEPPA, BOUND ON THE WILD HORSE.]--Byron. (" Aspirated quality:" "Impassioned" force: "Radical stress:" "High pitch:" Prevalent "monotone:" Extremely short pauses.) " 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 chequered with the northern light:"From out the forest prance A trampling troop,-I see them come! A thousand horse-and none to ride!With flowing tail, and flying mane, Wide nostrils, never stretched by pain, Mouths bloodless to the bit or rein, 15* 174 ORTHOPHONY. And feet that iron never shod, And flanks unscarred by spur or rod,A thousand horse,-the wild, the free,Like waves that follow o'er the sea, Came thickly thundering'on: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--swerve aside, And backward to the forest fly, By instinct, from a human eye." ACCENT. I. -" Syllabic" Accent..he word " accent" has been usually considered as restricted to the designation of the comparative force of syllables, 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 loulness, there are two other constituents of accent. The modes of accent are determined as fdllows: 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 occurs. 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 pronounce the word with impassioned "expression," or merely according to the rule of orthoepical accent. 2d, " Mutable" syllables,-those which consist of " variable quantities," or such as admit of comparative prolongation, --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" having ACCENT. 175 a suffi ient 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 "concrete" 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 the'r comparative long duration. The distinctive element of such syllables being " time," Dr. Rush has designated them as possessing " temporal " accent. The o, in the word " holy," is an instance. Syllables of this description may of course be executed with the additional accent arising from " loud concrete;" and, in impassioned utterance, they may be farther distinguished by abrupt "radical stress." But the "loud concrete," and " temporal accent," cannot be exhibited on " immutable " syllables. The effect of all these modes of accent, is to impart prominence 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 movement, requisite to constitute a sound in speech, as distinguished 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 11 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 accented syllable of every expressive -word, becomes the seat of life in utterance; and there can be no surer way to render the exercise of reading unmeaning and uninteresting, than to indulge the three prevalent faults of slighting the accent of words, unduly prolonging and forcing it, and distributing its effect over several syllables of a word, instead of confining it to one 176 ORTHOPHONY, 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 "Iwave," or " circumflex," and of consequent prolongation of sound, presents the word to the ear in the form of two separate words, or of systematic and formal syllabication in one; thus, "tpro motion," or"I pro-motion." The current usage of the Middle States, on the other hand, obscures the first o of the word, so as to reduce it nearly to a short u, and sinks the last o entirely. In this case, the word is pronounced pruimoshn. Few exercises would prove more useful for the purposes of educa tion, in schools, or more serviceable to adult students, than the practice of reading aloud, daily, from the columns of a dictionary. Words, when contemplated in this detached state, make a more disinct impression, both on the eye and the ear,--as far as regards their component elements of letters and sounds, than when they are read in connexion in sentences, in which case the attention is always prone to slight the sound, and dwell upon the sense. Preparatory training, and remedial discipline, require, first, a thorough course of enunciation for the definite and exact execution of every sound and syllable, and, subsequently, a special series of exercises including the union of sound and sense, in connected and consecutive expression. The exercises which were prescribed under the head of " quantity," are so arranged as to admit of being converted into a systematic course of practice in accent, with a view to trace the constituent elements of syllables, in relation to accent, as always necessarily decided by the distinctions of" indefinite," " mutable," and "Iimmutable." It is unnecessary, therefore, to repeat the syllabic exercises in the pages of the book. The teacher and the student can accomplish the object of practice, by reverting to them, and repeating such as best exemplify the different species of accent, - " radical," "conci 3te," and " temporal." II. -"Rhythmical" Accent. The subject of accent is now to be considered in connexion 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 current 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 comparison between the continuous flow of the voice in speech, and the motion of a stream, as contrasted with the still wateI of a lake. The voice, in the enunciation of a single sound or word, is comparatively stationary" in the utterance of successive " RHYTHM.)' 177 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 flowing over an uneven and rocky bed, may exhibit all varieties of motion, but when gliding along a smooth channel, may keep a regular rate of time, that may be exactly defined. The " movement " of the voice in conversation, on light or ordi. nary 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 another degree, still, in " rhythm," by its deliberate and formal succession ef sound. The reading or recitation of 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 "measure," 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 comprehends under " rhythm" the exact proportion of pauses to sound, in the rate of. utterance, when regulated by "rhythmical" accent. A part of the effect of "rhythm" on the ear, must arise, therefore, from the " time" of regularly recurring and exactly proportioned pauses. The full definition of " rhythm" would, accordingly, be, the effect of " time," in regularly returning " quantity," accent, and pause, in the successive, aunds of the voice. In the usual forms of familiar prose writing, little regard is paid to the placing of words, as respects the effect of accent Words, in plain, unpretending composition, follow each other, with but slight reference to the result in mere sound. 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 or the principal attractions of their style. We have instances of these various effects of the selection and arrangement of words, in the 178 ORTHOPHONY. 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 arrangement, and, sometimes, the cloying effect of its too frequent and uniform recurrence. Every cultivated ear is familiar with the chaste and pleasing turn of the sentences of Addison, the easy flow o' Goldsmith's, the. ambitious swell of those of Johnson, the broken and capricious phrases of Sterne, the noble harmony of Burke, the abruptness of Swift, and the graceful smoothness of Irving. The characteristic melody of each of these authors, is owing, as we find, on analysis, to mor6 or less attention paid to the effect of " rhythmical" accent: it is, in fact, a species even of " metre" itself, or, at least, a close approach 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 (f the recurrence of accents at the end of clauses, and in the cadence of sentences; as these places are peculiarly adapted to sounds intended for effect on the ear, whether the design of the writer is to render them prominent and striking, or subdued and quiet. Such results tell, with equal power, on the hearer, whether they are studied or unconscious, on the part of the writer; and they demand equal attention on the part of the reader. "Rhythm," then, the lowest gradation of " metrical movement," exists in prose as well as poetry; and good reading preserves it distinctly to the ear. It is a useful exercise, therefore, to study the styles of different Sauthors, with reference to this point, and to read aloud', from characteristic passages, so as to become familiar with their peculiarities of Srhythm," and to gain the power of giving these a distinct and per-!ceptible existence in the voice, without carrying the effect so far that sense is in danger of being merged in sound, or the thought, of being lost in the language. Everything mechanical, in reading, is an offence to sound judgment and true taste. The following examples of the notation of "rhythmical" accent will serve to suggest to the student the exercise of marking with a pencil the " rhythm," in passages of his own selection. The teacher may prescribe exercises of this sort to his pupils, by the use of the black board. The system of notation needs attention to the following explanatory statement. The notation of "rhythm" is founded on the theory of Steele, that utterance, in speech and in reading, may, like music, be divided into iegular portions by accent, and indicated 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 sach exercises as the following, is like every other requisite of elocution, - an aid and an ornament, within due limits of effect, but a deformity whenr rendered prominent and obtrusive. The wavering (C RHYTHM. 179 and unsteady voice of juvenile readers, and the unsatisfactory current of utterance*in the style of some professional speakers, is owing to thp want of a firmly marked " rhythm," - a fault which necessarily produces to the ear of the hearer a waidering uncertainty of effect. ''Time," to which "rhythm," is subordinate, demands precision and exactness, when applied as a measure of speech. Some readers, nowever, err on the extreme of marking time too prominently, and with a jerking accent, which offends the ear by causing reading to resemble a music lesson in ' accent," accompanied with a heavy " beat," for the sake of awakening the attention of a learner whose Sorgan of time " is dull. The style of practice in the first stages, must, of course, be characterized by full and distinct effect, even at the hazard of seeming labored and forced, - if the reader's ear is not naturally susceptible, and requires powerful impressions. But much practice should be added, with a view to produce smoothness and delicacy; as the painter does not rest satisfied with the mere blocking out of light and shadow in his picture, but labors till he has secured that exquisite finish, which is the crowning grace, in every successful attempt of art; and art fails in its endeavors, if it does not present nature in the union of beauty and truth. EXAMPLES OF " RHYTHM." 1.-Declamatory Style. [FROM A SERMON OF ROBERT HALL.] "' It re- I mains with I you then I ~1 to de-I cide I whether that freedom % at j whose voice | the kingdoms of Europe j i a- woke from the sleep of J ages, 1l to I run a ca- reer of | virtuous emu- j lation | in everything great and I good; I I l, the I freedom j! which dispelled the ( mists of 2 super- I stition, I and in- 1 vited the Snations | 'l to be- I hold their I God; I 1 I % whose I magic Stouch I kindled the I rays of genius, I| the en- I thusiasm of I poetry,,1 and the I flame of I eloquence; [ W"1 %0 the freedom I1 which poured into our lap M [ opulence i and arts, 1i 1 [ -, and em- I bellished life I l with in- j numerable I 2 insti- I tutions I 1 and im- provements, I ** " M till it be- | came a I theatre of I wonders; |I m I %I it is for 1 you | to de- cide " 1 whether I this I freedom ( M shall I yet sur- I vive, J i or J perish I I for- I ever." 1 "Rhythmical" pause. 2 A " secondary" instead of the usual "primary," accent. 180 ORTHOPHONY. 2.--Poetic expression in Prose. [PASSAGES OF SCRIPTURE INTRODUCED IN THE BURIAL SERVICE. 1 " I | am the IL Resur- 1 rection I w and the I life, I f % S1 saith the I Lord; I 1 | he that be- ( lieveth in I me, S1w though he were j dead, [. 1 yet shail he I live: ",I l and J whoso- | ever [ liveth, j! and be- lieveth in I me, 1 1 shall | never | die. I 1 % 011 | w I I know | 1 that my Re- I deemer J liveth, j ~w1,I and that he shall I stand %1 at the I latter I day I " upon the earth, It l I " and though I worms de- I stroy this I body, I lI yet in my | flesh I " shall I see I God." j "' I i, | 3.-Sentiment, in Didactic Style. [GoLDSMITH.] "Writers Ij of I every[ age [I have en- I deavored to show I % that pleasure I is in us, j 1 and not in the objects 1 " jl offered 1] for our a- 1 inusement. "I "I ~'l I % If the I soul be I happily dis- | posed, I "l |I everything j " be- comes j capable I " of af- I fording I enter- I tamment; [ lr ~, land dis- [ tress I l will almost | want a | name. | \, 1 w jM I Every oc- currence I l1 1 passes in re- I view | like the I figures I, of a pro- | cession; | "." | some 1 * may be I awkward, "I M I others "I ill dressed;, but [ none but a | fool | "1 is, for this, j ~ en- j raged with the | master of the I ceremonies.1 | ] | I 4.- Splendor and Pathos. [BURKE'S DESCRIPTION OF MARIE ANTOINETTE.] " It is 1 now, |I sixteen or I seventeen 1 years I m since ( saw the I Queen of | France, " I then the | Dauphiness, I " at Ver- | sailles: " I "" I " and I surely I never I sghted on this I orb, I [ " which she I hardly seemed to [ touch, I11 w a more de- I lightful. vision. I l1 l I f saw her I just a- bove the ho- I rizon, [ 1 [ decorating [ " and I cheering \I the I elevated 1 sphere I she I just be- I gan to. I move 1 A " secondary,' instead of the usual "primary," a cent. " RHYTHM.", 181 m: - " *I1 glittering, I 1 like the f morning I star: I j 1 full of I life, | l and J splendor, I " and I joy. I Il I | ' I Oh!I what a revo- [ lution! 1 *Ill % and I what a heart "l must I I have, I 1 to con- I template %[ with- I out emotion, ' r I that ele- I vation. i and I that I fall." 1 | ~ 5.- Oratorical Declamation. [LORD CHATHAM.] "I cannot, I 'my I Lords, I| I [ will r ot, I join [ *lin con- gratu- I lation "lon mis- I fortune I land dis- j grace. 1|I | I This, ( my I lords, I s isa I perilous I "and tre- | mendous I moment; I a j J it is I not a | time for I adu- | lation: I " i I " the J smoothness of flattery I *1 | cannot I save us I| in this rugged and I awful | crisis. I S| ^ |! It is | now | necessary I w to in- ] struct the throne I in the j language of I truth. I 1 | I| We must, "1 I if J possible, j 1 dis- I pel the de- [ lusion and darkness I1 which en- I velope it; | l | M and dis- play, I1 in its I full I danger I " and | genuine I colors, I ~ the Sruin I which is I brought to our I doors." j I | 6.- Sentiment, in Didactic Style. [ADDISON.] "I know but I one I way I o of I forti- fying my I souL I1 a-I gainst | gloomy | presages and I terrors of j mind; I 1 % 1 and I that is, I " by se- | curing to my- I self " I the I friendship and pro- j tection I of that Being I 1 who dis- I poses of e- [ vents, I 1 and I governs fu- I turity. 1 ~I *] Iw 1 He I Isees, |l at Ione I view, I the I whole I thread of my ex- I istence, I 11 I l not j only j that I part of it I which I have al- j ready I passed I through, I % but I that I 1 which runs j forwardI '& into I all the 1 depths | of e- ternity. I I sl I I When I | lay me I down to I sleep, I 1 I recom- I mend myself I a to I his I care; I " l I " when I a- wake, j I I give myself | up to I his di- I rection. j I11 I |I Amidst I all the I evils that I threaten me, I I will look j up to I him for I help; I l | I and ) question not I but he will I either a- vert them, | I or turn them I to 16 182 ORTHOPHONY. my ad- I vantage. |I iI1 %1 I 1 Though 1 1 know I neither the | time nor the manner [j % of the I death I am to I die, | SI am not at I all so- I licitous a- I bout it; J " I 1 because I am I sure I that I he I knows them | both, I "1I11 and that he 1 will not I fail to I comfort | and sup- | port me l under them." I P1[ I 1 7.-Sentiment, in Didactic Style. [JOHNSON.] "Kindness I w is pre- I served by a | constant re- cipro- | cation of j benefits I 1 or I interchange of | pleasures; I " i " % but I such benefits I only | can be be- j stowed, j 1 as I others j 1 are | capable of re- I ceiving, |j 1 and I such pleasures im- j parted, * asI others I Iare j qualified to en-Jjoy. I " I i I By I this de- scent from the j pinnacles of I art j l no I honor li will be | lost; | m | " for the I conde- j scensions of I learning I are I always I over- I paid I " by I gratitude. I V' I l ] i An I elevated I genius | em- 1 ployed in I little 1 things, I l ap- I pears, [ to ] use the I simile of Longinus, I ' like the I sun I 1 in his evening I decli- [ nation: j 'i | he re- I mits his I splendor, Ij w but re- I tains his | magnitude; I 1 I. l and pleases j more, | though he | dazzles I less." I| 1] I The difference of effect in " rhythmical accent," it will be per, ceived, on closely examining the style of the preceding passages, is greatly dependent on the number of syllables included within each "bar," and, not less, on the pauses, which are also included in the " rhythm," and therefore enclosed within the bars; since the ' time" of the voice necessarily includes its rests and intermissions, as well as its sounds. ' Rhythm " depends, farther, 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, particularly, the contents of the "bars " in the last few lines of the last two examples. They will be found to imbody the expressive genius of each author, and " clothe his thought in fitting sound." The meek and quiet spirit of Addison, breathes in the plain, conversational, and comparatively uniform style of " rhythm," in the close of the paragraph quoted from him; and the noble soul, but mechanical ear, of 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 I.,--s- A-~ *" " / ' (. -.- <.. f. Rambler eThe 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," " moveSment,"" accent," and " rhythm," the implements of analysis have Sbeen furnished; and the exercise of applying them may be left to the teacher and the student. III.--Prosodial xnt, or " Metre." j.' The term " metre," or " mem ure," is applied, in'prosody and in elocution, to that exact gauge of" rhythm," which is furnished in Sthe process of prosodial analysis termed " scanning," by which a "verse," or line of poetry, is resolved into its constituent L' 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 Sdegree, 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 redundant, 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 compel 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 languages seem to distribute the accent among all the syllables of a word, and to leave the ear doubtful to Swhich 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 "exS pressive " speech, or impassioned modes of voice. In emphatic utterance, however, the firm grasp which our numerSous hard consonants allow to the organs, in the act of articulation, Sgives a peculiar percussive force of explosion to the vowels that follow them in accented syllables; and the comparatively short duration S of our unaccented sounds, causes those which are accented, when S they possess long " quantity," to display it with powerful effect in the utterance 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 effect which his native tongue could furnish. Syllables have been classed, in prosody, as long or short, accented ur 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 ' d d/^ $t 3,r- TI~ B " II,,.;, ~ _-~-; ~: i..~:n.2"~ ~-'~~ ii" c0 I! c "ji~r ~ ~a IC~ -,,, ah ah - -L - -A-s~r _ah- ah -aha L,h ah:- ah - ah,, -a- --- -'-To adapt the above exercise to the Contralto and Bass voice, it must be transposed a third or fourth lower. This mark ff is designed to indicate the swelling tone; the double comma before each note, the place for breathing. 21 242 APPENDIX. EXTRACTS FOR PRACTICE. EXERCISES IN "PURE TONE." (" Subdued" force, or softened utterance.) I. - Pathos. 1.--[THE GRAVE OF A FAMILY.]--Gray. "I wandered on, scarce knowing where I went, Till I was seated on an infant's grave. Alas! I knew the little tenant well: She was one of a lovely family, That oft had clung around me like a wreath Of flowers, the fairest of the maiden spring: - It was a new-made grave, and the green sod Lay loosely on it; yet affection there Had reared the stone, her monument of fame. I read the name I loved to hear her lisp: - 'T was not alone; but every name was there, That lately echoed through that happy dome. " I had been three weeks absent: -in that time The merciless destroyer was at work, And spared not one of all the infant group. The last of all I read the grandsire's name, On whose white locks I oft had seen her cheek, Like a bright sunbeam on a fleecy cloud, Rekindling in his eye the fading lustre, Breathing into his heart the glow of youth, - He died, at eighty, of a broken heart, Bereft of all for whom he wished to live." 2.- [HEROISM OF THE PILGRIMS.]--Choate. [" I acknowledge the splendor of the scene of Thermopylae in all its aspects. I admit its morality, too, and its useful influence on every Grecian heart, in that greatest crisis of Greece.] " And yet, do you not think, that whoso could, by adequate description, bring before you that winter of the Pilgrims, its brief sunshine, the nights of storm slow waning; the damp and icy breath, felt to the pillow of the dying; its destitutions, its contrasts with all their former experience in life; its insulation and loneliness; its death-beds and burials; its memories; its apprehensions; its hopes the consultations of the prnident; the prayers of the pious; the occa EXERCISES IN " PURE TONE:" - SOLEMNITY 243 sional cheerful hymn, in which the strong heart threw off its burthen, and, asserting its unvanquished nature, went up like a bird of dawn, to the skies; - do ye not think that whoso could describe them calmly waiting in that defile, lonelier and darker than Thermopylae, for a morning that might never dawn, or might show them, when it did, a mightier arm than the Persian, ' raised as in act to strike,' would sketch a scene of more difficult and rarer heroism " II. - Solemnity. (" Subdued" force, - soft and deep tone.) 1.- [STANZA OF A RUSSIAN HYMN.]-Bowring. " Thou breathest; - and the obedient storm is still, Thou speakest; - silent the submissive wave: Man's shattered ship the rushing waters fill; And the hushed billows roll across his grave. Sourceless and endless God! compared with Thee, Life is a shadowy, momentary dream; And time, when viewed through Thy eternity, Less than the mote of morning's golden beam." 2.- [MIDNIGHT MUSINS.] -Irving. " I am now alone in my chamber. The family have long since retired. I have heard their steps die away, and the doors clap to after them. The murmur of voices, and the peal of remote laughter, no longer reach the ear. The clock from the church in which so many of the former inhabitants of this house lie buried, has chimed the awful hour of midnight. "I have sat by the window, and mused upon the dusky landscape, watching the lights disappearing, one by one, from the distant village; and the moon rising in her silent majesty, and leading up all the silver pomp of heaven. As I have gazed upon these quiet groves and shadowing lawns, silvered over and imperfectly lighted by streaks of dewy moonshine, my mind has been crowded by ' thick-coming fan. cies' concerning those spiritual beings which 'Walk the earth, Unseen, both'when we wake and when we sleep.' " 3.- [FROM THE THANATOPSIS.] - EBryant. "Go forth under the open sky, and list To Nature's teachings, while from all around, - 244 APPENDIX. Earth and her waters, and the depths of air, - Comes a still voice, -' Yet a few days, and thee The all-beholding sun shall see no more In all his course; nor yet in the cold ground, Where thy pale form was laid, with many tears, Nor in the embrace of ocean shall exist Thy image. Earth, that nourished thee shall claim Thy growth, to be resolved to earth again; And, lost each human trace, surrendering up Thine individual being, shalt thou go To mix forever with the elements, To be a brother to the insensible rock, And to the sluggish clod, which the rude swain Turns with his share, and treads upon. 'Thou shalt lie down With patriarchs of the infant world, - with kings, The powerful of the earth, - the wise, the good, Fair forms and hoary seers of ages past, All in one mighty sepulchre. - The hills, Rock-ribbed and ancient as the sun, -the vales, Stretching in pensive quietness between; The venerable woods, - rivers that move In majesty, and the complaining brooks That make the meadows green; and poured round all, Old ocean's gray and melancholy waste, - Are but the solemn decorations all Of the great tomb of man.' " HI. -Tranquillity. (" Subdued " force, - gentle and level utterance.) I. -[CONSTANTINOPLE, ON THE EVE OF THE LAST ASSAULT.]-- Mt3-, Hemans. "The streets grow still and lonely; and the star, The last bright lingerer in the path of morn, Gleams faint; and in the very lap of war, As if young Hope with Twilight's ray were born, Awhile the city sleeps:- her throngs, o'erworn With fears and watchings, to their homes retire; Nor is the balmy air of day-spring torn With battle sounds; the winds in sighs expire; And Quiet broods in mists, that veil the sunbeam's fire." EXERCISES IN "PURE TONE:"-- TRANQUILLITY. 245 2.- [CONTEMPLATION.] - Moir. "The sea is waveless as a lake ingulfed 'Mid sheltering hills, - without a ripple spreads Its bosom, silent, and immense, - the hues Of flickering day have from its surface died, Leaving it garbed in sunless majesty. With bosoming branches round, yon village hangs Its rows of lofty elm trees; silently Towering in spiral wreaths to the soft sky, The smoke from many a cheerful hearth ascends Melting in ether. "As I gaze, behold The evening star illumines the blue south Twinkling in loveliness. 0 holy star, Thou bright dispenser of the twilight dews, Thou herald of Night's glowing galaxy, And harbinger of social bliss! how oft, Amid the twilights of departed years, Resting beside the river's mirror clear, On trunk of mossy oak, with eyes upturned To thee in admiration, have I sat Dreaming sweet dreams, till earth-born turbulenet Was all forgot, and thinking that In thee, Far from the rudeness of this jarring world, There might be realms of quiet happiness! " 3. - [PEACE.] -Anonymous. "Lovely art thou, 0 Peace! and lovely are thy children; and lovely are the prints of thy footsteps in the green valleys. 1" Blue wreaths of smoke ascend through the trees, and betray the half-hidden cottage: the eye contemplates well-thatched ricks and barns bursting with plenty: the peasant laughs at the approach of winter. "White houses peep through the trees; cattle stand cooling in the pool; the casement of the farm-house is covered with jessamine and honeysuckle; the stately green-house exhales the perfume of summer climates. " Children climb the green mound of the rampart; and ivy holds together the half-demolished buttress. 21* 246 APPENDIX. " The lame, the blind, and the aged, repose in hospitals. "Justice is dispensed to all: law sits steady on her throne." 4. - [SABBATH MORNING.] - Grahame. " How still the morning of the hallowed day! Mute is the voice of rural labor, hushed The ploughboy's whistle, and the milkmaid's song. The scythe lies glittering in the dewy wreatIh Of tedded grass, mingled with faded flowers, That yestermorn bloomed waving in the breeze. Sounds the most faint attract the ear, - the hum Of early bee, the trickling of the dew, The distant bleating midway up the hill. Calmness sits throned on yon unmoving cloud. To him who wonders o'er the upland leas, The blackbird's note comes mellower from the dale And sweeter from the sky the gladsome lark Warbles his heaven-tuned song; the lulling brook Murmurs more gently down the deep-worn glen; While from yon cottage-roof whose curling smoke O'ermounts the mist, is heard, at intervals, The voice of psalms, - the simple song of praise." " MODERATE FORCE." I.-" Grave" Style. (Tone smooth, but inclining to deep.) 1. - [ADMONITION.] - Anonymous. " 'T is not in man To look unmoved upon that heaving waste, Which, from horizon to horizon spread, Meets the o'erarching heavens on every side, Blending their hues in distant faintness there. " 'T is wonderful! - and yet, my boy, just such Is life. Life is a sea as fathomnless, As wide, as terrible, and yet sometimes As calm and beautiful. The light of heaven Smiles on it; and 't is decked with every hue Of glory and of joy. Anon dark clouds Arise; contending winds of-fate go forth;And Hope sits weeping o'er a general wreck. " And thou must sail upon this sea, a long EXERCISES IN "PURE TONE:"-"GRAVE" STYLE. 247 Eventful voyage. The wise may siuffer wreck, - The foolish must. Oh! then be early wise! Learn from the mariner his skilful art To ride upon the waves, and catch the breeze, And dare the threatening storm, and trace a path 'Mid countless dangers, to the destined port Unerringly secure. Oh! learn from him To station quick-eyed Prudence at the helm, To guard thy sail from Passion's sudden blasts, And make Religion thy magnetic guide, Which, though it trembles as it lowly lies, Points to the light that changes not, - in heaven." 2. - [Cosaou's ADDRESS TO MIRZA.]- Hawksworth. "Be not offended: I lbast of no knowledge that I have not received. As the sands of the desert drink up the drops of the rain, or the dew of the morning, so do I also, who am but dust, imbibe the instructions of the Prophet. Believe, then, it is he who tells thee, all knowledge is profane which terminates in thyself; and by a life wasted in speculation, little even of this can be gained. When the gates of paradise are thrown open before thee, thy mind shall be irradiated in a moment: here, thou canst do little more than pile error upon error, - there thou shalt build truth upon truth. Wait, therefore, for the glorious vision. " Much is in thy power; and therefore much is expected of thee. Though the Almighty only can give virtue, yet, as a prince, thou mayest stimulate those to beneficence, who act from no higher motive than immediate interest: thou canst not produce the principle, but mayst enforce the practice. Let thy virtue be thus diffused; and if thou believest with reverence, thou shalt be accepted above. "Farewell May the smile of Him who resides in the heaven of heavens, be upon thee; and against thy name, in the volume of His will, may happiness be written! " II.-" Serious" Style. (Tone, smooth and level, but spirited.) 1. - [USES OF KNOWLEDGE.] -Alison. " One great end to which all knowledge ought to be employea, is the welfare of -humanity. Every science is the foundation of some art benef;cial to men; and while the study of it leads us to see the 248 APPENDIX. 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 applica tion. "1 I need not say what a field is thus opened to the benevolence of knowledge; I need not tell you, that, in every department of learn ing, there is good to be done to mankind. I need not remind you, that the ags in which we live has given us the noblest examples in this kind, and that science now finds its highest glory in improving the condition, or in allaying the miseries of humanity." 2. - [EARLY RISING.] -Hurd. a' Rise with the lark, and with the lark to bed. The breath of night's destructive to the hue Of every flower that blows. Go to the field, And ask the humble daisy whyjt sleeps Soon as the sun departs: Why close the eyes Of blossoms infinite, ere the still moon Her oriental veil puts off? Think why, Nor let the sweetest blossom be exposed That nature boasts, to night's unkindly damp. Well may it droop, and all its freshness lose, Compelled to taste the rank and poisonous steam Of midnight theatre, and morning ball. Give to repose the solemn hour she claims; And, from the forehead of the morning, steal The sweet occasion. Oh! there is a charm That morning has, that gives the brow of age A smack of youth, and makes the lip of youth Breathe perfumes exquisite. Expect it not, Ye who till noon upon a down bed lie, Indulging feverish sleep, or, wakeful, dream Of happiness no mortal heart has felt, But in the regions of romance." 3 - [COUNSELS OF POLONIUS TO LAERTES.1 -Shakspecare "' These few precepts in thy memory Look thou character. Give thy thoughts no tongue Nor any unproportioned thought his act. Be thou familiar, but by no means vulgar. The friends thou hast, and their adoption tried, Grapple them to thy soul with hooks of steel; EXERCISES IN "PURE TONE:"- "SERIOUS" SI xL. 249 But do not dull thy palm with entertainment Of each new-hatched unfledged comrade. Beware Of entrance to a quarrel; but, being in, Bear it that the opposer may beware of thee. Give every man thine ear, but &fw thy voice: Take each man's censure but reserve thy judgment. Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy; For the apparel oft proclaims the man; Neither a borrower nor a lender be; For loan oft loses both itself and friend; And borrowing dulls the edge of husbindry. This above all, -To thine own self be true; And it must follow, as the night the day, Thou canst not then be false to any man." III. -"Animated," or Lively Style. (Tone smooth, but inclining to high.) 1.-- [MORNIN.] -Beattie. "The cottage curs at early pilgrim bark; Crowned with her pail the tripping milkmaid sings; The whistling ploughman stalks afield; and hark! Down the rough slope the ponderous wagon rings; Through rustling corn the hare astonished springs; Slow tolls the village clock the drowsy hour; The partridge bursts away on whirring wings; Deep mourns the turtle in sequestered bower, And shrill lark carols clear from her aerial tower." 2. - [MORNING.] -Thomson. ~ " With quickened step, Brown Night retires: young Day pours in apace, And opens all the lawny prospect wide. The dripping rock, the mountain's misty top, Swell on the sight, and brighten with the dawn. Blue, through the dusk, the smoking currents shine; And from the bladed field the fearful hare Limps awkward; while along the forest glade The wild deer trip, and often, turning, gaze At early passenger. Music awakes The native voice of undissembled joy; 250 APPENDIX. And thick around the woodland hymns arise. Rotsed by the cock, the soon clad shepherd leaves His mossy cottage where with Peace he dwells; And from the crowded fold, in order drives His flock, to taste the*verdure of the morn." 3.- [ANIMAL HAPPrNESS.] -Paley. "The atmosphere is not the only scene of animal enjoyment Plants are covered with insects, greedily sucking their juices, and constantly, as it should seem, in the act of sucking. It cannot be doubted that this is a state of gratification. What else should fix* them so closely to the operation and so long? Other species are running about, with an alacrity in their motions, which carries with it every mark of pleasure. Large patches of ground are sometimes half covered with these brisk and'sprightly natures. "If we look to what the waters produce, shoals of the fry of fish frequent the margins of rivers, of lakes, and of the sea itself. These are so happy, that they know not what to do with themselves. Their attitudes, their vivacity, their leaps out of the water, their frolics in it, all conduce to show their excess of spirits, and are simply the effects of that excess." TV. -- Gay," or Brisk, Style. (Tone, smooth and high.) 1. - [RusTI SUPERSTITIONS.] --Mlto0 " Then to the spicy nut brown ale, With stories told of many a feat, How fairy Mab the junkets eat: She was pinched and puAed, she said; And he by friar's lantern led, Tells how the drudging goblin sweat, To earn his cream bowl duly set, When in one night, ere glimpse of mora His shadowy flail hath threshed the corL, That ten day-laborers could not end; Then lies him down, the lubber fiend, And, stretched out all the chimney's leigth Basks at the fire his hairy strength; And crop-full, out of doors he flings, Ere the first cock his matin rings." "PURE TONE:" - GAY" STYLE. 251 (Tone smooth, high, and loud.) 2.--[FROM THE ODE ON THE PASSIONS.]--Collift " But oh! how altered was its sprightlier tone, When Cheerfulness, a nymph of healthiest hue, - 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 the lively pipe his hand addressed; - But soon he saw the brisk awakening viol, Whose sweet entrancing voice he loved the best. They would have thought, who heard the strain, They saw in Tempe's vale her native maids, Amidst the festal sounding shades To some unwearied minstrel dancing; While, 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 wings6" 3.- [THE FALL OF LODORE.] -Southey. " H-ow does the water come down at Lodore? Receding and speeding, And shocking and rocking And darting and parting, And dripping and skipping, And whitening and brightening, And quivering and shivering, And hitting and splitting, And rattling and battling, And running and stunning, 262 APPENDIX. And hurrying and skurrying, And glittering and frittering, And gathering and feathering; And clattering and battering and shattering, And rushing and flushing and brushing and gushing, And flapping and rapping and clapping and slapping, Advancing and prancing and glancing and dancing, And so never ending but always descending, Sounds and motions forever and ever are blending." V. - "Humorous," or Playful, Style. Exercise. [In the reading of the following scene, the tone of humor is exem plified in the laughing and bantering utterance in which the audience make their remarks on the absurd attempts at sublimity, solemnity, and pathos, which are made by the clownish amateur actors. These worthies have, it may be recollected, volunteered a play on the story of Pyramus and Thisbe, for the entertainment of the court of Theseus, " duke " of Athens, during a season of festivity.] (Tone smooth, but in laughing utterance, in the italic passages.) FSCENE FROM THE MIDSUMMER NIGHT'S DREAM.] -Shakspeare. "Enter Lion and Moonshine. "Lion. You ladies, you whose gentle hearts do fear The smallest monstrous mouse that creeps on floor, May now, perchance, both quake and tremble here, When lion rough in wildest rage doth roar. Then know, that I, one Snug, the joiner, am, - No lion fell, nor else no lion's dam; For if I should as lion come in strife Into this place, 't were pity of my life. Theseus. A very gentle beast, and oJ good conscience. Demetrius. The very best at a beast, my lord, that e'e * I saw. Lysander. This lion is a very fox for his valor. Thes. True; and a goose for his discretion. Dem. Not so, my lord: for his valor cannot carry his discretion and the fox carries the goose. I The remarks w'ich exemplify the mode of utterance mentioned above -are distinguished by italics. EXERCISES IN UOROTUND" UTTERANCE. 253 Thes. His discretion, I am sure, cannot carry his valor; for the goose carries not the fox. It is well: leave it to his discretion; and let us listen to the moon. Moon. ' This lantern doth the horned moon present: ' Myself the man i' the moon do seem to be.' Thes. This is the greatest error of all the rest: the man should be put into the lantern. How is it else the man i' the moon? Dem. He dares not come there for the candle; for, you see, it is already in snuff. Hippolyta. I am aweary of this moon: would he would change! Thes. It appears, by his small light of discretion, that he is in the wane: but yet, in courtesy, in all reason, we must stay the time. Lys. Proceed, moon. Moon. ' All that I have to say, is, to tell you that the lantern is the moon; I, the man in the moon; this thorn-bush my thorn-bush; and this dog, my dog.' Dem. Why, all these should be in the lantern: for they are in the moon. - But silence! - here comes Thisbe." EXERCISES IN "OROTUND" UTTERANCE. To young persons whose organs are yet pliant, and susceptible of the full effects of cultivation, and to students who are desirous of acquiring a perfect command over the vocal organs, for the purposes of effective public speaking, as well as to persons who wish to attain facility in the strong impassioned expression of vocal music, as exemplified in occasional passages of the oratorio and the opera, the power of orotund utterance, in all its extent, is indispensable as an accomplishment. Capacious and vigorous organs, a high state of health, an energetic will, a deep a d quick susceptibility of the inspiration of poetic passion, enable some individuals to become powerful vocalists and speakers, with comparatively little training or express practice. But the vast majority of human beings cannot attain the effective expression of intense emotion, without the aid of systematic culture and persevering application; and, to all classes of students, such assistance is of immense advantage: the more regular and extensive the discipline, the greater is always the result in power of voice. For these reasons, it will be of the utmost service, as an efficacious mode of training, to repeat, with due frequency, previous to commencing the following exercises, the organic functions of breathing in its different forms, as before suggested, and the yawning, cough ing, crying, and laughing modes of utterance, on the " tonic elements," and on words selected from the " exercises in enunciation." 22 254 APPENDIX. I.- " EFFUSIVE OROTUND." 1.-- Pathos and Gloom, or Melancholy, united with Grandeur. 1. - [OssIAN's APOSTROPHE TO THE SUN.1- Macpherson. "0 thou that rollest above, round as the shield of my father! whence are thy beams, 0 sun! thy everlasting 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 mcuntains 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 saile, rejoicing in the brightness of thy course. When the world is dark with tempests, when thunders roll and lightnings fly, thou lookest in thy beauty from the clouds, and laughest at the storm. - But to Ossian thou lookest in vain; for he beholds 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 vnice of the morning." 2.- [MILTON'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 the cheerful ways of men Cut off, and, for the book 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! " 3. - [FOM THE ODE ON THE PASSIONs.]--Collss. " With eyes upraised as one inspired, Pale Melancholy sat retired, And fiom her wild, sequestered seat, In notes by distance made more sweet, Poured through the mellow horn her pensive soul; And, dashing soft from rocks around, Bubbling runnels joined the sound: Through glades and glooms the mingled measure stole; EXEP.&/SES IN i OROTUND" UTTERANCE, 255 Or, 6'er Aome haunted stream, with fond delay Ror.J A a holy calm diffusing, TI a of peace and lonely musing, Sllow murmurs died away." II Solemnity and Sublimity, combined with Tranquillity. [FROM THE THANATOPSIS.] - Bryant. 'Yet not to thy eternal resting place Shalt thou retire alone, nor couldst thou wish Couch more magnificent. Thou shalt lie down With patriarchs of the infant world, -with kings The powerful of the earth, - the wise, the good, Fair forms and hoary seers of ages past, - All in one mighty sepulchre. - The hills, Rock-ribbed, and ancient as the sun, -the vales, Stretching in pensive quietness between; The venerable woods, - rivers that move In majesty, and the complaining brooks That make the meadows green; and, poured round all, Old ocean's gray and melancholy waste, - Are but the solemn decorations all Of the great tomb of man. The golden sun, The planets, all the infinite host of heaven, Are shining on the sad abodes of death, Through the still lapse of ages. All that tread The globe are but a handful to the tribes That slumber in its bosom. - Take the wings Of morning, - and the Barcan desert pierce, Or lose thyselt in the continuous woods Where rolls the Oregon, and hears no sound Save his own dashings, - yet the dead are there; And millions, in those solitudes, since first The flight of years began, have laid them down In their last sleep: -the dead reign there alone." III.- Reverence, and Adoration.' 1.--[FROM THE MORNING HYMN IN PARADISE.] -Milton. "These are Thy glorious works, Parent of Good, I The appropriate tone of devotion is uniformly characterized by "effusive aotund " utterance. 256 APPENDIX. Almifg ty! Thine this universal frame Thus wondrous fair, -Thyself how wondrous then I Unspeakable! who sitt'st above these heavens To us invisible, or dimly seen 'Midst these thy lowest works. Yet these declare Thy goodness beyond thought And power divine! " 2. - [ADORATION OFFERED BY THE ANGELS.] - Milton. "Thee, Father, first they sung, omnipotent, Immutable, immortal, infinite, Eternal King: Thee Author of all being, Fountain of light, thyself invisible Amidst the glorious brightness where Thou sitt'st Throned inaccessible, but when Thou shad'st The full blaze of thy beams, and, through a cloud Drawn round about Thee, like a radiant shrine, Dark with excessive bright, thy skirts appear, Yet dazzle Heaven that brightest seraphim Approach not, but with both wings veil their eyes." I.-" EXPULSIVE OROTUND." I. -" Declamatory " Style. 1. -Oratorical Invective. [AGAINST WA.RREN HASTINGS.]- Burke. " By the order of the House of Commons of Great Britain, I im peach Warren Hastings of high crimes and misdemeanors. " I impeach him in the name of the Commons of Great Britain in Parliament assembled, whose parliamentary trust he has abused. " I impeach 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 peop? of India, whose property he has destroyed, whose country he has laid waste and desolate. "1 impeach him in the nam- of human nature itself, which he has cruelly outraged, injured, and oppressed, in both sexes. And I im peach him in the name and by the virtue of those eternal lhws of iuslice, which ought equally to pervade every age, condition, rank, and situation, in the world." EXERCISES IN "OROTUND " UTTERANCE. 257 2.--Oratorical Apostrophe and Interrogation. [FROM CICERO'S ACCUSATION OF VERRES.] 0 Liberty! -0 sound once delightful to every Roman ear!0 sacred privilege of Roman citizenship! -Once sacred, now trampled upon. But what then? Is it come to this? Shall an inferior magistrate, a governor, who holds his whole power of the Roman people, in a Roman province, within sight of Italy, bind, scourge, torture with fire and red hot plates of iron, and at last put to the infamous death pf the cross, a Roman citizen? Shall neither the clues of innocence expiring in agony, nor the tears of pitying spectators, nor the majesty of the Roman commonwealth, nor the fear of the justice of his country, restrain the licentious and wanton cruelty of a monster, who, in confidence of his riches, strikes at the root of liberty, and sets mankind at defiance.? " 3. -Vehement Oratorical Address. [FROM PATRICK HENRY'S WAR SPEECH.] "They tell us, sir, that we are weak, unable to cope with so for. midable an adversary. Sir, we are not weak, if we make a proper use of those meaV which the God of nature hath placed in our power. Three millions of people, armed in the holy cause of liberty, and in such a country as that which we possess, are invincible by any force which our enemy can send against us. 0 "But, sir, we shall not fight our battles 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 heard on the plains 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 purchased at the price of chains and slavery? -Forbid it, A-mighty God! I know not what course others may take; but as for me, give me hberty or give me death!" 22* 258 APPENDIX. II. --"Impassioned Expression." 1.--Poetic Invective: Epic Style. [MOLOCH'S ADDRESS.] - Milton. "My sentence is for open war: of wiles, More unexpert, I boast not: them let those Contrive who need, or when they need, --not now 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 hell 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 horror shot, with equal rage, Among his angels, and his throne itself Mixed with Tartarean sulphur and strange fire,His own invented torments." 2. -Poetic Apostrophe. [FROM COLERIDGE'S HYMIN TO MONT BLANC.J "Ye ice-falls! ye that from the mountain's brow Adown enormous ravines slope amain, - Torrents, methinks, that heard a mighty voice, And stopped at once amid 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 ilothe you with rainbows? Who with living flowere Of loveliest blue, spread garlands at your feet? - God! let the torrents, like a shout of nations, Answer! and let the ice-plains echo, God!And they, too, have a voice, --yon piles of snow And in their perilous fall shall thunder, God! EXERCISES IN "OROTUND UTTERANCE. 259 " Ye living flowers that skirt the eternal frost! Ye wild goats sporting round the eagle's nest! Ye eagles, playmates of the mountain storm! Ye lightnings, the dread arrows of the clouds! Ye signs and wonders of the elements! Utter forth God, and fill the hills with praise! " 3. -Poetic Invective: Lyric Style. [LOCHIEL'S REPLY TO THE SEER.]- Campbell. "False wizard; avaunt! I have marshalled my clan: Their swords are a thousand, - their bosoms are one! They are true to the last of their blood and their breath, And like reapers descend to the harvest of death. Then welcome be Cumberland's steed to the shock! Let him dash his proud foam like a wave on the rock. But woe to his kindred, and woe to his cause, When Albyn her claymore indignantly draws; When her bonneted chieftains to victory crowd, Clan Ranald, the dauntless, and Moray the proud; All plaided and plumed in their tartan array! " 4. -Ecstatic Poetic Apostrophe. [THE RESURRECTION OF CHRIST.]-Young. SHear, 0 ye nations! hear it, 0 ye dead! He rose, He rose, - he burst the bars of death. The theme, the joy, how then shall men sustain? Oh! the burst gates! crushed sting! demolished throne! Last gasp of vanquished Death! Shout, earth and heaven, That sum of good to man! whose nature then Took wing, and mounted with him from the tomb. ---- " Man, all immortal, hail! Hail, Heaven, all lavish of strange gifts to man! Thine all the glory! man's the boundless bliss!" Shouting. CITIZENS, [AFTER ANTONY'S ORATION OVER THE BODY OF CJSAR.]Shakspeare. "Come, brands, ho! fire-brands! - To Brutus'! to Cassius' I - burn all! Some to Decius' house, and some to Casca's; some to Ligarius': -away! o! " 260 APPENDIX. WILLIAM TELL, [TO THE MOUNTAINS, ON REGAINING HIS I[BERTY.]J. S. 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! " III. - "EXPLOSIVE OROTUND." 1. -Anger, excited to Rage. [FROM THE LORD OF 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 stood The ruthless murderer, even asnow, - With armed hand and scornful brow.Up! all who love me! - blow on blow! And lay the outlawed felons low! " 2.- Wrath and &orn. [FROM THE LADY OF THE LAKE.]--SCtt. Roderick Dhu, [to Malcom Greme.] " Back! beardless boy Back! minion! - Holdst thou thus at naught The lesson I so lately taught l - This roof, the Douglas, and that maid, Thank thou for punishment delayed! Anger and Defiance. Malcom. Perish my name, if aught afford Its chieftain safety, save his sword! Indignant Rebuke Douglas. Chieftains, forego! EXERCISES IN, OROTUND: UTTERANCE. 261 I hold the first who strikes, my foe. - Madmen! forbear your frantic jars! " 3. - Scorn and Defiance.1 [FROM PARADISE LOST.] -Milton. Satan, [to Death.] " Whence and what art thou, execrable shape I That dir'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: Retire! or taste thy folly; and learn by proof, Hell-born! not to contend with spirits of heaven." Wrath and Threatening.' Dath, [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! 4. - Infuriate Anger. 'HE DOGE OF VENICE, [ON THE EVE OF HIS EXECUTION, IN THE CONCLUDING WORDS OF HIS CURSE ON THE CITY.] -Byron'S Marino F&. Izeri. " Thou den of drunkards with the blood of princes! Gehenna of the waters! thou sea Sodom! Thus I devote thee to the infernal gods! Thee 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 Strike- and but once! " 5. -Courage. [BOZZARIS, TO HIS BAND OF SULIOTES.]-Halleck. "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! " I The fierceness of emotion, in some instances, adds ' aspirated quality "to orotund." 262 APPENDIX. EXERCISES IN "ASPIRATED QUALITY." I.--" EFFUSIVE " UTTERANCE. 1. -Awe, in its gentlest form, with moderate "Aspiration.' ("Pectoral Quality.") Note. The effect intended here is but the slightest approach to a whisper, - a barely perceptible breathing sound accompanying the utterance, - not unlike, in its effect, to a slight hoarseness. [JACOB's EXCLAMATION AFTER HIS DREAM.] " How dreadful is this place! This is none other than the house of God, and the gate of heaven! " 2.-The same emotion deepened. [FROM THE BOOK OF PSALMS.] " Of old hast Thou laid the foundation of the earth; and the heavens are the work of Thy hands. They shall perish, but Thou shalt endure; yea, all of them shall wax old like a garment; as a vesture shalt Thou change them, and they shall be changed: but Thou art the same; and Thy years shall have no end. "Before the mountains were brought forth, or ever Thou hadst formed the earth and the world, even from everlasting to everlasting, Thou art God. " Thou turnest man to destruction; and sayest, 'Returfirye children of men.' For a thousand years, in Thy sight, are but as yesterday, when it is past, and as a watch in the night. " Thou carriest them away as with a flood; they are as a sleep: in the morning, they are like grass which groweth up. In the morning it flourisheth and groweth up: in the evening, it is cut down, and withereth." 3.-Awe, still deeper in "expression," and stronger in " aspiration [NATURE, SHRINKING FROM DEATH.] -CamlpbWl "Yet half I hear the parting spirit sigh, 'It is a dread and awful thing to die! 'Mysterious worlds, untravelled by the sun, - Where Time's far-wandering tide has never run, - From your unfathomed shades, and viewless spheres, A warning comes, unheard by other ears. 'T is Heaven's commanding trumpet, long and loud, EXERCISES IN "ASPIRATED QUALITY. 263 Like Sinai's thunder pealing from the cloud! While Nature hears, with terror-mingled trust, The shock that hurls her fabric to the dust, And, like the trembling Hebrew, when he trod The roaring waves, and called upon his God, With mortal terrors clouds immortal bliss, And shrieks, and hovers, o'er the dark abyss! " 4. - Awe, extending to Fear: with still stronger " aspiratios [FROM A RUSSIAN HYMN.] - Bowring. "It thunders! Sons of dust, in reverence bow 1 Ancient of days! thou speakest from above: Thy right hand wields the bolt of terror now; That hand which scatters peace and joy and love. Almighty! trembling like a timid child, I hear Thy awful voice, - alarmed, afraid, I see the flashes of Thy lightning wild, And in the very grave would hide my head!" 6.- Horror and Fear: the effect transcending that of Awe; the " aspiration " nearly a whisper. MACBETH, [MEDITATING THE MURDER OF DUNCAN.]- Shakspeare " Now o'er the. one half world Mature seems dead; and wicked dreams abuse The curtained sleep; now witchcraft celebrates Pale Hecate's offerings; and withered murder, Alarumed by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace, 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." II. -" EXPULSIVE " UTTERANCE. I.--Horror and Amazement: " aspiration" increased by " expulsons." ("Pectoral Quality.") HAMLET, [TO THE GHOST OF HIS FATHER.]--ShakspCear. "What may this mean, That thou, dead corse, again, in complete steel, 264 APPENDIX. Revisit-st 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 " 9.- Horror and Terror: effect still farther increasea CLARENCE, [RELATING HIS DREAM.]-Shakspeare "Oh! I have passed a miserable night, So full of fearful dreams, of ugly sights, That, as I am a Christian faithful man, I would not spend another such a night, Though 't were to buy a world of happy days So full of dismal terror was the time! ------" My dream was lengthened after life:Oh! then began the tempest to my soul! - " With that, methought, a legion of foul fiends Environed me, and howled in mine ears Such hideous cries, that, with the very noise I trembling waked, and, for a season after, Could not believe but that I was in hell; Such terrible impression made my dream! " 3. -Fear. (Whispering Voice: " Guttural Quality.") CALIBAN, [CONDUCTING STEPHANO AND TRINCULO TO THE CELL OF PRBO PERO.] - Shakspeare. "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 4. - Fear and Alarm. (Forcible Half-Whisper: "Pectoral Quality.") ALONZO, [WHO, WITH GONZALO, IS SUDDENLY AWARINED BY THE INTERVENTION OF ARIEL, AND FINDS THE CONSPIRATORS, SEBASTIAN AND ANTONIO, WItH THEIR SWORDS DRAWN.] -Shakspeare. " Why, how now, ho! - awake? - Why are you drawnt EXERCISES IN " ASPIRATED QUALITY." 265 Wherefore this ghastly looking Gonzalo. What's the matter? Sebastian. Whiles we stood here, securing your repose, Even now, we heard a hollow burst of bellowing Like bulls or rather lions: did it not wake you? It struck mine ear most terribly. Antonio. Oh! 't was a din to fright a monster's ear: To make an earthquake! -sure, it was the roar Of a whole herd of lions! " III.- " EXPLOSIVE " UTTERANCE. (" Guttural and Pectoral Quality.") 1. - Hatred. SHYLOCK, [REGARDING 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 usuance with us here in Venice. IfI 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. - Scorn and Abhorrence. ("Guttural and Pectoral Quality.") MASANIELLO, [IN REPLY TO. THE BASE SUGGESTIONS OF GENUINO. " I would that now I could forget the monk who stands before me; For he is like the accursed and crafty snake! Hence! from my sight! - Thou Satan, get behind me Go from my sight! -I hate and I despise thee! These were thy pious hopes; and I, forsooth, Was in thy hands a pipe to play upon; And at thy music my poor soul to death Should dance before thee! 23 266 APPENDIX. Thou standst at length before me undisguised, - Of all earth's grovelling crew the most accured. Thou worm! thou viper! - to thy native earth Return! - Away! - Thou art too base for man To tread upon. - Thou scum! thou reptile! " 3. -Revenge. (" Guttural and Pectoral Quality.") SHy' OCK, [REFERRING TO THE POUND OF FLESH, THE PENALTY ATTACHED TO ANTONIO'S BOND.] -Shakspeare. " If it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated my enemies. And what's his reasop2 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 diseases, healed by the same means, warmed and cooled by the same summer and winter, as a Christian is? If you stab us, 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." 4 - Hatred, Rage, Horror. (" Guttural and Pectoral Quality:" fierce 'Naspiration.") SATAN, [IN SOLILOQUY.] - Milton. " Be then his love accursed! since love or hate, To me alike, it deals eternal woe. Nay, cursed be thou! since against his thy will Chose freely what it now so justly rues. Me miserable! which way shall I fly Infinite wrath and infinite despair? Which way I fly is Hell, - myself am Hell; And in the lowest deep, a lower deep, Still threatening to devour me, opens wide, To which the Hell I suffer seems a Heaven EXERCISES IN FORCE. 267 5. -Horror, Terror, and Alarm. ("Pectoral Quality.") MACBETH, [TO THE GHOST OF BANQUO.]-Shakspeare. "Avaunt! and quit my sight! Let the earth hide thee! 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!" EXERCISES IN FORCE. I. - ( SUPPRESSED " FORCE. 1. -Whispering. ("Effusive" Utterance.) Pathos. [DYING REQUEST.] -Irs. 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! " (" Expulsive" utterance.) Rapture. [FROM THE DYING CHRISTIAN.]- Pope. "' Hark! they whisper, - angels say, Sister spirit! come away! " (" Explosive" utterance.) Terror. [FROM BYRON'S LINES ON THE EVE OF WATERLOO.] ----- (" The foe! they come, they come! " "Swl pessed force is not limited exclusively to the forms of the whisper or the half-whisper. 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 force, - not in "expres. siou." 26X APPENDIX Half-thisper. (" Effusive" utterance.) Awe. [FROM THE FATE OF MACGREGOR.]- Hogg. " They oared the broad Lomond, so still and serene; And deep in her bosom how awful the scene! Over mountains inverted the blue water curled, And rocked them o'er skies of a far nether world! ' (" Expulsive" utterance.) Fear. " Iew minutes had passed, ere they spied on the stream, A skiff sailing light, where a lady did seem: Her sail was a web of the gossamer's loom, - The glow-worm her wake-light, the rainbow her boom; A dim rayless beam was her prow, and her mast Like wold-fire at midnight, that glares o'er the waste! " (", Explosive" utterance.) Terror. " The fox fled in terror; the eagle Pwoke, As slumbering he dozed in the shelve"of the rock; -- Astonished, to hide in the moonbeam he flew, And screwed the night-heaven, till lost in the blue! " II. -1 " SUBDUED " FORCE ("Pure tone:" "Effusive" utterance.) 1.- Pathos. [FROM THE DEATH OF KORNER.] - Mrs. Hemans. "It was thy spirit, brother! which had made The bright world glorious to her youthful eye, Since first, in childhood, 'midst the vines ye played, And sent glad singing through the free blue sky. I The degree of force implied in the epithet " subdued,"is equivalent, in general, to that which, in music, would be indicated by the term "piano," and which suggests an obvious softening of the voice from even its moderate or ordinary energy. Pathos, solemnity, and tranquillity, when so arranged in succession, imply a slight increase of energy at every stage. But all three ae still inferior to " moderate " or ordinary force. EXERCISES IN FORCE. 269 Ye were but two, - and when that spirit passed, Woe to the one, the last! "Woe, yet not long; - she lingered but to trace Thine image from the image in her breast, Once, once again to see that buried face But smile upon her, ere she went to rest. Too sad a smile! its living light was o'er, - It answered hers no more. "The earth grew silent when thy voice departed, The home too lonely whence thy step had fled; - What then was left for her, the faithful-hearted?-- Death, death, - to still the yearning for the dead. Softly she perished: - be the Flower deplored Here with the Lyre and Sword " 2. - Solemnity. [DEATH.] - Bryant. "Leaves have their time to fall, And flowers to wither at the north wind's breath, And stars to set; - but all, Thou hast all seasons for thine own, 0 Death! "We know when moons shall wane, When summer birds from far shall cross the sea, When autunin's hue shall tinge the golden gram: - But who shall teach us when to look for thee " 3. - Tranquillity. [EVENIN.] - Moir. " 'T is twilight now: How deep is the tranquillity! - The trees Are slumbering through their multitude of boughs, Even to the leaflet on the frailest twig! A twilight gloom pervades the distant hills, An azure softness mingling with the sky " 4. - Profound Repose. [ASPECT OF DEATH: FROM BYRON'S DESCRIPTION OF GaRBOm.] "' He who hath bent him o'er the dead, Ere the first day of death is fled, - 23* 270 APPENDIX. The first dark day of nothingness, The last of danger and distress, - (Before Decay's effacing fingers Have swept the lines where Beauty lingers,) And marked the mild angelic air, - The rapture of repose that's there, - The fixed yet tender traits that streak The languor of the placid cheek, And, - but for that sad, shrouded eye, That fires not, - wins not, - weeps not, - now,And but for that chill, changeless brow,. Whose touch thrills with mortality, And curdles to the gazer's heart, As if to him it could impart The doom he dreads, yet dwells upon, - Yes, - but for these and these alone, Some moments, - ay, - one treacherous hour, He still might doubt the tyrant's power: So fair, -so calm, so softly sealed, The first - last look - by death revealed! " (1 ( Orotund quality:" "Effusive" utterance.) 1. - Pathos and Sublimity. WOLSEY, [ON HIS DOWNFALL.] -Shakspeare. "Farewell, a long farewell, to all my greatness! This is the state of man: To-day he puts forth The tender leaves of hope, to-morrow blossoms, And bears his blushing honors thick upon him: The third day comes a frost, a killing frost; And, -when he thinks, good easy man, full sure.y His greatness is a ripening, - nips his roo' * 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 I The effect of " orotund quality," as transcending " pure tone," is that cf a deeper, fuller, rounder, and more resonant utterance, - implying, therefore, an increase of force, although still a " subdued," or softened force, when compared with even an ordinary aegree. In music, the distinction would still be that of "piano." EXERCISES IN FORCE. 271 Weary and old with service, to the mercy Of a rude stream that must forever hide me! " 2. - Solemnity and Sublimity. [IMMORTALITY.] -Dana. "Oh! listen, man! A voice within us speaks that startling word, ' Man, thou shalt never die! ' Celestial voices Hymn it unto our souls; according harps, By angel fingers touched, when the mild stars Of.morning sang together, sound forth still The song of our great immortality: Thick-clustering orbs, and this our fair domain, The tall, dark mountains, and the deep-toned seas, Join in this solemn, universal song. Oh! listen ye, our spirits; drink it in From all the air. 'T is in the gentle moonlight; 'T is floating midst Day's setting glories; Night, Wrapped in her sable robe, with silent step Comes to our bed, and breathes it in our ears: Night, and the dawn, bright day, and thoughtful eve All time, all bounds, the limitless expanse, As one vast mystic instrument, are touched By an unseen, living Hand; and conscious chords Quiver with joy in this great jubilee. The dying hear it; and, as sounds of earth Grow dull and distant, wake their passing souls To mingle in this heavenly harmony." 3.-Tranquillity and Sublimity. [NIGHT.] -Byron's Marino Falzer. " Around me are the stars and waters, - Worlds mirrored in the ocean; - And the great element, which is to space What ocean is to earth, spreads its blue depths, Softened with the first breathings of the spring; The high moon sails upon her beauteous way, Serenely smoothing o'er the lofty walls Of those tall piles and sea-girt palaces, Whose porphyry pillars and whose costly fronts, 272 APPENDIX Fraught with the orient spoils of many marbles, Like altars ranged along the broad canal, Seem each a trophy of some mighty deed; Reared up from out the waters, scarce less strangely Than those more massy and mysterious giants Of architecture, those Titanian fabrics, Which point in Egypt's plains to times that have No other record." 4. - Reverence. [FROM THE HyMN OF THE SEASONS.] -Thomson. " These, as they change, Almighty Father! these Are but the varied God. The rolling year 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 Winter, awful Thou! with clouds and storms Around Thee thrown, tempest o'er tempest rolled, - Majestic darkness! On the whirlwind's wing, Riding sublime, Thou bidd'st tle world adore, And humblest Nature, with Thy northern blast." III.--1 - MODERATE " FORCE. (" Pure tone:" "Expulsive" utterance.) " Grave" Style. [UNDUE INDULGENCE.] -Alison " The inordinate love of pleasure is equally fatal to happiness 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 mingle themselves with the well of unhallowed pleasure,--of the secret reI The term " moderate " is generally equivalent to " mezzo," in music. It has many gradations, however; of which " grave " is the softest. The sucoessive steps are intimated in the arrangement of th- exercises. EXERCISES IN FORCE. 273 preaches of iccusing 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 indulgence - 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 unrestrained pleasure; -the young, sickening in the midst of every pure and genuine enjoyment; the mature hastening, 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, returning again t3 the trifles and the amusements of childhood." "Serious" Style. [INFLUENCE OF LEARNING.] - 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 direction, 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.] -Addison. " The cheerful man is not only easy in his thoughts, but a perfect master of all the powers and faculties of the soul: his imagination is always clear, and his judgment undisturbed; his temper is even ar.d unruffled, whether in action or solitude. He comes with a relish to all those goods which Nature has provided for him, tastes all the pleasures of the creation which are poured about him, and does not feel the full weight of those accidental evils which may befall him. " A cheerful mind is not only disposed to be affable and obliging, but raises the same good humor in those who come within its influence. A man finds himself pleased, he knows not why, with the cheerfilness of his companion: it is like a sudden sunshine, that awakens a secret delight in the mind, without her attending to it. The heart rejoices of its own accord, and naturally flows out into 274 APPENDIX. friendship and benevolence towards the person ho has so kinily an effect upon it." "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 remarkable for their distinct elocution and force of expression: they dwell on the important particles of and the, and the significant conjunction and, - which they seem to hawk up, witl mich difficulty, out of their own throats, and to cram, - with-no ess pain, - into the ears of their auditors. - These should be suffered only to syringe, (as it were,) the 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 acquaintance 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 bon mot, and the whistlers, or tune-hummers, who never talk at all, may be joined very agreeably together in a concert; and to these ' tinkling cymbals' I would also add the 'sounding brass,' the bawler, who inquires after your health with the bellowing of a town-crier." SHumorous" Style. [THE CRITIC.]-Sterne. "And what of this new book the whole world makes such a noise about? " - " Oh! 't is out of all plumb, my lord, - quite an irregular thing! -not one of the angles at the four corners was a right angle. I had my rule and compasses, my lord, in my pocket! "-" Excellent 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 - 't is out, my lord, in every one of its dimensions." - "Admirable connoisseur! -And did you rtep in to take a look at the great picture, on your way back? "IT is a melancholy daub, my lord! - - not one principle of the EXERCISES IN FORCE. 275 'pyramid,' in any one group!- and what a price! -for there is nothing of the coloring of Titian, - the expression of Rubens, - the grace ot Raphael, - the purity of Domenichino, - the corregiescity of Corregio, - the learning of Poussin, - the airs of Guido, - the taste of Caracci, - or the grand contour of Angelo! " V. - " DECLAMATORY" FORCE. [THE AMERICAN UNION.] - Webster. * While the Union lasts, we have high, exciting, gratifying prospects spread out before us, for us and for our children. 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 fraternal blood! Let their last feeble and lingering glance rather behold the gorgeous ensign of the republic, now known and honored throughout the earth, and still 'full high advanced,' - its arms and trophies streaming in their original lustre, - not a stripe erased or polluted, nor a single star obscured; - bearing, for its motto, no such miserable 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! '" Scorn, Abhorrence, and Detestation. [HELEN MIACGREGOR, TO THE SPY, MORRIS.] -Scott. " I could have bid you live, 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 yourself, like a butcher's 4-r 276 APPENDIX. in the shambles, battening on garbage, while the slaughter f 4 brave went on around you! This enjoyment you shall not liva to partake of: you shall die, base dog! -and that before yon cloud has passed over the sun! " V. -- IMPASSIONED FORCE. (" Aspirated pectoral quality:" " Explosive orotund&" Anger and Threatening. CATLZNE, [ADDRESSING THE SENATE. -- Croly. Here I devote your senate! I've had wro~g, To stir a fever in the blood of age, Or make the infant's sinews strong as steel. This day 's the birth of sorrows! - This hour's work Will breed proscriptions. - Look to your hearths my lord For there henceforth shall sit, for household gods, Shapes hot from Tartarus! - all shames and crimes; - Wan Treachery, with his thirsty dagger drawn; Suspicion, poisoning his brother's cup; Naked Rebellion, with the torch and axe, Making his wild sport of your blazing thrones; Till Anarchy come down on you like Night, And Massacre seal Rome's eternal grave! " Indignant and Enthusiastic Address. (" Expulsive orotund.") ItENZI, [TO THE PEOPLE.] -MiSS Mitford. "Rouse, ye Romans! - Rouse, ye slaves! Have ye brave sons Look in the next fierce brawl To see them die. Have ye fair daughters Look To see them live, torn from your arms, distained, Dishonored; and, if ye dare call for justice, Be answered by the lash. Yet, this is Rome, That sat on her seven hills, and from her throne Of beauty ruled the world! Yet, we are Romans. Why in that elder day, to be a Roman Was greater than a king! - And once again, - Hear me, ye walls that echoed to the tread Of either Brutus! - Once again, I swear, MISCELLANEOUS EXERCISES. 277 The eternal city shall be free! her sons Shall walk with princes!" VI. - Shouting. ("Expulsive orotund:" intense force.) RIENZI, [TO THE CONSPIRATORS.] - Ibid. "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 Rome're-born, and freedom! " VII. - Shouting and Calling. (" Expulsive orotund," "pure tone," intense "sustained" force [MACDUFF'S OUTCRY ON THE MURDER OF DUNCAN.]--Shakspeare " Awake! awake! Ring the alarm-bell: - Murder!. and treason! - Banquo, and Donalbain! Malcolm! awake! " MISCELLANEOUS PIECES. EXTRACTS FOR GENERAL PRACTICE. EXERCISE I.- A SEA-VOYAGE. -lrvzng. [This extract exemplifies, in its diction, the forms of narrative, de. scriptive, and didactic style.- The emotions arising from the subject and the language, are those of tranquillity, wonder, admiration, pathos, and awe. The first of these emotions prevails through the first two paragraphs, and produces, ini 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 " melody," "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 paraL oh. 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 sen24 278 APPENDIX. tence; an ample "median"' prevails in the first two clauses of the second, and a vivid " radical" in the third clause; and, in the third sentence, a stronger "vanishing stress" than before, becomes distinctly audible, in proportion to the increasing emphasis: the I" pitch' of this paragraph is moderately " low," at first, and gradually descends, throughout, as far as to the last semicolon of the paragraph; - the " slides " are principally downward " seconds and thirds:" the "movement" is "slow," excepting in the last clause of the second sentence, in which it is "lively;" the pauses are long; and the "rhythm" still requires perceptible marking. 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 beauty 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 downward " thirds" in emphasis: the " movement" is "Imoderate;" the pauses correspondent; and the "rhythm " somewhat strongly marked. The fifth and sixth paragraphs are characterized, in " expression," by pathos and awe. The first two sentences of the fifth paagraph, are in the neutral or unimpassioned utterance of common Parrative and remark; the next three sentences introduce 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 paragraph, is " subdued;" - in the latter, it is " suppressed:" the " stress " is " median," throughout, - gently marked' in the pathetic part, and 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 downward "slides " of" third " and " fifth," in the language of awe. The "movement" is "slow" in the pathetic part, and "very slow" in the utterance of awe; the pauses correspond; 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 characterized 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 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 "ex pression " becomes yet deeper and slowei but without increase of (6 force." MISCELLANEOUS EXERCISES. 279 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.] 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 opposile 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 undulating 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 thai I had heard or read of the watery world beneath me; of the finny herds that roam its fathomless valleys; of shapeless 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 Sof 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 cultivated 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 280 APPENDIX. expanse, attracts attention. It proved to be the mast of a ship tha must have been completely wrecked; for there were the iemains of handkerchiefs, by which some of the crew had fastened themselves to this spar, to prevent their being washed off 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-weeds flaunted at its s~les. But where, thought I, is the crew l Their struggle has long been over; - they have gone down amidst the roar of the tempest; -their bones lie whitening in the caverns of the deep. Silenceoblivion, --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 fire-side ol home! How often has the mistress, the wife, and the mother, pored over the daily news, to catch some casual intelligence of this rover of the deep! How has expectation darkened into anxiety - anxiety into dread - and dread into despair! Alas! not one memento shall ever return for love to cherish. All that shall ever be known is, that she sailed from her port, and was never heard of more." I1. - DEATH OF MORRIS. - Scott. (Vivid Narrative, exemplifying, after the introductory sentence, Sympathetic Horror, then successively, Terror, Scorn, Revenge, Horror, andAwe.) It was under the burning influence of revenge that the wife of Macgregor commanded that the hostage, exchanged for her husband's safety, should be brought into her presence. "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 dead with terror, in whose agonized features, I recognized, to my horror and astonishment, my old acquaintance Mon is. IHe 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 occasions it even rendered him eloquent; and, with cheeks as pale as ashes hands compressed in agony, eyes that seemed to be taking their last MISCELLANEOUS EXERCISES. 281,ook of all mortal objects, he protested, with the deepest oaths, his total ignorance of any design on the life of Rob Roy, whom he swore he loved and honored as his own soul. - In the inconsistency of his terror, he said, he was but the agent of others, and he muttered the name of Rashleigh. - He prayed but for life - for life he would give all he had in the world;- it was but life he asked - life, if it were to be prolonged under tortures 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 yourself, 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 hurried him to the brink of a cliff 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 exclaimed, in the last articulate words I ever heard him utter, " O, Mr. Osbaldistone, save me! -save me! " I was so much moved by this horrid spectacle, that, although in momentary expectation of sharing his fate, I did attempt to speak in his behalf, but, as might have been expected, my interference was sternly disregarded. The victim was held fast by some, while others, binding a large heavy stone in a plaid, tied it round his neck, and others again eagerly stripped him of some part of his dress. Half naked, and thus manacled, they hurried him into the lake, theie about twelve feet deep, drowning his last death-shriek with a loud 24* 282 APPENDIX. halloo of vindictive triumph, over which, however, the yell of mortal agony was distinctly heard. The heavy burden splashed in the darkblue waters of the lake; and the Highlanders, with their pole-axes and swordp, watched an instant, to guard, lest, extricating himself 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.- THE PLANETARY SYSTEMS. -Hervey. (Serious, Descriptive, and Didactic Style.) l'o us, who dwell on its surface, the earth is by far the most extensive orb that our eyes can anywhere behold: it is also clothed with verdure, distinguished by trees, and adorned with a variety of beautiful decorations; whereas, to a spectator placed on one of the planets, it wears a uniform aspect, looks all luminous, and no larger than a spot. To beings who dwell at still greater distances, it entirely disappears. That which we call alternately the morning and the evening star, - as in one part of her orbit she rides foremost in the procession of night, in the other ushers in and anticipates the dawn,--is a planetary world, which, and the four others, that so wonderfully vary their mystic dance, are in themselves dark bodies, and shine only by reflection; have fields, and seas, and skies of their own, are furnished with all accommodations for animal subsistence, and are supposed to be the abodes of intellectual life; all which, together with our earthly habitation, are dependent on that grand dispenser of divine munificence, the sun; receive their light from the distribution of his rays, and derive their comfort from his benign agency. This sun, however, with all its attendant planets, is but a very little part of the grand machine of the universe: every star, though in appearance no bigger than the diamond that glitters upon a lady's ring, is really a vast globe, like the sun in size and in glory; no less spacious, no less luminous, than the radiant source of the day: so that every star is not barely a world, but the centre of a magnificent system; has a retinue of worlds, irradiated by its beams, and revolving round its attractive influence, all which are lost to our sight in anmeasurable wilds of ether. It is observed by a very judicious writer, that if the sun hmself, MISCELLANEOUS PIECES. 283 which enlightens this part of the creation, were extinguished, and all the host of planetary worlds, which move about him, were annihilated, they would not be missed by an eye that can take in the whole compass of nature, any more than a grain of sand upon the sea-shore. The bulk of which they consist, and the space which they occupy, are so exceeding little in comparison of the whole, that their loss would scarce leave a blank in the immensity ofrlod's works. 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 inhabitant of the woods? - to delegate to the merciless Indian, 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 Suffolk, LL 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 avowed 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 myself impelled to speak. My lords, we are called upon as members of this house, as men, as Christians, to protest against such horrible barbarity!-- 1" 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 carniba, savage, torturing, murdering, devouring, drinking the blood of his mangled victims! Such notions shock every precept of morality every feeling of humanity, every sentiment of honor. 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 support the justice of their conntry. I call upon the bishops, to interpose the unsullied sanctity of their lawn;--upon the judges, to interpose the purity of their 284 APPENDIX. ermine, to save us from this pollution. I call upon the honor of youi lordships to reverence the dignity of your ancestors, and to maintaiv your own. I call upon the spirit and humanity of my country, to vindicate the national character. I solemnly call upon your lord ships, 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 out religion, to do away this iniquity; let them perform a lustration, to purify the country from this deep and deadly sin. V. -EXTRACT FROM PAT.RCK HENRY'S SPEECH IN FAVOR OF THE WAR or INDEPENENNCE. (Declamatory Expostulation, Courage, Confidence, Resolute Defiance, Rousing Appeal, Deep Determination.) They tell us, sir, that we are weak - unable to cope with so for. midable 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 British guard shall be stationed in every house? Shall we gather strength by irresolution and inaction? Shall we acquire 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 such a country as that which we possess, are invincible by any force which our enemy can send against us. 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 forg d. Their clanking may be heard on the plains of Boston! The war is inevitable--and let it come! I repeat it, sir, 16t 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, tha; 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 MISCELLANEOUS PIECES. 285 would they have - Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! -I know not what course others may take; but as for me give me liberty, or give me death! VI.- THE OCEAN.-Byron. Roll on, thou deep and dark blue ocean -roll! Ten thousand fleets sweep over thee in vain; Man marks the earth with ruin - his control Stops with the shore; - upon the watery plain The wrecks are all thy deed; nor doth remain A shadow of man's ravage, save his own, When, for a moment, like a drop of rain, He sinks into thy depths with bubbling groan, Without a grave, unknelled, uncoffined, and unknown! The armaments, which thunderstrike the walls Of rock-built cities, bidding nations quake, And monarchs tremble in their capitals - The oak leviathans, whose huge ribs make Their clay Creator the vain title take Of lord of thee, and arbiter of war - These are thy toys; and, as the snowy flake They melt into thy yeast of waves, which mar Alike the Armada's pride, or spoils of Trafalgar. Thy shores are empires, changed in all save thee - Assyria, Greece, Rome, Carthage, what are they? Thy waters wasted them while they were free, And many a tyrant since; their shores obey The stranger, slave, or savage; their decay Has dried up realhs to deserts - not so thou, Unchangeable save to thy wild waves' play - Time writes no wrinkle on thy azure brow - Such as Creation's dawn beheld, thou rollest now! Thou glorious mirror, where the Almighty's form Glasses itself in tempests! - in all time - Calm or convulsed, in breeze or gale or storm, Icing the pole, or in the torrid clime Dark heaving -boundless, endless, and sublime 1 286 APPENDIX. 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 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; - But hush! hark! a deep ound strikes like a rising knell! Did ye not hear it? - No; 't was but the wind, Or the car rpttling o'er-the stony street: On with the dance! let joy be unconfined; 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 tremblisgs 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, MISCELLANEOUS PIECES. 287 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 gathbring " 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! And Ardennes waves above them her green leaves, 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 gther clay, Which her own clay shall cover, - heaped and pent, Rider and horse,- friend, foe, - in one red burial blent! VIII.--SATAN RALLYING 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, 288 APPENDIX. Thro' optic glass, the Tuscan artist views, At evening, from the top of Fiesole, Or in Valdamrno, 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 On Heaven's azure!) and the torrid clime Smote on him sore besides, vaulted with fire. N'athless 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 Etrurian shades, High over-arched embower; or scattered sedge Afloat, when with fierce winds, Orion armed, Hath vexed the Red 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 carcases 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 wearfed virtue, for the ease ye finrd 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 gates discern The advantage, and descending, tread us down Thus drooping; or with linked thunderbolts MISCELLANEOUS PIECES. 289 Transfix us to the bottom of this gulf? Awake! arise! or be forever fallen! " 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, 0 sovran Blanc The Arv6 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. 0 dread and silent form! I gazed on thee Till thou, still present to my bodily eye, Didst vanish from my thought. - Entranced in prayea I 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 cliffs! all join my hymn! And thou, 0 silent mountain, sole and bare, O blacker than the darkness, all thg 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 Who filled thy countenance with rosy light Who made thee father of perpetual streams? And you, ye five wild torrents, fiercely glad, 25 290 APPENDIX. 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! Ye signs and wonders of the elements. Utter forth God! and fill the hills with praise! And thou, 0 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 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 her thousand voices calls on GoD. MISCELLANEOUS PIECES. 291 I.- ODE ON THE PASSIONS. - ColliMs When Music, heavenly maid, was young, While yet in early Greece she sung, The Passions oft, to hear her shell, Thronged around her magic cell, Exulting, trembling, raging, fainting,Possessed beyond the Muse's painting. By turns they felt the glowing mind Disturbed, delighted, raised, refined: Till once, 't is said, when all were fired, Filled with fury, rapt, inspired, From the supporting myrtles round They snatched her instruments of sound; And, as they oft had heard apart Sweet lessons of her forceful art, Each, (for madness ruled the hour,) Would prove his own expressive power. First, Fear, his hand, its skill to try, Amid the chords bewildered laid; - And back recoiled, he knew not why, Even at the sound himself had made. Next, Anger rushed: his eyes on fire, In lightnings owned his secret stings. - With one rude clash he struck the lyre, And swept with hurried hands the strings. With woful measures, wan Despair - Low sullen sounds his grief beguiled; A solemn, strange, and mingled air: 'T was sad, by fits; - by starts, 't was wild. But thou, 0 Hope! with eyes so fair, What was thy delighted measure? Still it whispered promised pleasure, And bade the lovely scenes at distance hail. Still would her touch the strain prolong; And from the rocks, the woods, the vale, She called on Echo still through all her song: And, where her sweetest theme she chose, A soft responsive voice was heard at every close; And Hope, enchanted, smiled, and waved her golden hair: 292 APPENDIX. And longer had she sung - but, with a frown, Revenge impatient rose. He threw his blood-stained sword in thunder down And, with a withering look, The war-denouncing trumpet took, And blew a blast, so loud and dread, Were ne'er prophetic sounds so full of woe: And ever and anon, he beat The doubling drum with furious heat. And though sometimes, each dreary pause between, Dejected Pity at his side, Her soul-subduing voice applied, Yet still he kept his wild unaltered mien; While each strained ball of sight seemed bursting from his-head Thy numbers, Jealousy, to nought were fixed; Sad proof of thy distressful state! Of differing themes the veering song was mixed: And, now, it courted Love; now, raving, called co Hate With eyes upraised, as one inspired, Pale Melancholy sat retired; And from her wild sequestered seat, In notes by distance made more sweet, Poured through the mellow horn her pensive soul; And, dashing soft from rocks around, Bubbling runnels joined the sound. Through glades and glooms the mingled measure stole, Or o'er some haunted stream, with fond delay, (Round a holy calm diffusing, Love of peace and lonely musing,) In hollow murmurs died away. But, oh! how altered was its sprightlier tone, When Cheerfulness, a nymph of healthiest hne, Her bow across 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 uueen, Satyrs and sylvan boys were seen, Peeping from forth their alleys green; MISCELLANEOUS PIECES, 293 Brown Exercise rejoiced to hear, Ane Sport leaped up, and seized his beechen spear, Last, came Joy's ecstatic trial. He, with viny crown advancing, First to the lively pipe his hand addressed: Put soon he saw the brisk awakening viol, Whose sweet entrancing voice he loved the best. They would have thought, who heard the strain, They saw, in Tempe's vale, her native maids, Amid the fatal-sounding shades, To some unwearied minstrel dancing; While, 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 amidst his frolic play, - As if he would the charming air repay, - Shook thousand odors from his dewy wings. SX1.- THE USES OF KNOWLEDGE.-Alison. 1 he 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 Horeb," 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 leelings of adoration and gratitude, thit 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 li!es, and moves, and has its being." Under an aspect of this kind, it is impossible to pur 294 APPENDIX sue kn wledge 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 Providence of the Lawgiver; --and thus it is, that, in every age, the evidences of religion have advanced with the progress of true philosophy; and that science, in erecting a monument to herself, has, at the same time, erected an altar to the Deity. The second great end to which all knowledge ought to be 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 department 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 modesty 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 benevolence even of sovereigns is limited to the narrow boundary of humrnan life; and, not unfrequently, is succeeded by different 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 whatever situation he may be, who, in the study of science, has discovered a new means of alleviating pain, or of remedying disease; who has described a wiser method of preventing 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 language of Scripture, renders him a " fellow-worker" with God himself, in the improvement of his Creation. MISCELLANEOUS PIECES. 299 nave a country, or at least the hope of a country, and that a free country. But whatever may be our fate, he 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 compensate 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 iluminations. 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. Sir, before God, I believe the hour is come. My judgment 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: independence, now; and INDEPENDENCE FOREVER. XIV.-RESULTS OF THE HEROISM OF THE PILGRIMS.-E. Everett. Methinks I see it now, that one solitary, adventurous vessel, the Mayflower of a forlorn hope, freighted with the prospects of a future state, and bound across the unknown sea. I behold it pursuing, with a thousand misgivings, the uncertain, the tedious voyage. Suns rise and set, and weeks and months pass, and winter surprises them on the deep, but brings them not the sight of the wished-for shore. I see them now, scantily supplied with provisions, crowded almost to suffocation in their ill-stored prison; - delayed by calms, pursuing a circuitous route, -and now driven inf rry before the raging tempest on the high and giddy waves. The awful voice of the storm howls through the rigging. The laboring masts seem straining from their base; - the dismal sound of the pumps is heard; - the ship leaps, as it were, madly, from billow to billow;- the ocean breaks, and settles with ingulphing floods over the floating deck, and beats with deadening, shivering weight, against the staggered vessel. -I see them, escaped from these perils, pursuing their all but desperate undertaking, and landed at last, after a five months' passage, on the ice-clad rocks of Plymouth,- weak and weary from the voyage,poorly armed, scantily provisioned, depending on the charity of their ship-master for a draught of beer on board, drinking nothing but 300 APPENDIX. water on shore, - without shelter, - without means, - surrounded by hostile tribes. Shut now the volume of history, and tell me, on any principle of human probability, what shall be the fate of this handful of adventurers.- Tell me, man of military science, in how many months were they all swept off by the thirty savage tribes, enumerated within the early limits of New England? Tell me, politician, how long did this shadow of a colony, on which your conventions and treaties had not smiled, languish on the distant coast? Student of history, compare for me the baffled projects, the deserted settlements, the abandoned adventures of other times, and find the parallel of this. Was it the winter's storm, beating upon the houseless heads of women and children; was it hard labor and spare meals; - was it disease,-- was it the tomahawk, - was it the deep malady of a blighted hope, a ruined enterprise, and a broken heart, aching in its last moments at the recollection of the loved and left beyond the sea; was it some, or all of these united, that hurried this forsaken company to their melancholy fate? - And is it possible that neither of these causes, that not all combined, were able to blast this bud of hope? - Is it possible, that from a beginning so feeble, so frail, so worthy, not so much of admiration as of pity, there has gone forth a progress so steady, a growth so wonderful, an expansion so ample, a reality so important, a promise, yet to be fulfilled, so glorious? END.