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Dark heaving,-boundless, endless, and sublime, -
Of the Invisible, - even from out thy slime
The monsters of the deep are made. Each zone
77. Moderate movement is the usual rate of utterance in ordinary, unimpassioned narration, as in the following ex
18. "Stranger, if thou hast learned a truth which needs
Experience more than reason, that the world
Is full of guilt and misery,—and hast known
To tire thee of it, enter this wild wood,
And view the haunts of Nature."
79. This rate of the voice is exemplified in giving utterance to a moderate degree of joyful and vivid emotions, as in the following extracts:
88. "Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
That feelingly persuade me what I am.
Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
I would not change it."
81. This rate of the voice is employed in giving utterance to gay, sprightly, humorous, and exhilarating emotions; as in the following examples :
82. "But, O! how altered was its sprightlier tone, When Cheerfulness, a nymph of healthiest hue, Her bow across her shoulder flung,
Her buskins gemmed with morning dew,
Blew an inspiring air, that dale and thicket rung,
83. "Last came Joy's ecstatic trial.
He, with viny crown advancing,
First to the lively pipe his hand addressed;
84. "I come, I come! - ye have called me long ; -
85. "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 saddle before her he sprung.
'She is won! we are gone, over bank, bush, and scaur;
They'll have fleet steeds that follow,' quoth young Lochinvar."
86. This movement of the voice is the symbol of violent anger, confusion, alarm, fear, hurry, and is generally employed in giving utterance to those incoherent expressions which are thrown out when the mind is in a state of perturbation; as may be exemplified in parts of the following ex
"Next Anger rushed. His eyes, on fire,
In lightnings owned his secret stings;
And swept with hurried hand the strings."
"When, doffed his casque, he felt free air,
'Where's Harry Blount? Fitz-Eustace, where?
Cry, "Marmion, to the rescue !"— Vain!
Last of my race, on battle plain
That shout shall ne'er be heard again!
Let Stanley charge, with spur of fire,
Must I bid twice? Hence, varlets! fly
89. He woke
to hear his sentry's shriek
6 To arms! They come! The Greek! the Greek
"Back to thy punishment,
False fugitive! and to thy speed add wings;
Thy lingerings, or, with one stroke of this dart,
91. "This day's the birth of sorrows! This hour's work
PLAINTIVENESS OF SPEECH, OR THE SEMI TONIC MOVEMENT.
92. In ascending the musical scale, if the tone of the voice, in moving from the seventh space to the eighth, be compared with the utterance of a plaintive sentiment, their identity will be perceived. The interval from the seventh to
the eighth is a semitone.
93. Every one knows a plaintive utterance, and the pupil may at any time discriminate a semitone, and hit its interval by affecting a plaintive expression.
94. Subjects of pathos and tenderness, uttered on any pitch, high or low, are capable of being sounded with this
marked plaintiveness of character. Let the pupil devote much time to this subject. He must acquire the power of transferring its plaintiveness to any interval, in order to give a just coloring to expressions which call for its use.
95. This movement of the voice is a very frequent element in expression, and performs high offices in speech. It is used in expressions of grief, pity, and supplication. It is the natural and unstudied language of sorrow, contrition, condolence, commiseration, tenderness, compassion, mercy, fondness, vexation, chagrin, impatience, fatigue, pain, with all the shades of difference that may exist between them. It is appropriate in the treatment of all subjects which appeal to human sympathy.
96. When the semitone is united with quantity and tremor, the force of the expression is greatly increased. The tremulous semitonic movement may be used on a single word, the more emphatically to mark its plaintiveness of character; or it may be used in continuation through a whole sentence, when the speaker, in the ardor of distressful and tender supplication, would give utterance to the intensity of his feelings.
Examples in Plaintive Utterance.
97. "My mother! when I heard that thou wast dead,
And, turning from my nursery window, drew
A long, long sigh, and wept a last adieu.
But was it such? It was.- Where thou art gone,
98. "Would I had never trod this English earth,
Ye have angels' faces, but Heaven knows your hearts: