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Dark heaving,-boundless, endless, and sublime, -
The image of Eternity, the throne

Of the Invisible, - even from out thy slime

The monsters of the deep are made. Each zone
Obeys thee. Thou goest forth, dread, fathomless, alone.


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

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Experience more than reason, that the world

Is full of guilt and misery,—and hast known
Enough of all its crimes and cares

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,

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Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?
Here feel we but the penalty of Adam,
The seasons' difference; as, the icy fang, '
And churlish chiding of the wintry wind,
Which, when it bites and blows upon my body,
Even till I shrink with cold, I smile and say,
This is no flattery.' These are counsellors

That feelingly persuade me what I am.

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,
Sermons in stones, and good in every thing.

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,
The hunter's call, to Faun and Dryad known.'

83. "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."

84. "I come, I come! - ye have called me long ; -
I come o'er the mountain 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.'

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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 croup 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'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;
In one rude clash he struck the lyre,

And swept with hurried hand the strings."

"When, doffed his casque, he felt free air,
Around 'gan Marmion wildly stare.

'Where's Harry Blount? Fitz-Eustace, where?
Linger ye here, ye hearts of hare!
Redeem my pennon - charge again!

Cry, "Marmion, to the rescue !"— Vain!

Last of my race, on battle plain

That shout shall ne'er be heard again!
Yet my last thought is England's. Fly,
Fitz-Eustace, to Lord Surrey hie.
Tunstall lies dead upon the field;
His life-blood stains the spotless shield;
Edmund is down my life is reft-
The admiral alone is left.

Let Stanley charge, with spur of fire,
With Chester charge, and Lancashire,
Full upon Scotland's central host,
Or victory and England 's lost.

Must I bid twice? Hence, varlets! fly
Leave Marmion here alone - to die.'

89. He woke

to hear his sentry's shriek


6 To arms! They come! The Greek! the Greek
He woke to die 'midst flame and smoke,
And shout, and groan, and sabre stroke,
And death-shots falling thick and fast,
As lightnings from the mountain cloud;
And heard, with voice as trumpet loud,


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"Back to thy punishment,

False fugitive! and to thy speed add wings;
Lest, with a whip of scorpions, I pursue

Thy lingerings, or, with one stroke of this dart,
Strange horror seize thee, and pangs unfelt before ! ”

91. "This day's the birth of sorrows! This hour's work
Will breed proscriptions. Look to your hearths, my lords,
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 comes down on you like Night,
And Massacre seals Rome's eternal grave."



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,
Say, wast thou conscious of the tears I shed?
Hovered thy spirit o'er thy sorrowing son,
Wretch even then, life's journey just begun?
I heard the bell tolled on thy burial day;
I saw the hearse that bore thee slow away;

And, turning from my nursery window, drew

A long, long sigh, and wept a last adieu.

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But was it such? It was.- Where thou art gone,
Adieus and farewells åre a sound unknown."

98. "Would I had never trod this English earth,
Or felt the flatteries that grow upon it.

Ye have angels' faces, but Heaven knows your hearts:
I am the most unhappy woman living."

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