Moneys is your suit. What should I say to you? Should I not say? Hath a dog money? Is it possible A cur can lend three thousand ducats? Derision and Exultation are heightened by the combina- tion of the Tremor with these symbols. The inquiry of Apprehension or Suspicion is characterized by the Aspiration. Examples: 1. Horatio. My lord, I think I saw him yesternight. Is not your father grown incapable Of reasonable affairs? Is he not stupid With age and altering rheums? Can he speak, hear, Lies he not bed-rid, and again does nothing But what he did being childish? 'Angry or Authoritative Inquiry employs Loudness of voice, and the Radical or Compound Emphasis, according to the degree of emotion and the quantity of the emphatic syllable. Example: 'Zounds, show me what thou'lt do? Woul't weep? woul't fight? woul't fast? woul't tear thyself? Contempt and Surprise, add to the Compound Stress the Aspiration; and Scorn, if strongly expressed, combines with these the Guttural quality of voice. Example of Surprise : Gone to be married, gone to swear a peace! False blood to false blood joined! Gone to be friends' Shall Lewis have Blanch? and Blanch those provinces ? Be well advised, tell o'er thy tale again. Plaintive Interrogation is the exact opposite of plaintive Exclamation, and calls for the use of the Inverted instead of the Direct Wave;-the first constituent being a Semitone and the last a Rising Third, Fifth, or Eighth. IRRESOLUTION, MODESTY, &c. There is a class of emotions, not very closely allied to each other in their nature, yet which are expressed by nearly the same natural symbols. They have to be distinguished by the artificial language to which the voice gives utterance. Irresolution, Doubt, Caution, Apathy, Humility, Modesty, Shame, Tranquillity, Fatigue, Drowsiness, and Weakness, though usually expressed in the Diatonic Melody, yet are characterized by Feebleness of voice, Slow Time, and occasionally by the Wave of the Second. Weakness indeed often employs the Broken Melody, and sometimes the Wave of the Semitone. EXAMPLES. 1. Adam. Dear master, I can go no farther: Oh, I die for food! Here lie I down and measure out my grave. Farewell, kind master. Duke. Welcome: set down your venerable burden, And let him feed. Orla. I thank you most for him. Adam. So had you need; I scarce can speak to thank you for myself. 2. And wherefore should this good news make me sick? I should rejoice now at this happy news, And now my sight fails, and my brain is giddy : O me! come near me, now I am much ill. I pray you take up and bear me hence Into some other chamber; softly, pray Let there be no noise made, my gentle friends, Will whisper music to my weary spirit. For further practice in Expression, judicious selections from dialogues and dramatic pieces are specially recommended. SECTION VI. OF TRANSITION. By Transition is meant those changes of style which may occur in the same discourse, and which depend entirely on the changes of sentiment which take place. And here is called into effective use every various element of melody. There is no capability of the human voice which may not be brought into requisition, for the expression of the varying sentiments of a single discourse. Here also may be brought near together the most opposite varieties of intonation. Few are aware how much depends on an agreeable variety in the melodies as well as in the intonation of the voice. And it may with great propriety be remarked in passing, that the varying sentiment of what is uttered furnishes a basis of modulation, which, from the very nature of the case, excludes monotony and every species of mechanical variety. Indeed variety in intonation, depending on any other principle than this, becomes not less disagreeable than the most inflexible monotony ; and in fact, usually degenerates into a species of monotony, arising from the repetition of the same succession of sounds; thus constituting a sort of regular tune. The more violent transitions are confined to the stage. In poetry they are often called for, and should be more strongly marked in declamation than in reading. Even in ordinary prose composition, changes of sentiment occur, but are less violent and abrupt. After what has been said of the various elements of expression, and of the mode of their combination, the learner cannot be at a loss to apply the principles already laid down, to the purposes of Transition. The following will serve as good examples for exercise; and, except the first, they are left without rhetorical notation, that the learner may test his ability to detect changes of sentiment as they occur, as well as to apply the various symbols of emotion to their expression. EXAMPLES. 1. ALEXANDER'S FEAST. Narrative. 1. 'Twas at the royal feast for Persia won By Philip's warlike son; Dignity. Aloft in awful state, The godlike hero sate On his imperial throne. Narrative. His valiant peers were placed around, Their brows with roses and with myrtle bound: Positiveness. So should desert in arms be crowned. Gayety. The lovely Thais, by his side, Sat like a blooming eastern bride, Delight. Happy, happy, happy pair: None but the brave, None but the brave, Triumph. None but the brave, deserve the fair. Narrative. 2. Timotheus, placed on high, With flying fingers touch'd the lyre: And heavenly joys inspire. The song began from Jove, Who left his blissful seat above Dignity. Such is the power of mighty love!— When he to fair Olympia pressed, And stamped an image of himself, a sovereign of the world. The listening crowd admire the lofty sound: Admiration. "A present deity!" they shout around ;— 3. The praise of Bacchus, then the sweet musician sung; Of Bacchus ever fair and ever young! The jolly god in triumph comes! Rapture. Now give the hautboys breath!-He comes! he comes Bacchus, ever fair and young, Delight. |