The first five of the properties of voice which have been enumerated, are the ground of the following classification and notation.

KEY TO THE NOTATION OF EXPRESSIVE TONE.'

'Force'.

[I] 'loud'; [1] 'very loud'; [x] 'soft'; [xx] 'very soft'; [<] 'increase'; [>] 'decrease'.

'Pitch'.

[] 'high'; [*]' very high'; [o] 'low'; [..] 'very low'.

'Key'.

[#]' lively', (full tone ;) [b]' plaintive',-(' semitone'.)

'Time'.

[u] 'quick'; [u u] 'very quick'; [-] 'slow'; [=] 'very slow'.

'Stress'.*

[r.s.] 'radical stress'; [m. s.] 'median stress'; [v. s.] 'vanishing stress'; [c. s.] 'compound stress'; [th. s.] 'thorough stress'; [s. s.] suppressed stress'; [tr.] tremor'; [ef. s.] 'effusive stress'; [expul. s.]' expulsive stress '; [explo. s.] 'explosive stress'.

'Quality'.†

[h.q.] harsh quality '; [sm. q.] 'smooth quality'; [a.q.] 'aspirated quality'; [pu. t.] 'pure tone'; [p. q.] 'pectoral quality'; Ig. q.] guttural quality'; [o. q.] oral quality'; [oro. q.]'orotund quality'.

Combinations.

[h. g. q.] harsh guttural quality'; [sm. p. q.] 'smooth pectoral quality', &c

The above Key, though, at first sight, intricate, will occasion no serious difficulty to students who have read attentively the Sections on 'Stress' and 'Quality.' The notation will be found of great service, not only by suggesting appropriate expression', which a young reader might otherwise overlook, but by enabling the pupil to prepare for the exercise of reading or declaiming, by previous study and practice.

It is a humiliating fact, that, in many schools, the sublimest and most beautiful strains of poetry,-take, for example, Milton's invocation, "Hail holy Light!"-are, from the neglect of 'expressive tone', called out in the same voice with which a clerk repeats the number or the mark on a bale of goods, or read with the free and easy' modulation of a story told by the fireside,—or perhaps, with

* See § IX. 'STRESS'.

† See § I. 'QUALITY'.

the pompous mouthing of the juvenile hero of a spouting club', with the languishing tone of a sick person, or with the suppressed, half-whispering utterance of a conscious culprit.

The notation of 'expression' has been adopted with a view to the early formation of correct habit.

RULES ON EXPRESSIVE TONE.

RULE I. The tones of anger, vexation, alarm, fear, and terror, have an utterance 'extremely loud, high, and quick', 'abrupt', and 'explosive',-or, sometimes marked by 'expulsive' and by 'vanishing' stress, an 'aspirated', 'harsh', and 'guttural' voice, and are characterized, throughout, by the 'falling inflection'.

Notation.

Example of Anger.

"He hath disgraced me, and hindered me of half [10] a million; laughed at my losses, mocked at my gains, [°°] scorned my nation, thwarted my bàrgains, cooled my [u u] friends, heated mine ènemies: and what's his rèa[h. g. q.] son? I AM A JEW.-Hath not a Jew éyes, hath not [explo.s.] a Jew hands, órgans, dimensions, sénses, afféctions,

pássions? fed with the same food, hurt with the See Key same weapons, subject to the same diseases, healed by to the same méans, warmed and cooled by the same winNotation. ter and summer as a CHRÍSTIAN is ?"

Vexation.

[1] "Say you so? sáv you so?-I say unto you [°°] again, you are a shallow, cówardly, hind, and you [U] LIE. Our plot is a good plot as ever was laid; our [explo.s.] friends true and còNSTANT; a GOOD PLOT, good [a. p. friends, and full of expectation: an ÈXCELLENT plot, VERY good friends. What a FRÒSTY-SPIRITED rogue is this!-An I were now by this rascal, I could brain him with his LADY'S FÀN.-Oh! I could DIVIDE myself, and go to BUFFETS, for moving such a DISH of SKIMMED MILK with so honorable an àction!"

&

g. q.]

Fear.

[] "Oh! SAVE me, Hubert, SÀVE me: my eyes are dUT, [] Even with the fierce LOOKS of these bloody men! [u] Alas! what need you be so boisterous rough? [expul. I will not struggle,-I will STAND | STÓNE STILL. r.s.] For HEAVEN'S sake, Hubert! let me not be BOUND! [a.o.q.] Nay, HEAR me, Hubert! drive these mén away, [Tre- And I will sit as quiet as a LAMB;

mor', I will not stir, nor wince, nor speak a wòRd, through-Nor LOOK | upon the irons | ángerly;

out.] Thrust but these mén away, and I'll FORGIVE you, Whatever torments you do put me to."

Terror.
"AWAKE! AWAKE!—

[expul. RING the ALARUM BELL: MURDER! and TREASON! m.s. BANQUO, and DONALBAIN! MALCOLM! AWAKE? pro- Shake off this downy sleep, death's counterfeit, longed.] And look on death itself!-UP! UP! and see [g.&o.q.]The great DòOM's image!—MALCOLM! BÀNQUO : [Shout.]As from your GRAVES rise up, and walk like sprights, [Call.] To countenance this horror !"

RULE II. Wonder and astonishment are expressed by 'loud, high, and slow utterance'; 'vanishing stress'; aspirated' and slightly guttural' 'quality'; and prolonged 'downward slide'. -Astonishment exceeds wonder, in the degree of these properties.

[v. s.]

Example of Wonder.

“What is 't ?--a spirit ?

See! how it looks abòut! Believe me, sir,
It carries a bràve form!—but 't is a spirit !—
I might call him

[a. o. q.] A thing divine; for nothing natural
I ever saw so nòble!"

Astonishment.

"Alonzo. What harmony is this?—my good friends, HARK!

Gonzalo. Marvellous sweet music!

Alon. Give us kind kèepers, HÈAVENS!-- What were

[a.p.q.]THÈSE?

Sebastian. A living drollery! Now I will believe

That there are unicorns: that, in Arabia,
There is one trèe, the phonix' throne; one phonix
At this hour reigning there.

Antonio.

I'll believe both;

And what does èlse want credit, come to mè,

And I'll be sworn 't is TRUE."

Note. Amazement, when it does not go to the utmost extreme, has a louder, but lower and slower utterance, than astonishment: the other properties of voice are of the same description as those expressed in astonishment, but increased in degree.

Amazement.

[] "Gon. I'the name of something hòly, sir, why stand you [*] In this strange stàre?

[o] Alonzo. Oh! it is MÒNSTROUS! MONSTROUS! [v. s.] Methought, the billows spoke, and told me of it; [a. & The WINDS did sing it to me; and the THÙNder, p. q.] That deep and dreadful organ-pipe pronounced

The name of PRÒSPER; it did bàss my trèspass !"

RULE III. Horror and extreme amazement have a 'softened' 'force', an extremely 'low' note, and 'slow' movement, a 'suppressed stress', a deep ' aspirated pectoral quality', and a prevailing' monotone'.

[x]

Example of Horror.

"Now, o'er the one half world

[..] Nature seems dead; and wicked dreams abūse
[-]The curtained sleeper; witchcraft celebrates
[S.s.]Pale Hecate's offerings; and withered murder,
[a.p. Alarumed by his sentinel, the wolf,

q] Whose howl's his watch, thus with his stealthy pace,
With Tarquin's ravishing strides, towards his design
Moves like a ghost.-[..] Thōu sure and firm-set earth!
Hear not my steps which way they walk, for fear
The very stones prate of my whereabouts,

And take the present hōrror from the time,

Which now suits with it."

* The omission of any mark, indicates the moderate or middle 'pitch', 'force', or 'rate'. The absence of the notation for 'pitch', in the above case, is equivalent to 'middle pitch'.

Extreme Amazement.

[x]

"Oh! answer me:

[..]

[=] [s.s.]

Let me not bùrst in ignorance! but tell
Why thy canonized bōnes, hearsed in death,
Have burst their cèrements! why the sepulchre,
[a. p. q.] Wherein we saw thee quietly inurned,
Tremor.] Hath ōped his ponderous and marble jaws,

To cast thee up again! [..] What may this mean,
That thōu, dead corse, again, in complete steel
Revisit'st thus the glimpses of the moon,
Making night hideous; and we fools of nature,
So horribly to shake our disposition,

With thoughts beyond the reaches of our souls?"

RULE IV. Awe has usually a 'suppressed' force, a 'very low' note, and a 'very slow' movement. Solemnity, reverence, and sublimity, have a 'moderate' force, a 'low' note, and a slow movement'.-All four of these emotions are uttered with 'effusive median stress', and deep, but 'pure', 'pectoral quality'; together with a prevalent monotone'.

Note. When great force is expressed in the language, the tone becomes 'loud' in awe.

[]

Example of Awe.

"O Thōu unütterable Pōtentate!

[..] Through nature's vast extent, sublimely great !— [=] But here, on these gigantic mountains, here,

[ef. Thy greatness, glory, wisdom, strength, and spirit,
m.s.] In terrible sublimity appear!

[pu. Thy awe-imposing voice is heard,-we hear it!
t. The Almighty's fearful voice: attènd! It breaks
paq.] The silence, and in solemn wärning spèaks.
[..] Thou breathēst! [..] förest ōaks of centuries
Turn their uprooted trunks towards the skies.

[..] Thou thunderest! [..] adamantine mountains break,
Tremble, and tōtter, and apart are rìven!
[..] At GoD's almighty will,

[1.-]The affrighted world falls headlong from its sphere! [..]Planets, and suns, and systems disappear!"

Solemnity.

"Father! thy hand

[ef. Hath reared these venerable columns; Thou

m.s.] Didst weave thīs vērdant roof. Thōu didst look down