[pu.t. Upon the naked earth, and, fōrthwith, rōse
p.q.] All these fair ranks of trèes. They, in thỹ sun,

Būdded, and shook their green leaves in thỹ breeze,
And shot towards heaven. The century-living crow,
Whose birth was in their tóps, grew old and died
Among their brànches, till, at last, they stood,
As now they stand, mässy and tall and dārk,
[..]Fit shrine for humble worshipper to hold
Communion with his Maker!"

Reverence.

[x.-] "Oh! let me often to these solitudes [ef. m. s.] Retire, and in Thy presence reassure [pu.t.p.q.] My feeble virtue. Here, its enemies,

[>]

The passions, at thy plainer footsteps shrink,
And tremble, and are still.

[xx 。°
=] Be it ours to meditate,
In these calm shades, Thy milder majesty,
And, to the beautiful ōrder of Thy works,
Learn to conform the order of our lives!"

Sublimity.

"Hail! hōly Light, offspring of heaven first bōrn,— [ef. Or, of the Eternal, coeternal bèam

m. s.] May I express thee unblámed? since GòD is Light, [oro. And never but in unapproached light

g.] Dwelt from etèrnity,-dwelt then in thee,

Bright effluence of bright essence increàte;
[..] Or hearst thou, rather, pure ethereal stream,
Whose fountain whò shall tèll? Before the sún,
Before the heavens thou wert, and, at the voice
Of God, as with a mantle, didst invēst
The rising world of waters, dark and deep,
Wōn from the võid and fōrmless infinite.'

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RULE V. Revenge is 'loud' and 'low' in utterance: when deliberate, it is 'slow',-when violent, it is quick': it has the median stress'; and aspirated''pectoral' and 'guttural quality', combined. It is marked by a prevalent 'downward slide'.

Example 1.

[I]"ÒN them, HUSSARS!—Now give them REIN and HÈEL! [.] Think of the ORPHANED CHILD, the MURDERED SÌRE:

[expul. Earth cries for BLOOD,-[II] in THUNDER on them s.] [oro.q.] This hour to Europe's fate shall set the TRIUMPH SEAL!"

WHEEL!

[1] 2. Shylock. "There I have another bad match: a [。] BANKRUPT, a PRÒDIGAL, who dare scarce show his [u] head on the Rialto; —a BÈGGAR, that used to come [expul.s.] so smug upon the màrt: let him look to his BÒND: [h. g. & he was wont to call me ÙSURER; LET HIM LOOK TO pec. q.] HIS BOND: he was wont to lend money for a CHRISTIAN COURTESY: LET HIM LOOK TO HIS BÒND!"

RULE VI. Scorn is characterized by 'loudness', by drawling 'slowness', and a tone which, in the emphatic words, begins on a 'high' and slides to a 'low' note; by 'thorough stress', and often, a laughing 'tremor', making the beginning, the middle, and the end, of every emphatic sound, distinct, and prominent, and cutting to the ear. The 'quality' of the voice in this tone, is strongly aspirated', but not guttural': the 'inflection' is usually falling', but, sometimes, becomes the 'wave', or 'circumflex'.

[th. s.]

Example 1.

“Thou SLÀVE, THOU WRETCH, THOU CÒW

ARD!

Thou little valiant, great in villany! [a.o.q.] Thou ever strông upon the stronger side! Thou FORTUNE'S champion, that dost never fight But when her humorous ladyship is by To teach thee safety!"

[a. q.]

[th. s.]

2. "Pale, TREMBLING, COWARD!-[Tremor.]
thère I throw my gàge:

By that, and all the rights of knighthood èlse,
Will I make good against thee, arm to ARM,

What I have spóke, or thou canst worse devise.”

RULE VII. Indignation is marked by full loudness', 'low' note, and deliberate 'slowness'; a swelling 'median stress'; and the effect arising from the blending of 'pectoral' and 'guttural' tone, to all the extent consistent with 'pure' 'orotund', in vehement style. The characteristic inflection is uniformly 'falling'.

[1]

[.]

Exam. "In this complicated crisis of danger, weakness, and calàmity, terrified and insulted by

[-] the neighboring powers, unable to act in America, [expul.m.s.] or acting only to be DESTROYED, WHERE is the [oro.q.] MAN who will venture to flatter us with the hope

of success from perseverance in measures productive of thèse dire effècts?-Whò | has the EFFRÒNTERY to attempt it? WHERE' is that man? Let him, if he DÀRE, STAND Forward, and SHOW his FACE."

RULE VIII. Courage, joy, ardent love, and ardent admiration, are distinguished by 'loud', 'high', and 'lively' utterance; swelling median stress'; perfectly smooth and 'pure' 'quality' of tone; and frequent 'falling' inflections.

Note. Joy is sometimes expressed by 'tremor', ardor by 'aspiration', and courage by orotund' utterance.

Example 1. Courage and Ardent Admiration.

[11] "Now for the FIGHT!-now | for the cÀNNON

[°°] [u u] [expul.r.s.] [oro. q.]

[1]

[°]

PEAL!

FORWARD!-through BLOOD, and TòIL, and
CLOUD, and FÌRE !

Glorious—the SHOUT, the SHOCK, the CRASH of

STEEL,

The VOLLEY'S ROLL, the ROCKET'S BLASTING SPÌRE !” 2. Joy.

"Thou Child of Jòy!

SHOUT round me: let me HEAR thy shouts, thou happy Shepherd Boy!"

3. Ardent Love and Admiration.

"Oh! speak agàin, bright àngel; for thou art As glorious to this sight, being o'er my head, [v] As is a winged messenger of heaven [m.s.] Unto the white upturned wondering eyes [pu.o.q.] Of mortals, that fall back to gaze on him, [#] When he bestrides the lazy-pacing clouds, And sails upon the bosom of the air."

RULE IX. Excessive grief and sorrow, are expressed by 'loud' 'high' and 'slow' utterance; 'tremor', or 'intermittent stress'; and 'pure'quality',-where not interrupted by sob, or aspiration'. The falling inflection' prevails throughout the utterance of these emotions.

Example.

[][] "Capulet. 'Hà! let me sèe her:-Out, alàs! she's cold: - Her blood is settled; and her joints are stìff;

[a. q.] Life and these lips have long been sèparated; [tr.] Death lies on her, like an untimely frost Upon the sweetest flower of all the field.

[sob]

[°]

Accursed time! unfortunate old màn !'"

"Lady Capulet. 'AccÙRSED, UNHAPPY, WRÈTCHED, HATEFUL day!

Most MISERABLE hour that e'er time saw,

[explo.s.] In lasting labor of his pilgrimage!

[tr.] [a. q.]

But one, poor one, òNE POOR and LòVING CHILD, But one thing to rejoice and sólace in, [sob] And cruel death | hath catched it from my sight!'”

6

6

RULE X. Moderate grief and sorrow, pity, and tender love and admiration, are expressed by softened force', 'high' notes, and slow movement'; by prolonged and swelling 'median stress'; and by 'pure', but chromatic', or plaintive utterance. The 'rising inflection', in the form of 'semitone', (half tone,) prevails in the expression of these emotions.

Example of Moderate Grief.

[x] "Enamored death, with sweetly pensive gråce,
[] Was awful beauty to his silent face.

[-] No more his sad eye looked me into tears!
[m.s.] Closed was that eye, beneath his pále, cóld brów;
[pu. And on his calm lips, which had lost their glów,

9] But which, though pale, seemed half-unclosed to speak, [b] Loitered a smile, like moonlight on the snow."

[-] [m. s.] [pu. q.] [b]

[>]

Pity.

Morn cáme again;

But the young lamb was dead.
Yet the poor mother's fond distress
Its every art had tried

To shield, with sleepless tenderness,
The weak one at her side.

Round it, all night, she gathered warm
Her woolly limbs, her head

Close curved across its feeble förm;
Day dawned, and it was dead.-

[xx] It lay before her stiff and cold,

Yet fondly she essayed

To cherish it in love's warm föld;
Then restless trial måde,

66

Moving, with still reverted fåce,
And low, complaining bléat,
To entice from their damp resting place
Those little stiffening feet."

Tender Love and Admiration.

[x] 'Hushed were his Gertrude's lips, but still their bland [°] And beautiful expression seemed to melt

[-] With love that could not die! and still his hand [m.s.] She presses to the heart no more that felt. [pu.q.] [o] Ah! heart, where once each fond affection dwélt, [b] And features | yet | that spoke a soul mòre fair!”

RULE XI. Impatience, eagerness, and hurry, are denoted by loud' 'high', and 'quick movement'; impatience, by vanishing', or final 'stress'; eagerness, by 'expulsive median stress'; hurry, by abrupt 'radical' or initial explosive' 'stress': all three emotions are sometimes marked by the 'tremor', and by aspirated', and sometimes, 'anhelose' or panting utterance, eagerness occasionally by the 'orotund'. The falling inflection' characterizes the tones of these emotions. Example of Impatience.

[] "Mortimer. Fie! cousin Percy,-how you cross my

[°]

[u]

father!

Hotspur. I cannot choose: sometimes he angers me, [explo. With telling me of the móldwarp and the ant, v. s.] Of the dreamer Mérlin, and his pròphecies; [a. q.] And of a drágon, and a finless fish,

A clip-winged griffin, and a moulten ràven,
A couching lion, and a ramping càt,

And such a deal of SKIMBLE SKAMBLE STÚFF,
As puts me from my faith. I tell you what,-
He held me, but last night, at least nine hours,
In reckoning up the several DEVILS' names

That were his lackeys: I cried 'hùmph !'—and 'well !'
'go tò !'—

But marked him not a word. Oh! he's as tedious
As is a tired horse, a railing wife;

Worse than a SMOKY HOUSE-I had rather live
With cheese and garlic in a WINDMILL, FÀR,
Than feed on càtes, and have him TÁLK to me,
In any summer-house in CHRISTENDOM."