Then lend the eye a terrible aspect; Let it pry through the portage of the head Like the brass cannon; let the brow o'erwhelm it, As fearfully as doth a galled rock O'erhang and jutty his confounded base า Swilled with the wide and wasteful ocean. 4. If an officer were commanded to pull his own father out of this house, he must do it; he dares not disobey: immediate death would be the sure consequence of the least grumb ling. NOTE.-"Father" and "death" have the emphasis of sense, the word even being under Through all her works,) he must delight in virtue, And that which he delights in must be happy. 5. No; I will not; whatever may have been your expectation with regard to my intentions, you may be assured I will not do it. ר 5. You have been long enough employed at the work; begone; I'll not endure it. ར 6. Eloquence is action, noble, SUBLIME, GÖDLIKE action. 6. I tell you, though you, though all the world, though an angel from HEAVEN, should declare the truth of it, I could not believe it. 7. What men could do, Is done already; heaven and earth will witness, If Rome MUST fall, that we are innocent. 7. If I were an American, as I am an Englishman, while a foreign troop was landed in ר my country, I never would lay down my arms,-never, NEVER, NEVER! THE WEAK EMPHASIS. This Emphasis is the opposite of the Emphasis of Force. Both are applied where no antithesis is expressed or understood; and as that employs the falling inflection to express what is positive and energetic, so this adopts the rising inflection to express that which is feeble, negative, or unimportant. APPLICATION. 1. To that which is weak or inconsiderable. 2. That which is restrictive, exceptive, or conditional. 8. That which is surprising, uncertain, plaintive, or supplicatory. EXERCISE. 1. In vain should he attempt to make that sun share his gratification. 1. Mr. Jones called upon us to-day. Indeed! what did he want? O, he only called to 2. Behold the fowls of the air, for they sow not, neither do they reap, nor gather intr barns; yet your heavenly Father feedeth them. 2. Silence accompanied; for beast and bird, They to their grassy couch, these to their nests, Were slunk; all but the wakeful nightingale. 2. O! hush, my child! hush! I could part with you for ever, if I could only ease you ) strife. from wailing, and from this sore strife. 3. HORATIO. My lord, I think I saw him yesternight. HAMLET. Saw! Who? HORATIO. My lord, the king, your father. HAMLET. The king! my father! 8. One day he lighter seemed, and they forgot The care, the dread, the anguish of their lot; They spoke with cheerfulness, and seemed to think, Yet said not so-Perhaps he will not sink. 3. "How sad he looked," said Francesca, "he will never get over his father's death." ) "Poor youth! the cares of the world have come early upon him," observed her father. 3. Ah, treat them kindly! Rude as thou appear'st, Yet show that thou hast mercy. THE CIRCUMFLEX. The circumflex is the frequent, and spirited agent of emphatic speech. In its highest reach it is capable of surprising vividness and effect. 1. So then you are the author of this conspiracy against me. It is to you that I am in debted for all the mischief that has befallen me. 2. But it is foolish in us to compare Drusus Africanus and ourselves with Clodius; all our other calamities were tolerable; but no one can patiently bear the death of Clodius. 3. I know you, sir,—I know you, sir,-you, sir, you are below contempt. 4. QUEEN. Hamlet, you have your father much offended. HAMLET. Madam, you have my father much offended. 5. Yes they will give enlightened freedom to our minds, who are themselves the slaves of passion, avarice, and pride. 6. He is my friend-He? what! he? No, sir; you are deceived; he is not your friend; but he is your enemy. 7. I knew when seven justices could not take up a quarrel; but when the parties were met themselves, one of them thought but of an iƒ; as, If you said so, then I said so; Oho! did you so? So they shook hands and were sworn brothers. MODULATION OR EXPRESSION. QUALITY. Quality or kind of voice, refers to utterance as resounding chiefly in the head, throat, or chest, or in all of these combined; and by such uses the voice is rendered smooth or harsh, pure or aspirated, full or slight, reverberant, sonorous, deep, &c. Illustrations of these modes of utterance may be found in the following examples of emotional reading:-1. Pathos; 2. Awe; 3. Admiration; 4. Hatred. 1. "Alas! poor boy." 2. "Oh Lord, my God! Thou art very great." 3. "Oh, noble boy!" 4. "I hate and I despise thee!" Now, in the natural reading of these examples, the first would be read with the clear resonance of the head voice, called pure tone; the second requires the deep reverberations of the chest, and is called pectoral quality; the third demands the full and sonorous voice of the head, chest, and throat combined, and is called orotund quality; the fourth is rendered with a harsh and grating voice of the throat, called aspirated quality. Additional examples: OROTUND QUALITY. GRANDEUR AND SUBLIMITY. O thou that rollest above, round as the shield of my fathers, whence are thy beams, O sun! thy everlasting light? Thou corest forth in thy awful beauty: the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. But thon thyself movest alone: who can he a companion of thy course? COURAGE AND DEFIANCE. "Come one, come all,—this rock shall fly PATHOS AND SUBLIMITY. Roll on, thou deep and dark blue ocean, roll! He sinks into thy depths with bubbling groan, Without a grave-unknelled, uncoffined, and unknown. PECTORAL QUALITY. AWE AND MELANCHOLY. Toll, toll, toll! Thou bell by billows swung, And, night and day, thy warning words Repeat with mournful tongue! Toll for the queenly boat, Wrecked on yon rocky shore; Sea-weed is in her palace halls! PROFOUND SOLEMNITY. Leaves have their time to fall, And flowers to wither at the north wind's breath, And stars to set-but all, Thou hast all seasons for thine own, oh Death! GLOOM AND MELANCHOLY. Now is the ocean's bosom bare, Unbroken as the floating air; The ship hath melted quite away, Like a struggling dream at break of day. No image meets my wandering eye But the new-risen sun, and the sunny sky. Though the night shades are gone, yet a vapor dull Bedims the wave so beautiful; While a low and melancholy moan Mourns for the glory that hath flown! PURE TONE. TRANQUILLITY. Our bugles sang truce; for the night cloud had lowered, When reposing, that night, on my pallet of straw, And thrice, ere the morning, I dreamed it again. PATHOS. Ye've gathered to your place of prayer, Your ranks are full, your mates all there- He was the proudest in his strength, Why lies he at that fearful length, And ye around his pall? TENDERNESS AND PATHOS. Softly, peacefully, Lay her to rest; On her young breast; Gently, solemnly, Bend o'er the bed Where ye have pillowed Thus early her head. HARSH AND ASPIRATED QUALITY. IMPRECATION. Then, in the last gasp of thine agony, Amidst thy many murders, think of MINE! Thou den of drunkards with the blood of princes! Gehenna of the waters! thou sea Sodom! Thus I devote thee to the infernal gods! Thee, and thy serpent seed! HATRED. CALIBAN. "You taught me language; and my profit on't For learning me your language!" FORCE. The degree of power or force of voice, indicates the character of the emotion expressed. The gentler emotions, therefore, require the softer degrees of force, and the bolder emotions the stronger degrees. The five marked divisions of Force-Very Soft, Soft, Moderate, Loud, and Very Loud-include the expression of all the varying emotions, from the gen tlest cadences of profound repose, to the ecstasies and ravings of ungovernable rage. VERY SOFT. DEEP SOLEMNITY AND PATHOS. Full knee-deep lies the winter snow, Toll ye the church-bell, sad and slow, And tread softly and speak low; For the old year lies a-dying. |