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Dark heaving, — boundless, endless, and sublime, -
Of the Invisible, even from out thy slime
77. Moderate movement is the usual rate of utterance in ordinary, unimpassioned narration, as in the following ex wract:
18. “Stranger, if thou hast learned a truth which needs
Experience more than reason, - that the world
79. This rate of the voice is exemplified in giving utterante io a moderate degree of joyful and vivid emotions, as in the following extracts:
80. “Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
And this our life, exempt from public haunt,
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,
Blew an inspiring air, that dale and thicket rung,
83. “Last came Joy's ecstatic trial.
He, with viny crown advancing,
First to the lively pipe his hand addressed;
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.
55.“ One touch to her hand, and one word in her ear,
When they reached the hall door, and the charger stood near;
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 tracts :
" Next Anger rushed. His eyes, on fire,
In lightnings owned his secret stings;
And swept with hurried hand the strings."
“ When, doffed his casque, he felt free air,
Around 'gan Marmion wildly stare.
89. 6. He woke to hear his sentry's shriek
• To arms! They come! The Greek! the Greek
Bozzaris cheer his band :
God, and your native land!'"
" Back to thy punishment,
91. “This day 's the birth of sorrows! This hour's work
Will breed proscriptions. Look to your hearths, my lords ,
PLAINTIVENESS OF SPEECH, OR THE SEMI
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 ?
98. « Would I had never trod this English earth,
Or felt the flatteries that grow upon it.