said to have appeared centuries after his death, in the very places he mentioned) were wanting to complete the harmony. We know how wonderful are phenomena of color; how strangely like consummate art the strongest dyes are blended in the plumage of birds, and in the cups of flowers; so that, to the practised eye of the painter, the harmony is inimitably perfect. It is natural to suppose every part of the universe equally perfect; and it is a glorious and elevating thought, that the stars of heaven are moving on continually to music; and that the sounds we daily listen to are but parts of a melody that reaches to the very centre of God's illimitable spheres.

2. Grandeur and Vastness.

And these are suns!— Vast, central, living fires,
Lords of dependent systems, kings of worlds

That wait as satellites upon their.power,

And flourish in their smile. Awake, my soul,

And meditate the wonder! Countless suns

Blaze round thee, leading forth their countless worlds !—
Worlds, in whose bosoms living things rejoice,
And drink the bliss of being from the fount
Of all-pervading love! What mind can know,
What tongue can utter, all their multitudes, -
Thus numberless in numberless abodes?

3. Solemnity and Pathos.

Ye've gathered to your place of prayer,
With slow and measured tread;
Your ranks are full, your mates all there,
But the soul of one has fled.

He was the proudest in his strength,
The manliest of ye all;

Why lies he at that fearful length,
And ye around his pall?

4. Profound Reverence and Adoration.

Oh! thoughts ineffable! Oh! visions blest!
Though worthless our conceptions all of thee,
Yet shall thy shadowed image fill our breast,
And waft its homage to thy Deity.

God! thus alone my lonely thoughts can soar;
Thus seek Thy presence, Being wise and good!

'Midst Thy vast works admire, obey, adore!

Define grandeur. Vastness. Pathos. Reverence. Adoration.

54

ELOCUTIONARY ANALYSIS.

5. Deep Solemnity, Awe, and Consternation.
Night, sable goddess! from her ebon throne,
In rayless majesty now stretches forth
Her leaden sceptre o'er a slumbering world.
Silence how dead! and darkness how profound!
Nor eye nor listening ear an object finds.

And this our life, exempt from public haunts,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.

7. Lively Description.

A farmer once to London went,.
To pay the worthy Squire his rent;

He comes, he knocks, soon entrance gains, -
Who at the doors such guests detains?
Forth struts the squire, exceeding smart-
"Farmer, you're welcome to my heart.
You've brought my rent then to a hair!
The best of tenants, I declare!"

8. Joy and Mirth.

There is joy in the mountain; the bright waves leap,
Like the bounding stag when he breaks from sleep;
Mirthfully, wildly, they flash along-

Let the heavens ring with song!

9. Gayety and Humor.

The stars are rolling in the sky,
The earth rolls on below,

And we can feel the rattling wheel
Revolving as we go.

Then tread away, my gallant boys,

And make the axle fly,

Why should not wheels go round about,

Like planets in the sky?

10. Sudden Fear.

But hark! that heavy sound breaks in once more,

As if the clouds its echo would repeat!

And nearer, clearer, deadlier than before!

Define awe Consternation Cheerfulness Mirth Humor

11. Violent Anger.

Tut! tut!

Grace me no grace, nor uncle me no uncle!
I am no traitor's uncle! and that word, grace,
In an ungracious mouth, is but profane.

12. Hurry and Haste.

More rapid than eagles his coursers they come;
And he whistled and shouted, and called them by name.
Now, Dasher! now, Dancer! now, Prancer! now, Vixen!
On, Comet! on, Cupid! on, Donder and Blixen
To the top of the porch! to the top of the wall!
Now, dash away! dash away! dash away, all!

GENERAL REMARKS.

THE elements which have been explained in the foregoing analysis admit of various combinations. Every shade of style or sentiment, to some extent, presents a peculiar combination of principles. Even in the same piece there may be variations demanding kinds of expression widely differing.

The organs of speech, therefore, should be not only so disciplined as readily and naturally to adapt themselves to the general character of different pieces, but to all the changes, even those the most frequent and abrupt, that can be required in any continuous reading or speaking.

For the convenience of marking the expression of pieces for the practical application of rules and principles, most of the elements explained will now be recapitulated, with a system of notation, in

A TABULAR VIEW.

ELEMENTS

VARIETIES OR SUBDIVISIONS.

NOTATION.

Pause.

Inflection.

Pitch.

Force.

Stress.

Quality.

Rhetorical-Cesural-Demicæsural-Final.
Rising-Falling-Circumflex-Monotone.
Very Low-Low-Middle-High-Very High.
Suppressed-Subdued Moderate - Energetic
Vehement Sustained.

Radical-Vanishing - Median-Compound-
Thorough-Intermittent.

The Pure-The Orotund-The Aspirated-The
Guttural-The Plaintive.

Movement. Very Slow Slow-Moderate- - Lively — Brisk

Rapid.

()()(A) (-) ·
(−1.) (L.) (M.) (H.) (Hh.)

(Sp.) (Sb.) (Md.) (En.) (Vh.) (St.)

(r.) (v.) (m.) (c.) (th.) (tr.)

(P.) (0.) (A.) (G.) (Pl.)

(Ss.) (S.) (Mm.) (Lv.) (Br.) (R.)

All-Arm-At-Air- Ask- End - Err-Eve-It - Odd - DoFull-Up-Ale - Ice - Old-Our-Oil-Use.

Define anger. What is said of the combination of elements? What is said about the organs of speech?

56

ELOCUTIONARY ANALYSIS.

OBSERVATIONS.

The tonic or vowel sounds, as represented in the words at the bottom of the Table, should, each, as a review exercise, be run through all the varieties of inflection, pitch, force, stress, quality, and movement.

The manner of applying the symbols of notation is shown, and, also, an exercise given for modulating the voice, in the following

m.

ILLUSTRATIONS.

1. Caution, Solemnity, Tranquillity. [L. Sp. HusH! 't is a holy hour! the quiet room || r. & Seems like a temple, while yon soft lamp sheds S.] A faint and starry rádiance through the gloom, ||| And the sweet stillness, down on bright young heads, With all their clustering locks untouched by care, And bowed as flowers | are bowed with night | in prayer.

[H. Vh. c. O.

Lv.]

[Ll. Sp.

m. A. Ss.]

[L. Sb.

m.

S.J

P.

2. Earnest Interrogation.

Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear, or peace | so sweet, as to be purchased at the price of chains | and slàvery? T

3. Amazement and Horror.

Creation sleeps. T is as the general pulse||
Of life stood | still, and nature made a păuse,
An awful pause, prophetic | of her end.

4. Melancholy, Cheerfulness, Mirth.
With eyes | upraised | as one | inspired,
Pāle MELANCHOLY | sat retired;

And, from her wild | sequestered seat,

In notes, by distance | made more sweet,

Poured through the mellow horn | her pensive soùl.

[H. En. But, O, how altered, and sprightlier the tone! r. Lv.] When CHEERFULNESS, a nymph of healthiest hue, Her bow across her shoulder flung,

Her buskins gemmed with morning dew,

Blew an inspiring air that dale and thicket rung,

By what symbols are the different kinds of pauses represented? By what the different kinds of inflections? By what the kinds of pitch? By what

[Br.]

[H. Vh.

r. A. R.]

Brown EXERCISE rejoiced to hear;

And SPORT leapt up, and seized his beechen spear.
5. Hurry and Haste.

SPEED, MALISE, SPEED!-The dun-deer's hide |
On fleeter foot | was never tied ;

SPEED, MALISE, SPEED! such cause of haste
Thine active sinews | never braced;
BENDgainst the steepy-hill thy breast-
RUSH down like TORRENT | from its crest!

6. Pathos, Terror, Aversion.

[H. Md. The child stretched forth his little hands | m.P.Pl. To grasp the hand | he gàve —

En. r.] Then William | shrieked; [Ll. Sp. tr. G.] The hand" He touched was | còld | and dàmp | and deàd!

r. O. Br.]

[Hh. Vh.]

7. Lamentation.

O, unexpected stroke, worse than of death!
Must I leave thee, happy walks and shades,
Fit haunts of góds? Where I had hoped to spend,
Quiet though sad, the respite of thát day,

That must be mòrtal to us both.

8. Shout of Command, Pathos.
ÒN ! Ye BRÀVE,
Who rush to glóry, or the grave!
WAVE, Munich, all thy banners wÀVE!

And CHARGE with all thy CHIVALRY!
Ah! few shall párt where many meet!
The snow | shall be their winding sheet,
And every turf | beneath their feet"

Shall be a soldier's sépulchre.

9. Rapturous Emotion.

The world recèdes, it disappears!
Heaven | opens on my eyès! My eàrs ||
With sounds seraphic ring!

LEND, LEND your wings! I MOUNT! I FLY!
O GRAVE! where | is thy victory?

O DEATH! Where is thy sting?

Explain the application of notation in the illustrations. Repeat all the rules for rhetorical and harmonic pauses. The rules for the rising inflection. For the falling. For the monotone. For the circumflex. For pitch. For force. For stress. For quality. For movement.