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The Sun eternal breaks -
The new Immortal wakes —
Wakes with his God!”.


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Expulsive Orotund. Expulsive orotund appropriately belongs to earnest and vehement declamation, to impassioned emotion-and therefore to any language uttered in the form of shouting.

Examples. “Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote! It is true, indeed, that, in the beginning, we aimed not at independence. But there is a Divinity which shapes our ends. The injustice of England has driven us to arms; and, blinded to her own interest for our good, she has obstinately persisted, till independence is now within our grasp. We have but to reach forth to it, and it is ours. Why, then, should we defer the Declaration? Is any man so weak as now to hope for a reconciliation with England, which shall leave either safety to the country and its liberties, or safety to his own life, and his own honor? Are not you, Sir, who sit in that chair,- is not he, our venerable colleague near you,—are not both already proscribed and predestined objects of punishment and of vengeance? Cut off from all hope of royal clemency, what are you, what can you be, while the power of England remains, but outlaws?” — Supposed SPEECH OF JOHN ADAMS. Webster.

“ The war is actually begun! The next gale that sweeps from the North will bring to our ear the sound of clashing arms! Our brethren are already in the field! 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 slavery? Forbid it, Almighty God! I know not what course others · may take; but as for me, give me liberty, or give me death !” – Patrick Henry.

“Ye crags and peaks, I'm with you once again!
I hold to you the hands you first beheld,
To show they are still free. Methinks I hear
A spirit in your echoes answer me,
And bid your tenant welcome to his home
Again! - O sacred forms, how proud you look!

How high you lift your heads into the sky!
How huge you are! how mighty, and how free!
Ye are the things that tower, that shine,—whose smile
Makes glad, whose frown is terrible, whose forms,
Robed or unrobed, do all the impress wear
Of awe divine. Yo guards of liberty,
I'm with you once again! - I call to you
With all my voice! — I hold my hands to you,
To show they are still free. I rush to you
As though I could embrace you!”

WILLIAM TELL. Sheridan Knowles.

“I scorn you that ye wail,
Who use your petty griess for pedestals
To stand on, beckoning pity from without,
And deal in pathos of antitheses
Of what ye were forsooth, and what ye are; -
I scorn you like an angel! Yet, one cry,
I, too, would drive up, like a column erect,
Marble to marble, from my heart to heaven,
A monument of anguish, to transpierce
And overtop your vapory complaints
Expressed from feeble woes!

“For, O ye heavens, ye are my witnesses,
That I, struck out from nature in a blot,
The outcast, and the mildew of things good,
The leper of angels, the excepted dust
Under the common rain of daily gifts,-
I the snake, I the tempter, I the cursed, -
To whom the highest and the lowest alike
Say, Go from us - we have no need of thee,
Was made by God like others. Good and fair,
He did create me! - ask Him, if not fair ;
Ask, if I caught not fair and silverly
His blessing for chief angels, on my head,
Until it grew there, a crown crystallized !
Ask, if He never called me by my name,
Lucifer -- kindly said as · Gabriel'-
Lucifer - soft as · Michael!' While serene
I, standing in the glory of the lamps,
Answered my father,' innocent of shame
And of the sense of thunder. Ha! ye think,

White angels in your niches, I repent, —
And would tread down my own offences, back
To service at the footstool! That's read wrong:
I.cry as the beast did, that I may cry —
Expansive, not appealing! Fallen so deep
Against the sides of this prodigious pit,
I cry - cry — dashing out the hands of wail,
On each side, to meet anguish everywhere,
And to attest it in the ecstasy
And exultation of a woe sustained
Because provoked and chosen.”

Lucifer's Curse, in DRAMA OF Exile.— Mrs. Browning.

Explosive Orotund. . Explosive orotund is the language of intense passion : it is heard when the violence of emotion is beyond the control of the will, evidencing a sudden ecstasy of terror, anger, or any other form of overpowering excitement. Being heard only in the extremes of abrupt emotion, it admits of no gradations.

“Arm! Arm! it is—it is — the cannon's opening roar !"

“ Liberty! Freedom! Tyranny is dead ! –
Run hence! proclaim, cry it about the streets !”

Cinna, in Julius CÆSAR.

“Some to the common pulpits! and cry out

Liberty, freedom, and enfranchisement!Cassius.Ibid. “Up! comrades up ! - in Rokeby's halls

Ne'er be it said our courage falls !” — ROKERY.— Scott.

“Now Spirits of the Brave, who roam

Enfranchised through yon starry dome,
Rejoice — for souls of kindred fire
Are on the wing to join your choir!”


“I tore them from their bonds; and cried aloud,

O that these hands could so redeem my son,
As they have given these hairs their liberty !"

Constance, in KING Joan.

“I am not mad— I would to heaven I were!

For then 't is like I should forget myself;
0, if I could, what grief should I forget!Ibid.

“ Alas, what need you be so boisterous-rough?

I will not struggle, I will stand stone-still.
For heaven's sake, Hubert, let me not be bound;
Nay, hear me, Hubert, drive these men away,
And I will sit as quiet as a lamb;
I will not stir, nor wince, nor speak a word,
Nor look upon the iron angerly :
Thrust but these men away, and I'll forgive you,
Whatever torment you do put me to.”

Arthur, in King JOHN.

“ An hour passed on — the Turk awoke;

That bright dream was his last;
He woke — to hear his sentries shriek,
• To arms! they come! the Greek! the Greek !'
He woke — to die ʼmidst flame, and smoke,
And shout, and groan, and sabre stroke,

And death-shots falling thick and fast
As lightnings from the mountain-cloud;
And heard, with voice as trumpet loud,

Bozzaris cheer his band :
Strike — till the last armed foe expires;
Strike — for your altars'and your fires;
Strike — for the green graves of your sires;
God, and your native land!”

MARCO BOZZARIS. Fitz Greene Halleck.


Aspiration is used in the absence of vocal sound; it is an expulsion of the breath, more or less strong, the words being spoken in a whisper. It may be applied to syllables of every variety of time, to all mođes of stress, and to all intervals of intonation. Its use is to unite with the other functions of the voice, to give increased intensity to the utterance of the various emotions. It gives an air of mystery; it expresses excessive earnestness, contempt, scorn, rage, wonder, incomprehensibility. In connection with the semitone, it gives intensity to the plaintiveness of distress; and when the tremulous movement is superadded to the aspirated semitone, it will mark the deepest shade of sadness and grief within the limits of crying.

“The red rose cries, “She is near, she is near;'

And the white rose weeps, She is late;'
The larkspur listens, “I hear, I hear;'
And the lily whispers, • I wait.””.

Garden Song, in Maud. Tennyson.

“Ah! then and there was hurrying to and fro,

And gathering tears, and tremblings of distress,
And cheeks all pale, which but an hour ago
Blushed at the praise of their own loveliness ;'
And there were sudden partings, such as press
The life from out young hearts, and choking sighs
Which ne'er might be repeated; who could guess

If ever more should meet those mutual eyes,
Since upon night so sweet such awful morn could rise!

“ And there was mounting in hot haste: the steed

The mustering squadron, and the clattering car,
Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war;
And the deep thunder peal on peal afar;

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