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Fear. [ll] “Oh! save me, Hubert, SÀVE me: my eyes are dut, [°°] Even with the fierce Looks of these bloody men !
[uu] Alàs! what need you be so boisterous róugh? [expul. I will not struggle, I will sTÀND | STÓNE | STİLL.
r.s.] For HEAVEN's sake, Hubert! let me not be BOUND! [a.o.q.] Nay, HÈAR me, Hubert! drive these mén away, I'Tre- And I will sit as quiet as a LÀMB ; mor', I will not stir, nor wince, nor speak a WÒRD, through-Nor LOOK | upon the irons ángerly; out.] Thrust but these mén
and I'll FORGÈVE you, Whatèver torments you do put me to.”
Terror. [Il ° ° vu]
“ AWÀKE! AWÀKE! [expul. Ring the ALARUM BELL: MURDER! and TRÈASON! fm.s. BÀNQUO, and DONALBÀIN! MÀLCOLM! AWAKE?
pro- Shake of this downy slèep, death's counterfeit, longed.] And look on death itself !-Up! up! and see [8.40.9.]The great Dòon's image!-- MALCOLM! BÀNQUO! [Shout.]As from your GRÀVES rise up, and walk like sprights, [Call.] To còuntenance this horror ?"
RULE II. Wonder and astonishment are expressed by loud. high, and slow utterance'; 'vanishing stress'; 'aspirated' and slightly guttural' quality '; and prolonged downward slide'. -Astonishment exceeds wonder, in the degree of these properties.
Example of Wonder. 0]
“What is 't ?.-a spirit ? [°] Sèe ! how it looks about ! Believe me, sir, [-] It carries a bràve form !-but 't is a spirit ! [D. S.]
I might call him, [a. o. 9.] A thing divine ; for nothing natural I ever saw so nòble !”.
Astonishment. TO “Alonzo. What harmony is this?—my good friends,  HÅRK!
Gonzalo. Marvellous sweet music! [0. s.] Alon. Give us kind keepers, HÈAVENS !--What were [a.p.q.]THÈSE ?
Sebastian. A living dròllery! Now I will believe
That there are unicorns : that, in Arabia,
I'll believe both;
And I'll be sworn 't is TRÙE.' Note. Amazement, when it does not go to the utmost extreme, has a louder, but lower and slower utterance, than astonishment : the other properties of voice are of the same description as those expressed in astonishment, but increased in degree.
Amazement. U “Gon. I'the name of something hòly, sir, why stand you [*] In this strange stère ?
[.] Alonzo. Oh! it is MÒNSTROUS! MÒNSTROUS ! [0. s.] Methought, the billows spoke, and told me of it; [a. & The WÌNDS did sing it to me; and the THÙNDER, p.q.] That deep and dreadful organ-pipe pronounced
The name of PRÓSPER; it did bàss my trespass !" RULE III. Horror and extreme amazement have a 'softened' • force', an extremely low' note, and slow' movement, a suppressed stress', a deep.'aspirated pectoral quality', and a prevailing 'monotone'.
Example of Horror. Now, o'er the one hälf world [..] Nature seems dèad; and wicked dreams abūse |-] The curtained sleeper; witchcraft celebrates [s. s.]Pále Hécate's offerings; and withered murder, (a.p. Alärumed by his sentinel, the wolf, 9.] Whose howl's his watch, thūs with his stéalthy pace,
With Tàrquin's rāvishing strides, towards his design
The omission of any mark, indicates the moderate or middle 'pitch', 'force', or “rate'. The absence of the notation for pitch', in the above case, is equivalent to 'middle pitch'.
“Oh! answer me: (..] Let me not bùrst in ignorance! but tell [=] Why thy canonized bones, hearsed in death,
[s. s. ] Have bürst their cèrements! why the sepulchre, [a. p. 9.] Wherein we săw thee quietly inūrned, Tremor.] Hath oped his ponderous and mārble jāws,
To căst thee up again! [..] What may this mean,
With thoughts beyond the reaches of our souls ?” RULE IV. Awe has usually a 'suppressed' force, a 'very low' note, and a very slow movement. Solemnity, reverence, and sublimity, have a moderate force, a low' note, and a slow movement':--All four of these emotions are uttered with effusive median stress, and deep, but "pure', 'pectoral quality'; together with a prevalent. monotone'.
Note. When great force is expressed in the language, the tone becomes • loud' in awe.
Example of Awe.  ( 0 Thöu unutterable Pötentate! [..] Through nature's vast extent, sublimely great ! = But here, on these gigantic mountains, here, [ef. Thy greatness, glory, wisdom, strēngth, and spirit, m.s.] In terrible sublimity appear ! [pu. Thý awe-imposing voice is hēard, we hear it'.
t. The Almighty's féarful võice: attènd! It brēaks p..] The silence, and in sõlemn wārning speaks. [. .] Thou breathēst! [100-] forest õaks of centuries
Turn their uprooted trunks towārds the skies. [..] Thou thùnderest! [ll.. =] adamāntine mountains break, Trēmble, and tõtter, and apārt are riven !
[..] At God's almighty will, [1.-]The affrighted world fälls headlong from its sphere ! Loo =]Plänets, and suns, and systems disappear!"
* Father! thy hand [ef. Hath reared these vēnerable columns; Thou m.s.] Didst weave this verdant roof. Thou didst lõok down
[pu.t. Upon the nāked earth, and, förth with, rose
Būdded, and shook their green lēaves in thy breeze,
As now they stānd, māssy and tāll and dārk, [X.. =]Fīt shrine for humble worshipper to hold Communion with his Màker !"
Reverence. [x.-) “Oh! let me öften to thēse sõlitudes [ef. m. s.] Retire, and in Thý présence reassure [pu.t.p.q.] My fēeble virtue. Hēre, its ēnemies,
The passions, at thy plainer footsteps shrink,
(xX.. =] Be it ours to mēditate,
Sublimity. [o -] “Hàil! hõly Light, öffspring of heaven first börn,“
[ef. Or, of the Eternal, coeternal beam m. s.] May I express thee unblámed ? since Gòd is Light, [oro. And nēver but in unapproached light 9.] Dwēlt from eternity,-dwēlt then in thèe,
Bright effluence of bright essence increàte;
Whose fountain whò shall tell ? Before the sun,
Wön from the võid and formless infinite.' 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. ÒN them, HUSSARS !—Now give them REIN and HŠEL! [.] Think of the ORPHANED CHÌLD, the MURDERED SIRE:
[expul. Earth cries for BLOOD, in THÙNDER on them
WHÈEL: [oro.q.] This hour to Europe's fate shall set the TRIUMPH SEAL !”
2. Shylock. “ There I have another bad match : a [.] BÀNKRUPT, a PRODIGAL, 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 BỒND : [h. g. d he was wont to call me ŮSURER ; LET HIM LOOK TO pec. g.] HIS BOND: he was wont to lend money for a
CHRISTIAN COURTESY: LET HIM LOOK
TO HIS BOND!” 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 '.
Example 1. “Thou sLÀVE, THOU WRÈTCH, THOU CÓW.
Thou FÔRTUNE's champion, that dost něver fight
2. “ Pale, TRÈMBLING, CÒWARD!—[Tremor.] (th. s.]
thère I throw my gàge : (a. q.) By that, and all the rights of knighthood else,
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'.
 Exam. “In this complicated crisis of danger, 6. weakness, and calamity, terrified and insulted by