3. Indignation.

("Aspirated" Harsh Quality: Violent Force: Emphatic "Stress.") HAMLET TO HIS MOTHER. - Shakespeare.

Look you now, what follows.

Here is your husband, like a mildewed ear,
Blasting his wholesome brother. Have you eyes?
Could you on this fair mountain leave to feed,
And batten on this moor? Ha! have you eyes?
You cannot call it love. And what judgment
Would step from this to this? What devil was 't
That thus hath cozened you at hood-man blind?
O shame! where is thy blush!

4. Vehement Indignation.

("Expulsive Orotund:" "Declamatory" Force: Vehement "Stress.") CHATHAM'S REBUKE OF LORD SUFFOlk.

These abominable principles, and this more abominable avowal of them, demand the most decisive indignation. I call upon that right reverend and this most learned Bench to vindicate the religion of their God, to defend and support the justice of their country. I call upon the bishops to interpose the unsullied sanctity of their lawn, upon the judges to interpose the purity of their ermine, to save us from this pollution. I call upon the honor of your lordships to reverence the dignity of your ancestors, and to maintain your own. I call upon the spirit and humanity of my country to vindicate the national character.

5. Disdain.

("Expulsive Orotund: ""Impassioned" Force: Powerful "Stress.") SATAN TO ITHURIEL AND ZEPHON. - Milton.

"Know ye not then," said Satan, filled with scorn,

-

"Know ye not me? Ye knew me once no mate

For you; there sitting where ye durst not soar:
Not to know me argues yourselves unknown,
The lowest of your throng."

INTERMITTENT STRESS.

TREMOR, OR When by the hysterical or excessive force of impassioned feeling the breath is agitated into brief successive jets, instead of gushing forth in a continuous stream of unbroken sound, a tremor, or tremulous effect of voice, is produced, which breaks its "stress" into tittles or points,

- much in

the same way that a row of dots may be substituted to the eye for one continuous line. The human voice, in the case now in view, is as appropriately said to "tremble," as when we apply the term to the shivering motion of the muscular frame.

The "tremor" of the voice is the natural expression of all emotions which, from their peculiar nature, are attended with a weakened condition of the bodily organs; such as extreme feebleness from age, exhaustion, sickness, fatigue, grief, and even joy and other feelings, in which ardor or extreme tenderness predominates.

EXAMPLES OF TREMOR.

1. The Tremor of Grief and Feebleness.

("Pure Tone:""Subdued" Force: Tremulous Utterance throughout.)

WOLSEY.-Shakespeare.

O father Abbot,

An old man, broken with the storms of state,
Is come to lay his weary bones among ye;
Give him a little earth for charity.

Adam (to Orlando). Dear master, I can go no farther: Oh! I die for food! Here lie I down, and measure out my grave. Farewell! kind master.

("Pure Tone:" "Subdued" Force of pathos: occasional "Tremor" of tenderness.)

no

Orlando (to Adam). Why, how now, Adam! reater heart in thee? Live a little; comfort a little; cheer thyself a little. For my sake be comfortable; hold death a while at the arm's end; I will here be with thee presently. Well said! thou look'st cheerily and I'll be with thee quickly. Yet thou liest in the bleak air; come, I will bear thee to some shelter. Cheerly, good Adam.

3. Sickness.

KING JOHN, ON THE EVE OF HIS DEATH, TO FAULCONBRIDGE.

Shakespeare.

("Aspirated Pectoral Quality: " Suppressed" Force: Gasping and Tremulous Utterance.)

O cousin, thou art come to set mine eye:
My heart hath one poor string to stay it by,
Which holds but till thy news be uttered;
And then all this thou seest, is but a clod
And module of confounded royalty.

4. Excessive Grief.

EVE TO ADAM, AFTER THEIR FALL AND DOOM. Milton.

"Aspirated Pectoral and Oral Quality:

Impassioned" Force: Weep ing Utterance: "Tremor" throughout.)

Forsake me not thus, Adam: witness heaven
What love sincere, and reverence in my heart
I bear thee, and unweeting have offended,
Unhappily deceived: thy suppliant,

I beg, and clasp thy knees; bereave me not,
Whereon I live, thy gentle looks, thy aid,
Thy counsel, in this uttermost distress,
My only strength and stay; forlorn of thee
Whither shall I betake me, where subsist?

5. Extreme Pity.

"Pure Tone:" "Impassioned" Force: Weeping and Tremulous

Miranda (to her father). Oh! I have suffered
With those that I saw suffer! a brave vessel,
Who had, no doubt, some noble creatures in her
Oh! the cry did knock

Dashed all to pieces.

Against my very heart!

Poor souls! they perished.

Had I been any god of power, I would

Have sunk the sea within the earth, or ere

It should the good ship so have swallowed, and
The freighting souls within her!

Teachers who are instructing classes will find great aid in the use of the black-board, for the purpose of visible illustration, in regard to the character and effect of the different species of "stress." Exercises such as the following may be prescribed for simultaneous practice in classes.

To commence with a definite idea of the mode of "stress " in each instance, set out from the standard of a given emotion decidedly marked, and let the degree of emotion and the force of utterance be increased at every stage. Thus, let represent the "radical stress on the sound of a, in the word all, in the following example of authoritative command: "Attend ALL!"- the "vanishing stress on the same element, in the following example of impatience and displeasure: "I said ALL, not one or two.". "median stress on the same element, in reverence and adoration: "Join ALL ye creatures in His praise!"

the

come ALL !

the "compound stress," in astonishment and surprise: "What! ALL? did they ALL fail?” the "thorough stress," in defiance: "Come one the "tremor" of sorrow: "Oh! I have lost you ALL!" The practice of the examples and the elements should extend to the utmost excitement of emotion and force of voice. Review tables of elements with all forms of "stress."

CHAPTER VII.

"MELODY"

THE word "melody" is applied to speech as in music, to designate the successive notes of the voice in reading or discourse.

The use of this term presupposes a certain "pitch," or initial note, whether predominating in a passage, or merely commencing it, and to which the subsequent sounds stand in the relation of higher or lower or identical. There is, however, a marked difference between the "melody" of music and that of speech. The former has comparatively the pleasing effect of poetry: the latter may possess a degree of this charm, but it may, on the contrary, possess no such beauty: it may exhibit a succession of the most harsh and grating sounds, or it be but a succession of articulations, in may the utterance of a fact addressed exclusively to the understanding. In every case, however, the relations of sounds to each other, as measured by the musical scale, can be distinctly traced; and, on this account, the "melody of speech," or of “reading," is a phrase as truly significant as that of the " melody" of a strain of music.