In the yell of rage and fury "aspiration" is displaced by perfectly "pure tone " of the loudest sound, by a law of man's organization, which it is unnecessary here to analyze, but which seems to make all the extremes, or utmost reaches of human feeling, musical in their effect. Joy and the extremes of both grief and anger may be mentioned as illustrations.

Aversion, disgust, displeasure, impatience, dissatisfaction, and discontent, all, in various degrees, combine "aspirated" utterance and "guttural quality."

It will be of great service to power of "expression," to render the command of " aspiration easy by frequent repetition on elements, syllables, and words, selected for the purpose.

Now is the ocean's bosom bare,
Unbroken as the floating air;
The ship hath melted quite away,
Like a struggling dream at break of day.

No image meets my wandering eye,

But the new-risen sun and the sunny sky.

Though the night-shades are gone, yet a vapor dull

Bedims the waves so beautiful;

While a low and melancholy moan

Mourns for the glory that hath flown.

I am thy father's spirit,

Doom'd for a certain term to walk the night,

And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,

I could a tale unfold whose lightest word

Would harrow up thy soul; freeze thy young blood;
Make thy two eyes, like stars, start from their spheres ;
Thy knotted and combinèd locks to part,

And each particular hair to stand on end,
Like quills upon the fretful porcupine:
But this eternal blazon must not be

To ears of flesh and blood. List, list, O list!
If thou didst ever thy dear father love.

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4. Horror and Fear: the effect transcending that of awe the "aspiration" nearly a whisper.

MACBETH, MEDITATING THE MURDER OF DUNCAN. - Shakespeare.
Now o'er the one half world

Nature seems dead, and wicked dreams abuse
The curtain'd sleep; now witchcraft celebrates
Pale Hecate's offerings; and wither'd murder,
Alarum'd by his sentinel, the wolf,

Whose howl's his watch, thus with his stealthy pace,
With Tarquin's ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth!
Hear not my steps, which way they walk, for fear
The very stones prate of my whereabout,

And take the present horror from the time,
Which now suits with it.

II. EXPULSIVE UTTERANCE.

1. Horror and Amazement: "aspiration" increased by

"expulsion."

HAMLET, TO THE GHOST OF HIS FATHER.

What may this mean,

Shakespeare.

That thou, dead corse, again, in complete steel
Revisitest thus the glimpses of the moon,
Making night hideous; and we fools of nature
So horridly to shake our disposition

With thoughts beyond the reaches of our souls?

2. Fear and Awe.

THE MOURNING BRIDE. Johnson.

Almeria. It was a fanciful noise, for all is hush'd.

Leonora. It bore the accent of a human voice.

Almeria. It was thy fear; or else some transient wind Whistling through hollows of this vaulted aisle. We'll listen!

Leonora. Hark!

Almeria. No! All is hushed and still as death. 'Tis dreadful!

How reverend is the face of this tall pile,

Whose ancient pillars rear their marble heads
To bear aloft its arch'd and ponderous roof,
Looking tranquillity. It strikes an awe
And terror on my aching sight. The tombs
And monumental caves of death look cold,
And shoot a chillness to my trembling heart.
Give me thy hand, and let me hear thy voice.
Nay, quickly speak to me, and let me hear
My own affrights me with its echoes.

ASPIRATED AND PECTORAL QUALITY.

3. Fear.

(Whispering Voice: "Guttural Quality.")

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CALIBAN, CONDUCTING STEPHANO AND TRINCULO TO THE CELL OF PROSPERO. Shakespeare.

Pray you tread softly, — that the blind mole may not

Hear a foot fall: we are now near his cell.

Speak softly!

All's hushed as midnight yet.

See'st thou here?

This is the mouth o' the cell: no noise! and enter.

SHYLOCK, REGARDING ANTONIO.

How like a fawning publican he looks!
I hate him for he is a Christian;
But more, for that, in low simplicity

He lends out money gratis, and brings down
The rate of usance here with us in Venice.
If I can catch him once upon the hip,

I will feed fat the ancient grudge I bear him!

He hates our sacred nation; and he rails,

Even there where merchants most do congregate,
On me, my bargains, and my well-won thrift,
Which he calls interest. Cursed be my tribe,
If I forgive him!

Signior Antonio, many a time and oft,

In the Rialto, you have rated me
About my moneys and my usances;
Still have I borne it with a patient shrug;

For sufferance is the badge of all our tribe.
You call me misbeliever, cut-throat, dog,
And spit upon my Jewish gaberdine,

And all for use of that which is mine own.
Well then, it now appears, you need my help:
Go to then; you come to me, and you say,

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Shylock, we would have moneys:" you say so;
You, that did void your rheum upon my beard,
And foot me, as you spurn a stranger cur
Over your threshold:
: moneys is your suit.
What should I say to you? Should I not say,
"Hath a dog money? Is it possible

A cur can lend three thousand ducats?" Or
Shall I bend low, and in a bondman's key,
With bated breath and whisp'ring humbleness,
Say this:

"Fair sir, you spit on me on Wednesday last;
You spurn'd me such a day; another time
You call'd me dog; and for these courtesies
I'll lend you thus much moneys."

3. Horror, Terror, and Alarm.

MACBETH, TO THE GHOST OF BANQUO. - Shakespeare. Avaunt! and quit my sight! Let the earth hide thee! Thy bones are marrowless, thy blood is cold!

Thou hast no speculation in those eyes

Which thou dost glare with!

Hence, horrible shadow !

Unreal mockery, hence!

4. Revenge.

("Guttural, Aspirated, and Pectoral Quality.")

SHYLOCK, REFERRING TO THE POUND OF FLESH, THE PENALTY AT TACHED TO ANTONIO'S BOND.- Shakespeare.

If it will feed nothing else it will feed my revenge. He bath disgraced me, and hindered me of half a million;