5. — Horror, Terror, and Alarm.

("Pectoral Quality.”) MACBETH, (TO THE GHOST OF BANQUO.] — Shakspeare. “ 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 !"

FORCE.

EXERCISES IN FORCE.
I. – 1" SUPPRESSED

1. - Whispering.
("Effusive” Utterance.)

Pathos. [DYING REQUEST.) -Mrs. Hemans. “Leave me! — thy footstep with its lightest sound,

The very shadow of thy waving hair, Wakes in my soul a feeling too profound, Too strong for aught that lives and dies, to bear :

Oh! bid the conflict cease!”

("Expulsive" utterance.)

Rapture.
[FROM THE DYING CHRISTIAN.) — Pope.
“ Hark! they whisper, - angels say,
• Sister spirit! come away!'"

("Explosive" utterance.)

Terror.

[From BYRON'S LINES ON THE EVE OF WATERLOO.]

“ The foe! they come, they come!”

Half-whisper.
(“ Effusive" utterance.)

Awe.
[From THE FATE OF MACGREGOR.) - Hogg.
They oared the broad Lomond, so still and serene ;
And deep in her bosom how awful the scene!
Over mountains inverted the blue water curled,
And rocked them o'er skies of a far nether world!”

“ Expulsive" utterance.)

Fear.
“ Few minutes had passed, ere they spied on the stream,
A skiff sailing light, where a lady did seem :
Her sail was a web of the gossamer's loom, -
The glow-worm her wake-light, the rainbow her boom;
A dim rayless beam was her prow, and her mast
Like wold-fire at midnight, that glares o'er the waste!”

(“Explosive” utterance.)

Terror.
“ The fox fled in terror; the eagle awoke,
As slumbering he dozed in the shelve of the rock ;-
Astonished, to hide in the moonbeam he flew,
And screwed the night-heaven, till lost in the blue !"

FORCE.

II. –16 SUBDUED
(“Pure tone:” “Effusive" utterance.)

1.- Pathos.
[FROM THE DEATH OF KÖRNER.] - Mrs. Hemans.
“It was thy spirit, brother! which had made

The bright world glorious to her youthful eye,
Since first, in childhood, ʼmidst the vines ye played,

And sent glad singing through the free blue sky.

1 The degree of force implied in the epithet “subdued,” is equivalent, in general, to that which, in music, would be indicated by the term “piano," and which suggests an obvious softening of the voice from even its moderate or ordinary energy. Pathos, solemnity, and tranquillity, when so arranged in succession, imply a slight increase of energy at every stage. But all three are still inferior to moderate" or ordinary force.

Ye were but two,- and when that spirit passed,

Woe to the one, the last !
“Woe, yet not long ; - she lingered but to trace

Thine image from the image in her breast,
Once, once again to see that buried face

But smile upon her, ere she went to rest.
Too sad a smile! its living light was o'er, -

It answered hers no more.

“ The earth grew silent when thy voice departed,

The home too lonely whence thy step had fled ; -
What then was left for her, the faithful-hearted ?.

Death, death, — to still the yearning for the dead.
Softly she perished: be the Flower deplored

Here with the Lyre and Sword!”

2. — Solemnity.

[DEATH.] - Bryant.
“ Leaves have their time to fall,
And flowers to wither at the north wind's breath,

And stars to set; – but all,
Thou hast all seasons for thine own, O Death!

" We know when moons shall wane, When summer birds from far shall cross the sea,

When autumn's hue shall tinge the golden grain : But who shall teach us when to look for thee?"

3. — Tranquillity.

[EVENING.] – Moir.
“ 'Tis twilight now:
How deep is the tranquillity! — The trees
Are slumbering through their multitude of boughs,
Even to the leaflet on the frailest twig!
A twilight gloom pervades the distant hills ;
An azure

ness mingling with the sky.”

4.- Profound Repose. [ASPECT OF DEATH: FROM BYRON'S DESCRIPTION OF GREECE.)

“ He who hath bent him o'er the dead,
Ere the first day of death is fled, -

The first dark day of nothingness,
The last of danger and distress,
(Before Decay's effacing fingers
Have swept the lines where Beauty lingers,)
And marked the mild angelic air,
The rapture of repose that's there,
The fixed yet tender traits that streak
The languor of the placid cheek,
And, - but for that sad, shrouded eye,
That fires not, - wins not,

- weeps not, now,
And but for that chill, changeless brow,
Whose touch thrills with mortality,
And curdles to the gazer's heart,
As if to him it could impart
The doom he dreads, yet dwells upon,

- but for these and these alone,
Some moments, -ay,- -one treacherous hour,
He still might doubt the tyrant's power:
So fair,

- so calm, so softly sealed,
The first — last look — by death revealed!”

Yes,

(1 «Orotund quality :” “Effusive" utterance.)

1.- Pathos and Sublimity.
WOLSEY, [ON HIS DOWNFALL.) - Shakspeare.
Farewell, a long farewell, to all my greatness !
This is the state of man: To-day he puts forth
The tender leaves of hope, to-morrow blossoms,
And bears his blushing honors thick upon him :
The third day comes a frost, a killing frost ;
And, — when he thinks, good easy man, full surely
His greatness is a ripening, - nips his root;
And then he falls as I do. I have ventured,
Like little wanton boys that swim on bladders,
This many summers, in a sea of glory,
*But far beyond my depth : my high-blown pride
At length broke under me, and now has left me,

i The effect of “orotund quality,” as transcending "pure tone,” is that of a deeper, fuller, rounder, anu more resonant utterance, – implying, therefore, an increase of force, although still a “subdued,” or softened force, when compared with even an ordinary degree. In music, the distinction would still be that of "piano."

Weary and old with service, to the mercy
Of a rude stream that must forever hide me!”

2. -Solemnity and Sublimity.
[IMMORTALITY.]- Dana.

“Oh! listen, man !
A voice within us speaks that startling word,
Man, thou shalt never die!' Celestial voices
Hymn it unto our souls ; according harps,
By angel fingers touched, when the mild stars
Of morning sang together, sound forth still
The song of our great immortality :
Thick-clustering orbs, and this our fair domain,
The tall, dark mountains, and the deep-toned seas,
Join in this solemn, universal song.
Oh! listen ye, our spirits ; drink it in
From all the air. 'T is in the gentle moonlight;
'Tis floating midst Day's setting glories; Night,
Wrapped in her sable robe, with silent step
Comes to our bed, and breathes it in our ears :
Night, and the dawn, bright day, and thoughtful eve,
All time, all bounds, the limitless expanse,
As one vast mystic instrument, are touched
By an unseen, living Hand; and conscious chords
Quiver with joy in this great jubilee.
The dying hear it; and, as sounds of earth
Grow dull and distant, wake their passing souls
To mingle in this heavenly harmony."

3. — Tranquillity and Sublimity.

(Night.] —Byron's Marino Falieri.

“ Around me are the stars and waters,
Worlds mirrored in the ocean;
And the great element, which is to space
What ocean is to earth, spreads its blue depths,
Softened with the first breathings of the spring ;
The high moon sails upon her beauteous way,
Serenely smoothing o'er the lofty walls
Of those tall piles and sea-girt palaces,
Whose porphyry pillars and whose costly fronts,