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5.

EUGENE ARAM." (Horror and remorse. Aspirated pectoral and guttural quality.)

And, lo! the universal air

Seemed lit with ghastly flame;-
Ten thousand thousand dreadful eyes

Were looking down in blame:
I took the dead man by his hand,

And called upon his name!
O God! it made me quake to see

Such sense within the slain !
But when I touched the lifeless clay,

The blood gushed out amain!
For every clot, a burning spot

Was scorching in my brain !
And now, from forth the frowning sky,

From the heaven's topmost height,
I heard a voice--the awful voice

Of the blood-avenging sprite :
Thou guilty man! take up thy dead
And hide it from my sight !

6. MACBETH. (Horror and fear. Intense suppressed force; prevailing monotone ; very slow movement; strong aspirated quality.]

Now o'er the one hālf world Nāture seems dead; and wicked dreams abūse The cūrtained sleep; now wītchcraft celebrates Pale Hēcate's offerings; and wīthered murder, Alārumed by his sēntinel, the wolf, Whose howl's his watch, thūs with his stēalthy pāce, Towards his design Moves like a ghost.—Thou sūre and fīrm-sēt ēarth! Hēar not my stēps, which wāy thēy wālk; för fēar The very stones prāte of my whereabout, And tāke the prēsent hörror from the time Which now sūits with it.

HOOD.

7. DARIUS GREEN AND HIS FLYING MACHINE. Secrecy. Forcible whisper and half-whisper.]

And one by one, through a hole in the wall,
In under the dusty barn they crawl,
Dressed in their Sunday garments all ;
And a very astonishing sight was that,
When each in his cobwebbed coat and hat
Came up through the floor like an ancient rat.

And there they hid;

And Reuben slid
The fastenings back, and the door undid.

"Keep dark !” said he,
While I squint an' see what the' is to see.”

“Hush !” Reuben said,

“He's up in the shed !
He's opened the winder-I see his head !
He stretches it out, an' pokes it about,
Lookin' to see 'f the coast is clear,

An' nobody near;—.
Guess he don' o' who's hid in here!
He's riggin' a spring-board over the sill!
Stop laffin', Solomon! Burke, keep still!
He's a-climbing out now—Of all the things !
What's he got on? I van, it's wings !
An' that 't other thing? I vum, it's a tail!
An' there he sets like a hawk on a rail!
Steppin' careful, he travels the length
Of his spring-board, and teeters to try its strength.
Now he stretches his wings, like a monstrous bat;
Peeks over his shoulder, this way an' that,
Fer to see 'f there's any one passin' by ;
But there's on'y a ca'f an'a goslin' nigh.

Flop-flop-an' plump

To the ground with a thump, Flutterin' and flounderin' all in a lump.”

TROWBRIDGE.

SPECIAL ASPIRATE DRILL. [In pronouncing the following words having the combination bw, the aspiration is often very feebly given or not given at all. Sound the hw with marked force.] way whey

wet

whet wear where

wit

whit weal wheel

wot

what when

wig whig whir

wield wheeled wine whine

witch which wight white

wist

whist wile while

weather whether

wen

were

PRONUNCIATION DRILL. [Keep the lungs well filled with air and exhaust the breath upon each word.) whale whalebone

whatever whap whapper

whatsoever wharf wharfage

wheelbarrow wheat what-not

wheel-horse wheeze wheezing

wheelwright whelp whereas

whensoever whelm wherever

wheresoever whence whenever

whereabout whew whereby

whereunto whiff wherefore

wherewithal whim whiffle

whimper whip whinny

whipsaw whir whirlwind

whirligig whirl whistle

whisper whisk whittle

whizzing white whither

whoa

IV. GUTTURAL QUALITY. The guttural, or throat, quality is the harsh, grating, rasping utterance to which the voice tends in the expression of hatred, contempt, revenge, and loathing. It is often combined with aspirated quality in the expression of extreme impatience or disgust, intense rage, and extreme contempt.

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Oh, that the slave had forty thousand lives,
My great revenge had stomach for them all.

THE SPY.

2.
You shall die, base dog! and that before
Yon cloud has passed over the sun !

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Signior Antonio, mdny a time and oft,
On the Rialto you have ràted me
About my neys and my ûsances ;
Still have I bórne it with a patient shrúg,
For fferance is the badge of all our tribe :
You call me—misbelîever, cût-throat, dôg,
And spît upon my Jewish gàberdine,
And all for use of that which is míne own.
Well, thén, it now appears, you need help.
Go to, thèn; you come to me, and you say,

Shýlock, we would have môneys ;" you say sò;
Yộu, that did void your rheum upon my bèard,
And foot me as you spurn a stranger cûr
Over your threshold; môneys is your sùit.
What should I say to you? Should I not say,
“Hath a dog money ? is it possible
A cŭr can lend thrée thousand dúcats?or
Shall I bend low, and in a bốndman's key,
With bated breath, and whispering humbleness,

Say thîs :-
“Fair sír, you spật on me on Wednesday lást ;
You spúrned me such a dáy; another time
You called medôg; and for these courtesies
I'll lènd youthus muchmòneys."

V. THE FALSETTO. The falsetto is the thin, sharp, high-pitched tone produced when the voice breaks, or gets above its natural compass. It is used by men when they imitate the voices of women and children. It is the tone suitable for the expression of old age, sickness, feebleness, pain, and helpless terror 1. “My child! my child !” with sobs and tears,

She shrieked upon his callous ears. 2. “Billy—where are you, Billy, I say ? Come, Billy, come home to your best of mothers !”

3. And even Tiny Tim, excited by the two young Cratchits, beat on the table with the handle of his knife, and feebly cried, Hurrah !4. Mr. Orator Puff had two tones in his voice,

The one squeaking thus, and the other down so; In each sentence he uttered he gave you your choice; For one half was B alt, and the rest G below.

Oh! oh! Orator Puff,

One voice for an orator's surely enough! “Oh! save!” he exclaimed, in his he-and-she tones, “Help me out! help me out! I have broken

my

bones!” “ Help you out !” said a stranger, who passed, “what

a bother! Why, there's two of you there; can't you help one

another ?

Oh! oh! Orator Puff,
One voice for an orator's surely enough!

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