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[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!"

[Horror and fear.

6. MACBETH.

HOOD.

Intense suppressed force; prevailing monotone;

very slow movement; strong aspirated quality.]

Now o'er the one half world

Nature seems dèad; and wicked dreams abūse
The curtained sleep; now witchcraft celebrates
Pale Hecate's ófferings; and withered murder,
Alarumed by his sentinel, the wolf,

Whose howl's his watch, thus with his stealthy pace,
Towards his design

Moves like a ghòst.-Thōu sure and firm-sēt earth!
Hear not my steps, which way they walk; fōr fear
The very stones prate of my whereabout,

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

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,

66 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 hw, the aspiration is often very feebly given or not given at all. Sound the hw with marked force.]

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[Keep the lungs well filled with air and exhaust the breath upon

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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.

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

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Signior Antonio,. many a time and óft,
On the Riálto you have rated me
About my moneys and my úsances;

Still have I bórne it with a patient shrúg,
For sufferance is the badge of all our tribe:
You call me misbeliever, cût-throat, dôg,
And spit upon my Jewish gàberdine,

And all for use of that which is mine òwn.
Well, thén, it now appears, you need mý help.
Go to, thèn; you come to me, and you say,
"Shylock, we would have moneys;" you say sò;
You, that did void your rheum upon my beard,
And foot me as you spurn a stranger cur
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 cur can lend thrée thousand dúcats?" or
Shall I bend low, and in a bondman's key,
With bated breath, and whispering humbleness,

Say this:

"Fair sír, you spát on me on Wednesday lást;
You spurned me such a day; another time
You called me-dog; and for these courtesies
I'll lend you thus much-mòneys."

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,

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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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