"No; by the rood, not so!"

Another "slide " which serves a mechanical purpose, rather than one of thought or feeling, is the "penultimate slide" of most sentences, which serves the purpose of raising the voice deliberately and distinctly, previous to its final descent at the close of the sentence, and thus renders the cadence more perceptible and more impressive; as in the following example: "Let the young go out, under the descending sun of the year, into the fields of nature."

66 ANALYSIS OF SLIDES."

The following diagram may be used as an ocular suggestion to prompt and regulate the ear, each character being intended to represent the sound of an element, syllable, or word. The exercise commences with a slide of the "second," the usual interval, in "concrete pitch,” between the "radical" and the "vanish" of an element, as uttered in the common progression of the unemphatic and inexpressive "melody" of speech or reading, and extends through all other intervals to that of the "octave." The forms which are of most frequent occurrence in reading, are repeated separately.

The bulb of each character in the diagram represents the "radical," the stem, the “vanish.”

But it will be of great use, as a matter of practice with a view to facility in the command of the voice, to add to the sound of the "slide," the effects of "effusion,' 99.66 expulsion," and "explosion;""radical," "median," "vanishing," "compound," "thorough stress," and "tremor;" together with those of " 'pure tone," "orotund," and "aspiration ;" and all stages of force from the softest "subdued" to that of "shouting."

I. Scale of Progressive "Upward and Downward Slides:" from the "Second" to the "Octave."

II. "Upward Slide" of the " Second."

III. "Upward Slide" of the " Third."

IV. "Upward Slide" of the "Fifth."

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V. "Upward Slide" of the " Octave."

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VI. Alternate "Slides" of the "Third."

VII. Alternate "Slides" of the " Fifth."

VIII. Alternate " Slides" of the "Octave.”

I. THE SLIDE OF EMOTION.

The "slide of emotion " extends through an interval corresponding in every instance to the intensity of feeling implied in "expressive" words, and may, accordingly, be measured in most instances by the "third,” the "fifth,” or the "octave."

Strong emotions are expressed chiefly by the "downward slide;" except surprise, and earnest, or impassioned interrogation, which usually adopt the "upward slide" of the "fifth or the "octave."

EXAMPLES.

1. Impetuous Courage and Fierce Determination.

("Orotund" and "Aspirated Pectoral Quality:" Shouting: Explosive "Radical" and Expulsive "Median Stress:" "High" Pitch: Downward Fifth on the emphatic words.)

A thousand hearts are great within my bòsom:
Advance our stàndards, set upon our fòes!

Our ancient word of courage, fair Saint George,
Inspire us with the spleen of fiery dragons.
Upon them! Victory sits on our hèlms.

2. Impassioned Burst of Scorn.

("Aspirated Pectoral and Guttural Quality:" "Violent" Force: Explosive "Radical Stress:" "High" Pitch. The exemplification occurs in the reply of Coriolanus, which contains the "downward slide" of the "Oc tave" in the words "Measureless liar!" and "Boy!" and the "downward Fifth" on the other emphatic words.)

CORIOLANUS.- Shakespeare

Aufidius. Name not the god,

Thou boy of tears.

Coriolanus. Measureless liar! thou hast made my heart Too great for what contains it.

Boy! Cut me to pieces, Volscians: men and làds,

If you have writ your annals true, 't is there
That, like an eagle in a dovecot, I
Fluttered your Volscians in Corioli:
Alone I did it. Boy!

3. Anger and Fierce Interrogation.

("Aspirated Pectoral and Guttural Quality:" "Impassioned" Force: "Radical and Compound Stress:" "High" Pitch: Octave on the word "Geese:" the Fifth on the remaining emphatic words.)

Macb.

MACBETH AND SERVANT - Shakespeare.

Where gott'st thou that goose look ?

Serv. There is ten thousand

Macb.

Serv.

Geesé, villain?

Soldiers, sir.

Macb. Gò, prick thy face, and over-red thy fear,
Thou lily-livered bòy. What soldiers, pàtch?
Death of thy soul! those linen cheeks of thine
Are counsellors to feàr. What soldiers, whèy-face?
Serv. The English force, so please you.
Macb. Take thy face hence.

4. Fierce Impatience.

("Aspirated Quality: "Violent" Force: "High" Pitch: Percussive "Radical and Compound Stress." The slide of the Fifth occurs after the first question in the inquiries of King Richard.)

RICHARD III.- Shakespeare.

K. Rich. Once more, what news?

Stanley.

Richmond is on the seas.

K. Rich. There let him sink, and be the seas on him! White-livered runagate, what doth he thère?

Stanley. I know not, mighty sovereign, but by guess. K. Rich. Well, as you guèss?

Stanley. Stirred up by Dorset, Buckingham, and Mor

ton,

He makes for England, here to claim the crown.

K. Rich. Is the chair émpty? Is the sword unswayed?

Is the king dead, the empire unposséssed?
What heir of York is there alive, but wè?
And who is England's king, but great York's heir?
Then, tell me, what makes he upon the seas?

Stanley. Unless for that, my liege, I cannot guess.
K. Rich. Unless for that he comes to be your liege,
You cannot guess wherefore the Welshman comes.
Thou wilt revolt, and fly to him, I fear.

Stanley. No, mighty liege; therefore mistrust me not. K. Rich. Where is thy power, then, to beat him bàck? Where be thy tenants, and thy fòllowers?

Are they not now upon the western shore,
Safe-conducting the rebels from their ships?

Stanley. No, my good lord; my friends are in the north. K. Rich. Cold friends to me; what do they in the nòrth, When they should serve their sovereign in the wèst ?

5. Eager Inquiry and Emphatic Assertion.

("Aspirated and Orotund Quality:" "Suppressed Force: "High" Pitch: "Radical Stress." The questions of Hamlet exemplify the rising Fifth-the replies the falling.

Hor.

Oh, yes, my lord; he wore his beaver up.

Ham. What, looked he frówningly?