MEDIAN.

TENDERNESS.

'Tis a little thing

To give a cup of water; yet its draught
Of cool refreshment, drained by fevered lips,
May give a shock of pleasure to the frame
More exquisite than when nectarean juice
Renews the life of joy in happiest hours.

SOLEMNITY AND GLOOM.

Sad solitary thought! who keep'st thy vigils,
Thy solemn vigils, in the sick man's mind;
Communing lonely with his sinking soul,
And musing on the dubious glooms that lie
In dim obscurity before him,-thee,
Wrapt in thy dark magnificence, I call

At this still midnight hour, this awful season,
When on my bed in wakeful restlessness,
I turn me wearisome; while all around,
All, all, save me, sink in forgetfulness;
I only wake to watch the sickly taper
Which lights me to my tomb.

VANISHING.

REMORSE [ON THE PART OF CASSIO].

IAGO. What, are you hurt, lieutenant?

CASSIO. Ay, past all surgery.

IAGO. Marry, heaven forbid!

CASSIO. Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part, sir, of myself, and what remains is bestial.-My reputation, Iago,

my reputation!

5*

DEFIANCE.

And, first, I tell thee, haughty peer,
He, who does England's message here,
Although the meanest in her state,
May well, proud Angus, be thy mate:
And, Douglas, more, I tell thee here,
Even in thy pitch of pride,

Here in thy hold, thy vassals near,

(Nay, never look upon your lord,

And lay your hands upon your sword,)

I tell thee thou'rt defied!

And if thou said'st I am not peer,

To any lord in Scotland here,
Lowland or highland, far or near,
Lord Angus, thou hast lied!

COMPOUND.

DERISION.

Oh, but he paused upon the brink!

CONTEMPT.

On thee! on thee! by Dagon, 'tis too much!
Thou curled minion! thou a nation's champion!
"Twould move my mirth at any other time;
But trifling's out of tune. Begone, light boy!
And tempt me not too far.

THOROUGH.

DISTRACTION, HASTE, AND COURAGE.

Cannon to right of them,

Cannon to left of them,

Cannon in front of them

Volleyed and thundered!

Stormed at with shot and shell,

Boldly they rode and well

Into the jaws of death,

Into the mouth of hell,

Rode the six hundred.

DETESTATION, ABHORRENCE, AND HATRED.

I loathe ye in my bosom,

I scorn ye with mine eye;

And I'll taunt ye with my latest breath,
And fight ye till I die?

I ne'er will ask ye quarter,

And I ne'er will be your slave;
But I'll swim the sea of slaughter,
Till I sink beneath the wave.

BATTLE SHOUT.

On, ye brave,

Who rush to glory or the grave;
Wave, Munich, all thy banners wave,
And charge with all thy chivalry.

TREMOR [OR TREMBLING OF THE VOICE].

MOCKERY AND CONTEMPT.

Go, preach to the coward, thou death-telling seer!
Or, if gory Culloden so dreadful appear,

Draw, dotard, around thy old wavering sight,
This mantle, to cover the phantoms of fright.

FEEBLENESS AND GRIEF.

Pity the sorrows of a poor old man,

Whose trembling limbs have borne him to your door;

Whose days are dwindled to the shortest span.

Oh! give relief, and Heaven will bless your store.

TIME.

The rate or movement of the voice indicates, usually, the manner in which the emotion exercises the mind. Fear, for instance, moves rapidly both in its emotional character and in its utterance; sorrow moves slowly, therefore its expression is slow; again, anger is quick, and reverence, slow.

The examples below will further illustrate the relative rate or time of the following and kindred emotions:

MODERATE.

UNIMPASSIONED DISCOURSE.

The quality of mercy is not strained:
It droppeth as the gentle rain from heaven
Upon the place beneath; it is twice blessed;
It blesseth him that gives, and him that takes:
"Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His scepter shows the force of temporal power,
The attribute to awe and majesty,

Wherein doth sit the dread and fear of kings:
But mercy is above this sceptered sway.

It is an attribute to God himself;

And earthly power doth then show likest God's,
When mercy seasons justice.

QUICK.

SATIRE.

Gold! gold! gold! gold!

Bright and yellow, hard and cold,

Molten, graven, hammered and rolled;

Heavy to get, and light to hold;

Hoarded, bartered-bought and sold;

Stolen, borrowed, squandered, doled;

Spurned by the young, but hugged by the old,
To the very verge of the churchyard mold;
Price of many a crime untold;

Gold! gold! gold! gold!-

Good or bad a thousand-fold!

How widely its agencies vary

To save--to ruin--to curse--to bless

As even its minted coins express-

Now stamped with the image of good Queen Bess,
And now of a Bloody Mary!

VERY QUICK.

TERROR.

Now, what cometh?-look, look!-Without menace or call, Who writes, with the lightning's bright hand, on the wall!

What pierceth the king-like the point of a dart?

What drives the bold blood from his cheek to his heart? "Chaldeans! magicians! the letters expound!"

HASTE AND TERROR.

Forth from the pass in tumult driven,
Like chaff before the winds of heaven,
The archery appear;--

For life, for life their flight they ply,
While shriek, and shout, and battle cry,
And plaids and bonnets waving high,
And broadswords flashing to the sky,

Are maddening in their rear.

GENERAL RULES FOR EXPRESSION.

The following Rules are subject to variation according to the degree of the emotions named. Solemnity, for instance, may be slight or deep: the ordinary degree is chosen as the guide, and where two emotions are given under the same Rule, the second is always stronger than the first, and requires fuller expression.

RULE I-Unimpassioned narration and description require pure tone, moderate force and movement, middle pitch, unimpassioned radical stress, unimpassioned inflections, moderate emphasis and pauses. (Example 1, p. 64.)

RULE II.-Sedemnity requires pure tone, soft force, low pitch, median stress, slow movement, monotone, moderate inflections and emphasis, and long pauses. (Example, p. 53, Extract No. 2.)

RULE III-Reverence requires pectoral quality, soft force, low pitch, median stress, slow movement, monotone, moderate emphasis, long pauses. (Example 2, p. 64.)

RULE IV-Awe requires pectoral quality, very soft force, very low pitch, median stress, very slow movement, monotone, moderate emphasis, very long pauses. (Example, p. 59, Extract No. 2.)

RULE V-Horror requires pectoral quality, softest force, lowest pitch, median stress, slowest movement, monotone, moderate emphasis, longest pauses. (Example 3, p. 64.) RULE VI-Sublimity requires orotund quality, loud force, low pitch, median stress, slow movement, earnest inflections, strong emphasis, short pauses. (Example, p. 51, Extract No. 2.)

RULE VII.—Tranquillity requires pure tone, soft force, middle pitch, median stress, slow movement, unimpassioned inflections, gentle emphasis, full pauses. (Example, p. 46, Extract No. 5.)

RULE VIII-Animation and Cheerfulness require pure tone, full force, high pitch, radical stress, quick movement, earnest inflections, strong emphasis, short pauses. (Example, p. 49, Extract No. 1.)

RULE IX-Humor and Mirth require orotund quality, or pure tone, loud force, high pitch, thorough stress, with tremor, quick movement, impassioned inflections, strong emphasis, short pauses. (Example, p. 50, Extract No. 3.)

RULE X-Joy and Courage require orotund quality, loud force, high pitch, thorough stress, quick movement, impassioned inflections, strong emphasis, pauses short. (1. Example, p. 49, Extract No. 2. 2. Example, p. 54, Extract No. 4.)

RULE XI-Hatred, Anger, and Terror require harsh quality, very loud force, very high pitch, radical stress, very quick movement, impassioned inflections, strong emphasis, short pauses. (1. Example, p. 54, Extract No. 3. 2. Example, p. 52, Extract No. 3. 3. Example, p. 56, Extract No. 3.)

RULE XII-Fear and Alarm require harsh quality, loud force, high pitch, radical stress, quick movement, impassioned inflections, strong emphasis, short pauses. (Example, P. 52, Extract No. 2.)

RULE XIII-Surprise, Wonder, and Amazement require aspirated quality, loud force, high pitch, radical stress, slow movement, impassioned inflections, strong emphasis, short pauses. (Examples 4, 5, 6, p. 64.)

RULE XIV-Impatience and Veration require harsh quality, high pitch, loud force, vanishing stress, quick movement, earnest inflections, strong emphasis, short pauses. (Example, p. 50, Extract No. 5.)

RULE XV.-Contempt and Scorn require harsh quality, high pitch, loud force, compound stresa, earnest inflections, moderate movement, strong emphasis, moderate pauses. (1. Example, p. 54, Extract No. 1. 2. Example, p. 54, Extract No. 5.)

RULE XVI-Melancholy, Gloom, and Despair require pectoral quality, very soft force, very low pitch, slowest movement, monotone, moderate emphasis, longest pauses. (1. Ex