Since first, to light this wayward earth,
She walked in tranquil beauty forth!

5. Simple Description.

The streets were almost impassable, from the countless multitude; the windows and balconies were crowded with the fair; the very roofs were covered with spectators. It seemed as if the public eye could not be sated with gazing on these trophies of an unknown world, or on the remarkable man by whom it had been discovered.

6. Didactic Style.

The soul which is not large enough for the indwelling of one virtue, affords lodgment, and scope, and arena, for a hundred vices. But their warfare cannot be indulged with impunity. Agitation and wretchedness are the inevitable consequences, in the midst of which the flame of life burns flaringly and swiftly to its close.

7. Animated Description.

How dear to this heart are the scenes of my childhood,
When fond recollection presents them to view!
The orchard, the meadow, the deep-tangled wild-wood,
And every loved spot which my infancy knew.
The wide-spreading pond, and the mill that stood by it,
The bridge, and the rock where the cataract fell,
The cot of my father, the dairy-house nigh it,
And e'en the rude bucket which hung in the well;
The old oaken bucket, the iron-bound bucket,
The moss-covered bucket, that hung in the well.

8. Energetic Address.

Advance, ye future generations! We would hail you, as you rise in your long succession, to fill the places which we now fill, and to taste the blessings of existence where we are passing, and soon shall have passed, our human duration. We bid you welcome to this pleasant land of the fathers. We greet your accession to the great inheritance which we have enjoyed. We welcome you to the blessings of good government and religious liberty. We welcome you to the immeasurable blessings of rational existence, the immortal hope of Christianity, and the light of everlasting Truth!

Define didactic. Animated. Energetic.

44

ELOCUTIONARY ANALYSIS.

9. Anger and Rage.

Hear me, rash man! on thy allegiance, hear me !
Since thou hast striven to make us break our vow,
Which nor our nature nor our place can bear,
We banish thee forever from our sight,
And kingdom! If when three days are expired,
Thy hated trunk be found in our dominions,
That moment is thy death,-away!

10. Impetuous Courage.

Now for the fight! now for the cannon peal!
Forward! through blood, and toil, and cloud, and fire,
Glorious the shout, the shock, the crash of steel,
The volley's roll, the rocket's blasting spire!

11. Calling.

What, ho! Lord William, rise in haste!
A flood surrounds thy walls.

12. Shouting.

Let loud Echo, from her circling hills,
Sound freedom, till the undulation shake
The bounds of utmost Sweden.

STRESS.

STRESS denotes the manner of applying force in the utterance of single sounds. It is called

Radical, when the force of utterance, commencing abruptly, is applied to the first part of a sound;

Vanishing, when the force is thrown out at the end of a sound which terminates abruptly;

Median, when the force is given on the middle of a sound; Compound, when the voice is strongly thrown out at the first and last part of a sound, leaving the intermediate portion comparatively without stress;

Thorough, when a marked force, commencing and ending abruptly, is applied to all parts of a sound;

Define anger. Rage. Impetuous courage. Alarm. What does Stress denote? When is stress called radical? When vanishing? When median?

Intermittent, when the force of utterance is broken into parts, by a quiver or tremor of voice.

Each of these forms has its peculiar significance. Some one of them enters as an element into the enunciation of almost every emphatic sound.

RULES FOR STRESS.

1. Anger, fear, impetuous courage, and all sudden and startling emotions, also, to some extent, animated discussion, require the radical stress.

2. Obstinacy, fixed determination, sullenness, anxious alarm, peevishness, and impatience, usually take, as their most natural form of utterance, the vanishing stress.

3. Dignified and elevated sentiment, also, gentle emotions, demand median stress.

4. Compound stress belongs to the expression of surprise, and sometimes marks the utterance of raillery, earnest interrogation, and importunate entreaty.

5. Vehement address and highly impassioned feelings require thorough stress.

6. Such emotions as have an effect to enfeeble the voice demand the intermittent stress.

ILLUSTRATIONS.

1. Fear.

Ha! dost thou not see it, by the moon's trembling light!

2. Impetuous Courage.

To arms! to arms! to arms! they cry;

Lead us to Philippi's lord;

Let us conquer him, or die!

3. Obstinate Determination.

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.

4. Impatience.

Oh! he's as tedious

As is a tired horse, or a railing wife.

When is stress called intermittent? Give the rule for radical stress. For vanishing stress. For median stress. For compound stress. For vehement stress. For intermittent stress. Apply the rules to the illustrations. Define impetuous. Courage. Obstinate. Determination. Impatience.

46

ELOCUTIONARY ANALYSIS.

5. Pathos and Solemnity.

Slowly and sadly we laid him down,
From the field of his fame fresh and gory;
We carved not a line, we raised not a stone,
But we left him alone in his glory.

6. Elevated Sentiment.

We have a common stock both of happiness and of distinction, of which we are all entitled, as citizens of the country, to partake. We may all rejoice in the general prosperity, in the peace and security which we enjoy, and in the brilliant success which has thus far attended our republican institutions.

7. Surprise.

I be nominated, I go to Congress! Who says it,-who believes it? It can't be so.

8. Earnest Interrogation.

And, sir, has it come to this? Are we so humbled, so low, so despicable, that we dare not express our sympathy for suffering Greece that we dare not express our horror, articulate our detestation of the most brutal and atrocious war that ever stained earth, or shocked high heaven?

10. Indignant Emotion.

Tried and convicted traitor! who says this?
Who'll prove it, at his peril, on my head?

11. Voice enfeebled by Rapture.

O glorious hour! O blest abode !
I shall be near and like my God!

Define surprise. Interrogation. Vehement. Indignant.

Rapture.

12. Voice enfeebled by Weariness and Hunger.

Dear master, I can go no further! Oh, I die for food! Here lie I down and measure out my grave. Farewell, kind

master!

QUALITY.

QUALITY signifies the kind of sound uttered.

The kinds or qualities of voice most directly affecting vocal expresssion are

THE PURE TONE, THE OROTUND, THE ASPIRATED AND THE

GUTTURAL.

The pure tone is distinguished by its freedom from all harsh and impure properties, being a clear, even and smooth flow of sound, accompanied, usually, with a pitch rather elevated, and softened or moderate force, and a clear, ringing resonance in the head.

The orotund voice combines, with purity of sound, depth, weight, and roundness; and is so formed as to produce a clear resonance of the voice, not only in the head, but in the chest. The aspirated voice is exhibited whenever the utterance is attended with unvocalized sound.

The guttural quality unites, with simple aspiration, an impure sound, produced by contraction of the upper part of

the throat.

The orotund requires expansion of the chest, depression of the larynx, full and unobstructed opening of the throat, with extension of the cavity of the mouth.

The aspirated voice is generally the result of the organs of speech being too much under the influence of certain strong and forcible feelings to be able to convert all the breath thrown upon them into vocalized expression.

The guttural is always accompanied with some other quality, and seldom applies to more than a few peculiarly expressive words or phrases in the same connection.

Frequent practice of the pure tone and the orotund affords the best means of rendering utterance clear, full, strong, and melodious.

Plaintiveness of Speech is the result of what is called a semitonic movement of the voice.

Ordinarily the voice, in its ascent or descent, with regard to the musical scale, is through whole tones; but in the plaintive form, its

What does quality signify? Which are the principal kinds? How is the pure tone distinguished? What is the orotund voice? The aspirated? The guttural? What does the orotund voice require? Of what is the aspirated voice the result? What is said of the guttural voice? Of the practice of the pure tone and the orotund? Of what is plaintiveness the result?