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 "Oh! SAVE me, Hubert, SÀVE me my eyes are òUT, [°°] Even with the fierce Looks of these bloody men! [u] Alas! what need you be so boisterous rough? [expul. I will not struggle,-I will STAND | STÓNE STILL. r.s.] For HEAVEN'S sake, Hubert! let me not be BOUND! [a.o.q.] Nay, HEAR me, Hubert! drive these mén away, Tre- And I will sit as quiet as a LAMB;
mor', I will not stir, nor wìnce, nor speak a wòrd, through-Nor LOOK | upon the irons | ángerly;
out.] Thrust but these mén away, and I'll FORGIVE you, Whatever torments you do put me to."
[II Uu] [expul. RING the ALARUM BELL: MURDER! and TREASON! &m.s. BANQUO, and DONALBAIN! MALCOLM! AWAKE?
pro- Shake off this downy sleep, death's counterfeit, longed.] And look on death itself!-UP! UP! and see [g.&o.q.]The great DOOM's image!—MALCOLM! BÀNQUO! [Shout.]As from your GRAVES rise up, and walk like sprights, [Call.] To countenance this horror!"
RULE II. Wonder and astonishment are expressed by 'loud. high, and slow utterance'; 'vanishing stress'; 'aspirated' and slightly guttural' 'quality'; and prolonged 'downward slide'. -Astonishment exceeds wonder, in the degree of these properties.
Example of Wonder.
"What is 't ?-
See! how it looks about! Believe me, sir,
[v. s.] [a. o. q.] A thing divine; for nothing natural I ever saw so nòble!”
"Alonzo. What harmony is this?-my good friends, HARK!
Gonzalo. Màrvellous sweet music!
[v. s.] Alon. Give us kind kèepers, HEAVENS!--- What were [a.p.q.]THÈSE?
Sebastian. A living dròllery! Now I will believe
That there are unicorns: that, in Arabia,
I'll believe both;
And what does èlse want credit, come to mè,
Note. Amazement, when it does not go to the utmost extreme, has a louder, but lower and slower utterance, than astonishment: the other properties of voice are of the same description as those expressed in astonishment, but increased in degree.
[U] "Gon. I' the name of something hòly, sir, why stand you In this strange stàre? H
[o] Alonzo. Oh! it is MÒNSTROUS! MONSTROUS! [v.s.] Methought, the billows spoke, and told me of it; [a. The wiNDs did sing it to me; and the THUNDER, p. q.] That deep and dreadful organ-pipe pronounced The name of PROSPER; it did bass my trèspass !"
RULE III. Horror and extreme amazement have a 'softened' force', an extremely low' note, and 'slow' movement, a 'suppressed stress', a deep aspirated pectoral quality', and a prevailing 'monotone'.
Example of Horror.
Now, o'er the one half world
.] Nature seems dèad; and wicked dreams abūse
q] Whose howl's his watch, thus with his stealthy pace,
And take the present horror from the time,
The omission of any mark, indicates the moderate or middle 'pitch', 'force', or 'rate'. The absence of the notation for 'pitch', in the above case, is equivalent to 'middle pitch'.
"Oh! ànswer me:
Let me not burst in ignorance! but tell Why thy canonized bōnes, hearsed in death, [s.s.] Have burst their cèrements! why the sepulchre, a. p. q.] Wherein we saw thee quietly inurned, Tremor.] Hath ōped his ponderous and marble jaws, To cast thee up again! [..] What may this mean, That thōu, dead corse, again, in complete steel Revisit'st thus the glimpses of the moon, Making night hideous; and we fools of nature, So horribly to shake our disposition,
With thoughts beyond the reaches of our souls ?"
RULE IV. Awe has usually a 'suppressed' force, a 'very low' note, and a 'very slow' movement. Solemnity, reverence, and sublimity, have a moderate' force, a 'low' note, and a 'slow movement'.—Áll four of these emotions are uttered with 'effusive median stress', and deep, but 'pure', 'pectoral quality'; together with a prevalent monotone'.
Note. When great force is expressed in the language, the tone becomes 'loud' in awe.
Example of Awe.
"O Thōu unütterable Pōtentate!
[o] Through nature's vast extent, sublimely great!—
[pu. Thy awe-imposing võice is heard,-we hear it-
t. The Almighty's fearful voice: attènd! It breaks p.q.] The silence, and in solemn warning speaks. [..] Thou breathest! [..] förest ōaks of centuries Turn their uprooted trunks towards the skies.
[..] Thou thunderest! [llo. =] adamantine mountains break, Tremble, and totter, and apart are riven!
[o] At God's almighty will,
-The affrighted world falls headlong from its sphere! [oo=]Planets, and suns, and systems disappear!"
"Father! thy hand
[ef. Hath reared these venerable columns; Thou m.s.] Didst weave this verdant roof. Thou didst look down
[pu.t. Upon the naked earth, and, förthwith, rōse
Būdded, and shook their green leaves in thỹ breeze,
"Oh! let me often to these sōlitudes [ef. m. s.] Retire, and in Thy presence reassure [pu.t.p.q.] My feeble virtue. Here, its enemies,
[— ° x]
The passions, at thy plainer footsteps shrink,
[xx =] Be it ours to meditate,
[-] "Hail! hōly Light, offspring of heaven first börn,[ef. Or, of the Eternal, coeternal bèam
m. s.] May I express thee unblámed? since GòD is Light, [oro. And never but in unapproached light
g.] Dwelt from etèrnity,-dwelt then in thèe,
Whose fountain whò shall tèll? Before the sún,
The rising world of waters, dark and deep,
RULE V. Revenge is 'loud' and 'low' in utterance: when deliberate, it is 'slow',-when violent, it is quick': it has the 'median stress'; and aspirated' 'pectoral' and 'guttural quality', combined. It is marked by a prevalent 'downward slide'.
 " ÒN them, HUSSARS!—Now give them REIN and HÈEL ! Il Think of the ORPHANED CHILD, the MURDERED SÌRE:
[expul. Earth cries for BLOOD,-[II] in THUNDER on them
[oro.q.] This hour to Europe's fate shall set the TRIUMPH SEAL!" 2. Shylock. "There I have another bad match: a [.] BANKRUPT, a PRODIGAL, who dare scarce show his [u] head on the Riàlto; -a BÈGGAR, that used to come [expul.s.] so smug upon the màrt: let him look to his BÒND: [h. g. & he was wont to call me ÙSURER; LET HIM LOOK TO pec. q.] HIS BOND: he was wont to lend money for a CHRISTIAN COURTESY: LET HIM LOOK TO HIS BOND!"
RULE VI. Scorn is characterized by 'loudness', by drawling 'slowness', and a tone which, in the emphatic words, begins on a 'high' and slides to a 'low' note; by 'thorough stress', and often, a laughing tremor', making the beginning, the middle, and the end, of every emphatic sound, distinct, and prominent, and cutting to the ear. The 'quality' of the voice in this tone, is strongly aspirated', but not 'guttural': the inflection' is usually falling', but, sometimes, becomes the 'wave', or 'circumflex'.
"Thou SLAVE, THOU WRETCH, THOU CÒW. ARD!
Thou little valiant, great in villany!
[th. s.] [a.o.q.] Thou ever strông upon the stronger side! Thou FORTUNE's champion, that dost never fight But when her humorous lâdyship is by To teach thee sâfety !"
[-] [th. s.] [a. q.]
2. "Pale, TRÈMBLING, COWARD!-[Tremor.]
By that, and all the rights of knighthood èlse,
What I have spoke, or thou canst worse devise."
RULE VII. Indignation is marked by full loudness', 'low' note, and deliberate 'slowness'; a swelling median stress'; and the effect arising from the blending of 'pectoral' and 'guttural' tone, to all the extent consistent with 'pure' 'orotund', in vehement style. The characteristic inflection is uniformly 'falling'.
Exam. "In this complicated crisis of danger, [.] weakness, and calamity, terrified and insulted by