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the neighboring powers, unable to act in America, [expul.m.s.] or acting only to be DESTROYED, WHÈRE || is the [oro.q.] MAN | who will venture to flatter us with the hope of success from perseverance in measures productive of thèse dire effècts?—Whò | has the EFFRÒNTERY to attempt it? WHERE' is that man? Let him, if he DÀRE, STAND Forward, and SHOW his FÀCE."

RULE VIII. Courage, joy, ardent love, and ardent admiration, are distinguished by loud', 'high', and 'lively' utterance; swelling 'median stress'; perfectly smooth and ‘pure' 'quality' of tone; and frequent 'falling' inflections.

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Note. Joy is sometimes expressed by tremor', ardor by 'aspiration', and courage by 'orotund' utterance.

Example 1. Courage and Ardent Admiration.

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[11] Now for the FIGHT!-now | for the CANNON

[°°] [u u] [expul.r.s.] [oro. q.]






FORWARD!—through BLOOD, and TòIL, and

Glorious-the SHOUT, the SHOCK, the CRASH of

2. Joy.

"Thou Child of Joy!

SHOUT round me: let me HEAR thy shouts, thou happy Shepherd Boy!"

3. Ardent Love and Admiration.

"Oh! speak again, bright àngel; for thou art
As glorious to this sight, being o'er my head,
As is a winged messenger of heaven

Unto the white upturned wondering eyes
[pu.o.q.] Of mortals, that fall back to gaze on him,
[#] When he bestrides the lazy-pacing clouds,
And sails upon the bosom of the air."

RULE IX. Excessive grief and sorrow, are expressed by 'loud' 'high' and 'slow' utterance; tremor', or 'intermittent stress'; and 'pure' 'quality',-where not interrupted by sob, or aspiration'. The falling inflection' prevails throughout the utterance of these emotions.



[][] "Capulet. 'Hà! let me see her:-Out, alàs! she's còld: Her blood is settled; and her joints are stiff;

[a. q.] Life and these lips have long been sèparated; [tr.] Death lies on her, like an untimely frost Upon the sweetest flower of all the field.



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Accursed time! unfortunate old màn !'"'

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Most MISERABLE hour that e'er time saw,

[explo.s.] In lasting labor of his pilgrimage!

[tr.] But one, poor one, ÒNE POOR and LOVING CHILD, [a. q.] But one thing to rejoice and sólace in, [sob] And cruel death | hath catched it from my sight!'"

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RULE X. Moderate grief and sorrow, pity, and tender love and admiration, are expressed by softened force', 'high' notes, and slow movement'; by prolonged and swelling 'median stress'; and by 'pure', but chromatic', or plaintive utterance. The rising inflection', in the form of 'semitone', (half tone,) prevails in the expression of these emotions..

Example of Moderate Grief.

"Enamored death, with sweetly pensive gråce
[] Was awful beauty to his silent face.

No more his sad eye looked me into tears!

[m.s.] Closed was that eye, beneath his pále, cóld brów; [pu. And on his calm lips, which had lost their glów, 9] But which, though pale, seemed half-unclosed to speak, [b] Loitered a smile, like moonlight on the snow."



"Morn cáme again;

[°] But the young lamb was dead. [Yet the poor mother's fond distress Its every art had tried

[m. s.]

[pu. q.] To shield, with sleepless tenderness, The weak one at her side.



Round it, all night, she gathered warm

Her woolly limbs,-her head

Close curved across its feeble form;
Day dawned, and it was dead.-

[xx] It lay before her stiff and cold.

Yet fondly she essayed

To cherish it in love's warm föld;
Then restless trial måde,


Moving, with still reverted face,
And low, complaining bléat,

To entice from their damp resting place
Those little stiffening feet."

Tender Love and Admiration.


[x] "Hushed were his Gertrude's lips, but still their bland And beautiful expression seemed to melt [-] With love that could not die! and still his hand [m.s.]

She presses to the heart no more that felt. [pu.q.] [.] Ah! heart, where once each fond affection dwélt, [b] And features | yet | that spoke a soul more fair!"

RULE XI. Impatience, eagerness, and hurry, are denoted by 'loud' 'high', and 'quick movement'; impatience, by vanishing', or final 'stress'; eagerness, by 'expulsive median stress'; hurry, by abrupt 'radical' or initial explosive 'stress': all three emotions are sometimes marked by the 'tremor', and by aspirated', and sometimes, 'anhelose' or panting utterance, eagerness occasionally by the 'orotund'. The falling inflection' characterizes the tones of these emotions.


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Example of Impatience.

[ "Mortimer. Fie! cousin Percy,-how you cross my father!



Hotspur. I cannot choose: sometimes he angers me, [explo. With telling me of the móldwarp and the ant, v.s.] Of the dreamer Mérlin, and his prophecies; [a. q.] And of a drágon, and a finless fish,

A clip-winged griffin, and a moulten ràven,
A couching lion, and a ramping càt,

And such a deal of SKIMBLE SKAMBLE STUFF,
As puts me from my faith. I tell you what,-
He held me, but last night, at least NINE HOURS,
In reckoning up the several DEVILS' names

That were his lackeys: I cried 'hùmph !'—and 'wéll !'
'go to'

But marked him not a word. Oh! he's as tedious
As is a tired horse, a railing wife;

Worse than a SMOKY HOUSE-I had rather live
With cheese and garlic in a WÌNDMILL, FÀR,
Than feed on càtes, and have him TÁLK to me,
any summer-house in CHRISTENDOM."



[1] "Hotspur. Send danger from the east unto the west, [] So honor cross it from the north to south, [u] And let them grapple :-Oh! the blood more stirs, [expul. To rouse a LÌON, than to start a HÁRE.

v. s.] By heaven, methinks it were an easy leap,
[oro.q.]To pluck bright honor from the pale-faced mòon;
Or dive into the bottom of the deep,

Where fathom-line could never touch the ground,
And pluck up drowned honor by the lòcks:
So he that doth redeem her thence, might wear,
Without co-rival, all her dìgnities."


[11° u v] "Sisters! hence, with spurs of speed! Each her thundering falchion wield; [explo. r.s.] Each bestride her SABLE STÈED: [a. q.] HURRY! HURRY to the FIELD!"

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RULE XII. Melancholy is distinguished by 'soft', or faint and languid utterance, 'very low pitch', and 'very slow movement'; a gentle vanishing stress'; 'pure' but 'pectoral' 'quality'; and the monotone', or, occasionally, the plaintive 'semitone'.


[xx] "To-morrow, and to-morrow, and to-morrow,
[..] Creeps in this petty pace from day to day,
[=] To the last syllable of recorded time;

[v.s.] And all our yesterdays have lighted fools

[pu.t.] The way to dusty death.—Oùt, oùt, brief càndle! [pec. q.] Life 's but a walking shadow,-a poor player, That struts and frēts his hōur upon the stage, [] And then I is heard no more."

RULE XIII. Despair has a 'softened force', a 'very low' note, and a 'very slow movement'; 'vanishing stress'; deep 'pectoral quality'; and a prevalent falling inflection' or an utter monotone'.


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[x] "I have lived long enough; my way of life [..] Is fallen into the sear, the yellow leaf: [=] And that which should accompany old age, [v. s.] As honor, love, obedience, troops of friends, [p.q.] I must not look to have; but, in their stéad,


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CURSES, not loud, but DEEP, mouth-honor, BREATH, Which the poor heart would fain dený, but dàre not.” RULE XIV. Remorse has a subdued or softened' force, very low pitch', and 'slow movement'; a strongly marked ' vanishing stress'; a deep pectoral' and 'aspirated' 'quality'; and a prevailing 'falling inflection', with, occasionally, the monotone'.

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"Oh! my offence | is RANK,-it smells to HEAVEN : It hath the primal | ELDEST | cùrse upon 't, [s.& A BROTHER'S MURDER!-Pray can I not, v.s.] Though inclination be as sharp as will;

[a.pec. My stronger guilt || defeats my strong intènt.— 9.] Oh! WRETCHED state! Oh! bósom, black as DEATH! Oh! LIMED soul, that, struggling to be frée,

Art more engaged!"

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Note. Self-reproach has a tone similar to the preceding, but less in the extent of each property, except force', in which it exceeds remorse, and pitch', in which it is higher.

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"Oh! what a rogue and peasant slàve am `I!
Is it not MONSTROUS that this player here,

[v. s.] But in a fiction, a DREAM of passion,
[a. q.] Could force his soul so to his own conceit,

That, from her working, all his visage wànned,
Tears in his eyes, distraction in's aspèct,

A broken voice, and his whole function suiting
With forms to his concèit? And all for nothing!

What's Hecuba to him, or he to Hècuba,

That he should weep for her. What would he do,

Had he the motive and the cue for passion,

That I have? He would DROWN the STÅGE with tears,
And cleave the general èar with HORRID SPEECH!

Make MAD the GUILTY, and Appál the frèe,
The very faculties of ÉVES and ÈARS.”

RULE XV. Mirth is distinguished by loud,' high,' and quick' utterance; and an approach to the rapid, repeated 'explosions of laughter, in a greater or less degree, according to the nature of the passage which contains the emotion.

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