1. I do not rise to waste the night in wôrds; In the following, natural force becomes sustained: 2. These abominable prínciples, and this more abóminable avówal of them, demánd the most decísive indignàtion. I call upon that ríght réverend and this most léarned Bénch to vindicate the religion of their Gòd, to defend and support the justice of their country. I call upon the bishops to interpóse the unsullied sánctity of their lawn, upon the judges to interpóse the púrity of thèir èrmine, to save us from this pollution. 115. Expulsive Form (interchanging with explosive). This is loud smooth, ordinarily called earnest, force (classified as animated, §§ 216-219). In it we have predominating terminal, with some initial and median stress, a medium key, and pure or orotund quality. It passes often and easily into sustained force, when from merely serious and strong sentiments it passes to grand ones. illustrations of its use see §§ 216-219, and poetry marked expulsive in §§ 221-225. For You can mould opinion, you can create political power; you cannot think a good thought on this subject and communicate it to your neighbor, you cannot make these points topics of discussion in your social circles and more general meetings, without affecting, sensibly and speedily, the course which the government of your coûntry will pursue. 116. Effusive Form. This is soft smooth, ordinarily called moderate, force. It is used with all kinds of stress, a medium key, and pure quality, whenever there is no appearance of an effort to suppress the utterance. It characterizes ordinary, unimpassioned statements or descriptions (see § 226). Now comes the autumn of life-the season of the "sere and yellow leaf." The suppleness and mobility of the limbs diminish, the senses are less acute, and the impressions of external objects are less remarked. The fibres of the body grow more rigid; the emotions of the mind are more calm and uniform; the eye loses its lustrous keenness of expression. 117. Suppressed or Subdued Force. When one is in a serious, grave, dignified, self-determined mood, his utterances, however forcible, and because they must be, in these cases, on a low key,—will be more or less suppressed, rather than sustained. We have these different forms: 118. Explosive Form (interchanging with expulsive). This is loud abrupt force, on a low key, with initial, terminal or compound stress, and often passes from orotund into aspirate, guttural or pectoral quality. It gives expression to moods greatly excited by serious and grave considerations, in which the tendency to expression is forcibly suppressed, as in amazement, impatience, indignation, revenge, fear, horror, despair. 1. Ye gôds! ye gôds! must I endure all this? 2. If it will feed nothing else, it will feed my revenge. He hath disgrâced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated my enemies. And what's his reason? 3. How ill this taper burns! Ha, who comes hère? I think it is the weakness of mine èyes That shapes this monstrous apparition. It comes upon me-Art thou anything? Art thou some gód, some ángel, or some devil, 4. [While throng the citizens with térror dúmb, (See, also, §§ 128, 129, and examples there referred to; also, § 145: a.) 119. Expulsive Form (interchanging with effusive). This is not very loud smooth force, with predominating terminal or median stress, on a medium or low key, with pure or orotund quality. It is for moods not carried away by a subject, but rather suppressed and subdued by the gravity and dignity of it. 1. Where Christ brings his cross he brings his prèsence, and where he is none are dèsolate, and there is no room for despair. At the darkest you have félt a hand through the dark, clóser perhaps and ténderer than any touch dreamt of at noon. As he knows his own, so he knows how to cômfort them,-using sometimes the very grief itself, and straining it to the sweetness of a faith unattainable to those ignorant of any grief. 2. There was no trace by which the name of the ship I could be ascertained. The wréck had evidently drifted about for many months; clusters of shell-fish had fastened about it, and lóng sea-weeds flaunted at its sides. But where, thought I, is the crew? Their struggle has long been over; they have gone down amidst the roar of the tempest; their bónes lie whitening in the caverns of the deep. Silence,-oblivion,—like the waves, have closed over them; and no one can tell the story of their end. (See, also, § 220.) 120. Effusive Form (interchanging with expulsive). This is soft smooth force, with predominating median stress, on a medium or low key, with pure, sometimes orotund, quality. It gives expression to sentiments of beauty, tenderness, love, etc., when the moods are the opposite of lively or uncontrolled in the sense that the feeling or tendency to express them is gently subdued or suppressed, as in submissive supplication, contrition, commiseration, or the presence of sorrow, slumber, sickness, death. 1. O, my lord, Must I, then, léave you? must I needs forego 2. Thou túrnest man to destrúction; and sayest, "Retùrn, ye children of men." For a thousand years in thy sight are but as yesterday when it is pàst, and as a watch in the night. 3. She sleeps: her breathings are not heard The fragrant tresses are not stirred That lie upon her charmed heart. She sleeps: on either hand upswells 4. Beautiful Evelyn Hope is dead! Sit and watch by her side an hour. She plucked that piece of geranium flower (See, also, §§ 226, 228.) VOLUME. 121. This is determined by the relative amount of breath, energy and resonance that the voice derives from the way in which the various organs of the lungs, throat and mouth are used in forming it. a. There are all possible degrees of volume. No separate term is in use to apply to a slight change in it; but if the change is great it necessitates a difference not only in degree but in kind, in what is termed Quality. Pure quality, for instance, may be uttered with a certain degree of full volume and still remain pure; but if an attempt be made to change it still further in the same direction it becomes orotund. The principle regulating slight changes in volume, such as are usually, though not exclusively, made when emphasizing individual words or phrases, rather than whole passages,- the changes in the latter almost always necessitating changes also in quality,—is as follows: b. Volume, which, as we have found (§ 32), is representative of the feelings, is thin or fine in utterances that are anticipative, indecisive, subordinate, insignificant, negative, etc., when these are expressive of moods that are light, gay, lively or uncontrolled; and it is full in utterances that are final, decisive, self-important, self-interesting, affirmative, positive, etc., when these are expressive of moods that are serious, grave, dignified or self-determined. For illustration see § 140: e. This, for instance, necessitates thin volume. "Farewell! farewell!" I faintly cried; And this full. Lo! the death-shot of foemen out-speeding he rode Anything further on this subject will be sufficiently unfolded while considering QUALITY. 122. By this is meant the kind of voice or tone that one uses; and this, as has been said, depends on the elements that enter into it and constitute its volume (§ 121). The following qualities need to be understood: the Aspirate, Guttural and Pectoral, which, as they are used mainly to modify and supplement other tones, it is convenient to consider first; the Pure and Orotund, which are the most ordinary and important qualities; and the Nasal and Oral, which need to be mentioned mainly that they may be avoided. Recalling (§ 32) that the different qualities of voice represent different kinds of emotions, we turn first to the 123. Aspirate. This is the thinnest quality,-a tone almost flooded with breath. Wherever heard, it suggests that behind the tone there is an excess of motion, or emotion, that is constantly straining through and preventing complete vocalization. In other words, it indicates intensity of feeling. Besides this, in the degree in which its quality approaches that of the ordinary whisper, it suggests surprise, caution, apprehension or alarm, in view of external circumstances. a. The Effusive Whisper or Aspirate indicates a gentle degree of intensity subdued, as in the presence of something to cause caution or awe; e. g. Leave me! thy footstep with its lightest sound, Wakes in my soul a feeling too profound, Too strong for aught that lives and dies to bear: |