The first five of the properties of voice which have been enumerated, are the ground of the following classification and notation. · KEY TO THE NOTATION OF EXPRESSIVE TONE.' 'Force'. [I]loud'; [1] 'very loud'; [x] 'soft'; [xx] 'very soft'; <increase'; [>] 'decrease'. 'Pitch'. [] 'high'; [] very high'; [o] 'low'; [oo] 'very low'. 'Key'. [#] • lively',—(full tone ;) [b]' plaintive',—(' semitone'.) 'Time'. [u] 'quick'; [u u] very quick'; [-] 'slow'; [=] 'very slow'. 6 'Stress'.* [r. s.] 'radical stress'; [m. s.] 'median stress'; [v. s.] 'vanishing stress'; [c. s.] 'compound stress'; [th. s.] 'thorough stress'; [s. s.] suppressed stress'; [tr.] tremor'; [ef. s.] 'effusive stress'; [expul. s.] 'expulsive stress '; [explo. s.] 'explosive stress'. Or the characters on p. 58 may be substituted. 'Quality'.t [h.q.] 'harsh quality'; [sm. q.] 'smooth quality'; [a. q.] 'aspirated quality'; [pu. t.] 'pure tone'; [p. q.] 'pectoral quality'; [g. q.] 'guttural quality '; [o. q.]' oral quality'; [oro. q.] 'orotund quality'. Combinations. [h. g. q.] 'harsh guttural quality'; [sm. p. q.] 'smooth pectoral quality', &c. on The above Key, though, at first sight, intricate, will occasion. no serious difficulty to students who have read attentively the Sections 'Stress' and 'Quality.' The notation will be found of great service, not only by suggesting appropriate expression', which a young reader might otherwise overlook, but by enabling the pupil o prepare for the exercise of reading or declaiming, by previous study and practice. It is a humiliating fact, that, in many schools, the sublimest and most beautiful strains of poetry,—take, for example, Milton's invocation, “Hail holy Light!"—are, from the neglect of 'expressive tone', called out in the same voice with which a clerk repeats the number or the mark on a bale of goods, or read with the free and easy' modulation of a story told by the fireside, or perhaps, with * See § IX. 'STRESS'. † See § I. QUALITY'. the pompous mouthing of the juvenile hero of a 'spouting club', with the languishing tone of a sick person, or with the suppressed, half-whispering utterance of a conscious culprit. The notation of 'expression' has been adopted with a view to the early formation of correct habit. RULES ON EXPRESSIVE TONE. RULE I. The tones of anger, vexation, alarm, fear, and terror, have an utterance 'extremely loud, high, and quick', 'abrupt', and 'explosive',-or, sometimes marked by 'expulsive' and by vanishing' stress,-an 'aspirated', 'harsh', and 'guttural' voice, and are characterized, throughout, by the 'falling inflection'. 5 Example of Anger. "He hath disgraced me, and hindered me of half a million; laughed at my lòsses, mocked at my gains. scorned my nation, thwarted my bàrgains, cooled my friends, heated mine ènemies and what's his rèason? I AM A JEw.-Hath not a Jew éyes, hath not a Jew hands, órgans, dimensions, sénses, afféctions, pássions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same méans, warmed and cooled by the same win10 ter and summer as a CHRISTIAN is?" Vexation. "Sáy you so? sÁY you so?—I say unto you again, you are a shallow, cowardly, hind, and you LIE. Our plot is a good plot as ever was laid; our friends true and cÒNSTANT; a GOOD PLOT, good 5 friends, and full of expectation: an ÈXCELLENT plot, VERY good friends. What a FROSTY-SPIRITED Togue is this!-An I were now by this rascal, I could brain him with his LADY'S FÀN.-Oh! I could DIVÌDE myself, and go to BUFFETS, for moving such a DISH of SKIMMED MILK with so honorable an action!" 10 Fear. "Oh! SAVE me, Hubert, SÀVE me: my eyes are òUT, I will not struggle,-I will STÀND | STÓNE STILL. 10 I will not stir, nor wince, nor speak a wòRD, Thrust but these mén away, and I'll FORGIVE you, Terror. "AWAKE! AWAKE!— RING the ALARUM BELL: MÙRDER! and TREASON! 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 ?——a spírit? See! how it looks abòut! Believe me, sir, 5 A thing divine; for nothing natural Astonishment. "Alonzo. What harmony is this?-my good friends, HARK! Gonzalo. Marvellous sweet music! Alon. Give us kind kèepers, HÈAVENS!-- What were 5 THÈSE ? Sebastian. A living dròllery! Now I will believe 10 That there are unicorns: that, in Arabia, There is one trèe, the phenix' throne; one phanix Antonio. I'll believe both; And what does èlse want credit, come to mè, And I'll be sworn 't is TRUE." 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. Amazement. "Gon. I'the name of something hòly, sir, why stand you In this strange stàre? [o] Alonzo. Oh! it is MONSTROUS! MONSTROUS! Methought, the billows spoke, and told me of it; 5 The WINDS did sing it to me; and the THUNDER, That deep and dreadful organ-pipe pronounced The name of PROSPER; it did bàss 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 ōne hälf world Nature seems dèad; and wicked dreams abūse The curtained sleeper; witchcraft celebrates Pale Hecate's offerings; and withered murder, 5 Alarumed by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace, And take the present hōrror from the time, Extreme Amazement. "Oh! answer me: Let me not bùrst in ignorance! but tell Hath ōped his ponderous and marble jāws, 10 Making night hideous; and we fools of nature, 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'.-All 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! Thy awe-imposing võice is heard,-we hear it' -- Thou breathest! [ -] förest õaks of centuries 10 Turn their uprooted trunks towards the skies. Thou thunderest! [llo. =] adamantine mōuntains break, [..] At God's almighty will, The affrighted world falls headlong from its sphere! 15 Planets, and suns, and systems disappear!" Solemnity. "Father! thy hand Hath reared these venerable columns; Thou |